Michael Betancourt Boeken

Exploring the concept of "Research Art," this book delves into the significance of margins and marginality within the art world, drawing from Michael Betancourt's pioneering use of glitches in his work. It bridges theory and practice through discussions of digital glitch movies, typoetry, and abstract photography, supported by 21 full-color illustrations. The text argues for the legitimacy of "Research Art" alongside traditional art forms, positioning it as a critical response to contemporary issues like AI and digital capitalism, while challenging conventional expectations in art interpretation.

The collection features 52 vibrant images from Michael Betancourt's "Instaglitch Project," showcasing the intriguing and unsettling effects of image manipulation through the Instagram app. Each piece highlights the unexpected results that arise from digital processing, emphasizing the intersection of technology and art in contemporary visual culture.

The book explores the intersection of art, AI, and culture, revealing how contemporary applications of AI are deeply rooted in Modernism and colonial legacies. It highlights the exclusion of marginalized groups from the definition of "human" and critiques the social identity threats posed by AI to existing hierarchies. By examining the impact of digital technology on identity, leisure, and economic structures, it challenges the notion that automation can lead to a bias-free utopia, emphasizing the persistence of systemic control and social inequalities.

Exploring the theme of transformation, this visual poetry collection features forty-two curated compositions from 1998 to 2020. The concept of dissolution signifies a breakdown into fragments, suggesting a dynamic shift rather than an end to order. Each image serves as a meditation on the processes of ordering and change, presenting a sequence that resembles animation while omitting the transitional frames, inviting viewers to contemplate the beauty of disintegration and reformation.

Focusing on the semiotics of motion pictures, this book explores a critical and theoretical framework that extends beyond conventional commercial narratives. It examines various constructions in film, offering insights into how meaning is created and communicated through cinematic techniques. The analysis encourages readers to consider the broader implications of film as a medium, enriching their understanding of visual storytelling.

José Parlá (*1973 in Miami) is an artist who assumes different roles in order to create his work: he acts as a historical transcriber and a visual raconteur. As a transcriber, he records his experiences in calligraphic and palimpsestic code. Serving as a collection of textually chronicled memories, the markings appear on backdrops that resemble the distressed surfaces he encounters-the cosmetic results of passed time-city walls marred by layers of paint, old posters, and years of neglect. Parlá's paintings are inspired by the environments of cities he has traveled to, which include Havana, London, Istanbul, Hong Kong, Tokyo, and New York City, where he is now based. His mixed media works sometimes employ fresco techniques and include acrylic, oil paints, plaster, posters used as collage, homemade inks, and enamel spray paint. Exhibition schedule: Bryce Wolkowitz Gallery, New York, March 3-April 16, 2011