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Monthly Feature

Claudia Hart



Gif made from 3d animation. Based on Magazine Covers: DADA PHONE Paris, March 1920; 391 New York, N.3, Club Dada Berlin, 1918;  New York Dada New York, April 1921; Cannibale Paris, 25 May 1920;  Die Schammade Köln, February 1920; DER ZELTWEG Zürich, November 1919

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“I made a model of Kiki in 2008 to use for another project based on all of the various photos of Man Ray.   I turned her head around, breaking her neck, to turn her into an “impossible object,” a kind of Sphinx.   I then imagined her as a Times Square billboard, and covered her with flashing billboards, but made from the original Dada magazine covers.  The purpose of the work is to turn  Kiki into a goddess, the “Kiki.obj.”


Claudia Hart has been active as an artist, curator and critic since 1988. She works with digital trompe l’oeil as a medium, directing theater and making media objects of all kinds. These include multi-channel 3D animation installations, sculptures using industrial production techniques such as Rapid Prototyping, CNC routing, and virtual and mixed reality environments, and  augmented-reality custom apps. Hart’s works deal with issues of representation, and the role of the computer in shifting contemporary values about identity and what might be called the natural. Her project is to de-masculinze the culture of corporate technology by inserting the irrational and the personal into the slick, overly-determined Cartesian world of digital design. She is widely exhibited and collected by galleries and museums including the Museum of Modern Art and the Metropolitan Museum, the New Museum, Eyebeam Center for Art + Technology, where she was an honorary fellow in 2013-14.  She works with Transfer gallery in New York.  She is married to the Austrian media artist Kurt Hentschlager, and lives in Chicago where she is a tenured professor at the School of the Art Institute.

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John Bumstead



Collage of screenshots from a MacBook Pro with a malfunctioning NVIDIA GeForce 8600M GT graphics processor, Animated Gif. Based on Magazine Cover: 391, New York, N.3, 1 March 1917.

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“The image was cut into 10 equal segments which were fed individually into a 2008 MacBook Pro 17” laptop with a defective graphics processor.  The laptop was allowed to affect each segment, during which approximately 20 screenshots of each were taken.  The screenshots were then reassembled into 10 complete images, taking care to keep all segments in proper location.

Defective GPUs produce “randomly predictable” output, but by assembling collages of many different screenshots I hoped to produce a distinctly different aesthetic than would be created by allowing the GPU to affect the whole image at once”. John Bumstead


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Serg Nehaev



Digital collage. Based on Magazine Cover: 391 New York, N.3, 1 March 1917

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Daniele Carrera



Glitch, pixel sorting, databending, digital collage. Based on: Lázló Moholy-Nagy, Untitled, 1927; Hans Richter, Untitled, 1961. Magazine covers: 391, New York, N.3, 1 March 1917; Cannibale, Paris, 25 May 1920


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“Dada graphic with a touch of digital glitchs”. Daniele Carrera

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Tyler Kline



Animated Gif. Based on: Man Ray, Non euclidean object, 1932; Lazlo Moholy-Nagy, Untitled, 1927, and  Self-Portrait 1926; Magazine Cover: 391 New York, March 1917.

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Grenade fired into the bunker of Cartesian thought, using the platonic tools of measurement employed by the Empire. Non Euclidean, Absurdist Dance of Afro-Quantum Futurism“. Tyler Kline


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Marco Lonati

391 The Dada Punisher


Digital Collage. Based on Magazine Cover: 391  N.3, New York, 1 March 1917

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“With this work, inspired by one of the picabia’s drawing, i tried to remake an image cover of a magazine. I adapted this cover on Punisher’s comics”. Marco Lonati

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Laura Alessandra D’Auria

391 Tears


Animated GIF. Based on Magazine Cover: 391 New York, N.3, 1 March 1917

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“I saw this magazine cover, the picture on it seemed to be crying, then I started my work from this point”. Laura Alessandra D’Auria

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Myriam Solar



Digital image. Based on Magazine Cover: 391, New York, N.3, 1 March 1917

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“Representation by physi-morphisme of idea of flamenco dance through a succession of small jagged lines that contain irregularities, disorder, chaos and self-organization in the biodiversity and complexity aesthetics with forms of expression animal species, particularly terrestrial gastropods in interaction with interspecies”. Myriam Solar

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Raquel Meyers



PETSCII Collage. Based on magazine cover: 391 New York, N.3, 1 March 1917


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