AUGMENTED REALITIES FOR THE SMARTPHONE
//CURATED BY SARAH DRURY
TECHNICAL CONSULTANT: CHRIS MANZIONE
ventana244 ART SPACE
244 N. 6th St.
Williamsburg, Brooklyn, 11211
APRIL 16-MAY 8, 2011
SATURDAY, APRIL 16, 2-5PM
Crude by Curt Belshe & Lise Prown
Augmented reality using the smartphone
allows the participant to visualize digital
images, “collaged” over the present location,
as seen through the phone’s camera. Although
this superimposition of visual information into
the landscape is an additive process, Décollage:
Torn Exteriors implies instead a tearing
away of existing surfaces, revealing what is
underneath or inside.
graphics by Ephrat Seidenberg
UNMASKED HEROES // PATRICIA ADLER
Location: ventana244 Art Space, 244 N. 6th St.
photography by Bill Drury
Unmasked Heroes is a meditation on the power of our
personal potential. By placing augmented reality markers
on our foreheads, in reference to the traditional South
Asian bindis, a gateway to our inner world is created.
The smartphone then unlocks the door, revealing our full
As per the theme of the show, Décollage: Torn Exteriors,
‘Unmasked Heroes’ pulls back the mask we usually hide
behind, revealing the one of our deeper self - that of the
superhero. We spend most of our lives as mere shadows
of ourselves (nod to Plato), until confronted with a situation
that calls for extraordinary action. This project is
about ordinary people recounting their true, heroic stories,
showing us how we all can be, and often are, heroes in our
Formerly based as a designer in London, Adler has been
living and working as an artist in Brooklyn, New York since
2009. Her projects seek to create immersive, trans-reality
experiences by means of technology, as kinetic sculptures
that engage mobile platforms, performance, video, installation
and sound art.
AFTER DELVAUX // STEVE BULL
Location: 257 N. 6th St.
After Delvaux is an Augmented Reality room inserted into
the front of a residential building. The inhabitants are a
child seemingly absorbed in his mobile phone, a woman in
bondage who might be looking down at him, a man looking
past both of them toward us. Recalling the Surrealist
paintings of Paul Delvaux, “After Delvaux” calls attention
to the experience of looking, both through the browser on
the handset and at the figures within the frame who look not at
each other but into an unknowable elsewhere. And, of course,
you are looking through the bricks of the building.
Since 2000 Steve Bull has created location-specific narratives
and games that explore the social, technological, and creative
possibilities of cell phones. These projects have been exhibited
at SWSX Interactive 2011, San Jose ZeroOne Festival, NIME
2007 and 2009, ICMC 2010, and E.A.T. Revisited. Other projects
have been shown at The Getty, the Museum of Modern Art,
American Film Institute, PBS, and Creative Time.
BROOKLYN SPACE TIME // LUKE SCHANTZ
Location: 104 Roebling St.
Our “world lines” through the 4-dimensional manifold of
spacetime intersect here and are not bound to any specific
theory. Neither are we. Tracing out the complete (time) history
of a particle, observer or small object has never been
possible. What if it were possible to access a complete
record of time and place?
Luke Schantz is a media artist, designer, citizen scientist
and trans-humanist. He currently resides in Brooklyn and
keeps a studio at the 3rd Ward. Over the last several years
he has specialized in media for theatre and stage shows.
He came to NYC 3 years ago to work with the Blue Man
Group as a visual FX artist. While technical minutiae are
involved in his daily operations and activities, he has a
deep appreciation for the esoteric and occult. Currently
he is working on development of modular electromechanical
devices, making media for stage and screen, urban agricultural systems,
antennas for broadcasting into space, painting, 3D modeling/printing,
performance art and research.
4. THE SKY-CONE // CARLTON BRIGHT,
with 3D modeling assistance from Larry Auerbach.
Location: Parking lot, corner of Driggs & N. 5th St.
The Sky-cone is an idea that sprang from my morning walk
toward areas in the neighborhood where I can see the sky.
It is my way of getting in touch with the day. The Sky-cone
encourages people to use their personal mobile devices to
look up at the sky, outside themselves: a departure point for
awareness of the ever-present and yet ever-changing sky
above, and the space we exist in.
We are fortunate to be living in an era where the discrete
areas of the arts can merge and transform themselves via
the new territories that technology is making available.
Augmented Reality for mobile devices is a good example.
As a long-time sculptor and video artist I am intrigued by
the fresh notion of a sculptural “antigravity-ness”. I am also
interested in being able to make a virtual geological placement
of a sculpture, determined by, and reliant on, a host of
distant and never-to-be-seen, man-made satellites.
Mr. Clarke described it is this way: “Any sufficiently advanced
technology is indistinguishable from magic.”
Carlton Bright has been based in New York City since 1978.
His media projects include video documentation of art and
performance, as well as the use of paired SX-70 cameras
and other devices to make stereoptical photographs. He
currently works a sculptor and has developed extensive
experimental work with stereoptic video.
5. 310 N. 7TH STREET // ROBIN MICHALS
Location: 310 N. 7th Street
When standing on the spot once occupied by 310 N. 7th
Street, what you see, hear, and smell is the devastation
wrought by the Brooklyn Queens Expressway, one of many
highways built by Robert Moses in New York City that has torn
exteriors and neighborhoods. The buildings that stood
here including 310 were razed in 1947 taking with them the
visible legacy of a part of Brooklyn’s industrial history. With
mobile AR, a trace of what can no longer be seen here can
be experienced. Still open farmland in the mid-19th century,
in 1873, A. B. Ansbacher opened a factory here that made
Paris Green, a dye that got its name because it was used
to kill rats in the sewers of Paris. A vivid bluish-green, it
was widely used in the 19th century to dye everything from
wallpaper to dresses though by the end of the century was
primarily marketed as an insecticide. Relatively inexpensive
and freely available, Paris Green was often used for
suicide. Cezanne loved its brilliance. The resulting arsenic
poisoning was probably the cause of the artist’s diabetes.
Demand for Paris Green was high and Ansbacher got rich.
There was labor unrest and ethnic tension as the company
grew, expanding out of Brooklyn and finally being absorbed
into Sun Chemical, a national corporation. Now this site is
a state superfund site. Text situated with mobile AR serves
as a reminder that another world existed here where a
fortune was made, Irish and Italians fought over turf and
for higher wages, and a beautiful vivid blue-green pigment
finally banned in the 1960s, yet still unmatched in brilliance
by contemporary chemistry, drifted out over the neighborhood.
Michals first became aware of the Ansbacher dye factory
when researching her series Toxi City: Brooklyn’s Brown-
fields, (www.e-arcades.com/toxicity.html), with photographs
of over 50 of the locations in Brooklyn that have
a legacy of industrial pollution. Toxi City was presented at
the Brooklyn Lyceum in 2009 with support from Brooklyn
Arts Council, Puffin Foundation, and PSC-CUNY Research
Award. She teaches photography at New York City College
of Technology, CUNY
6. CRUDE // CURT BELSHE AND LISE PROWN
Location: McCarren Park Dog Run, Driggs & N. 12th
Crude references the large underground oil spill in northeast
Greenpoint, between North Henry Street, Norman
Avenue, and Newtown Creek, the site of various petroleum
industries for over 140 years. From early refineries processing
whale oil to later petroleum based processing, the
banks of Newtown Creek have been an area synonymous
with oil production. In 1970’s, a massive spill, most likely
the result of years of industrial dumping, was discovered
under the east side of Greenpoint.
“The Greenpoint Oil Release….is presumed to be among
the largest releases of oil to date in the world. The amount
of oil is estimated to be between 17-30 million gallons,
approximately 50% more oil than the Exxon Valdez oil spill
in Prince William Sound, Alaska. Unlike spills like the Exxon
Valdez, the Greenpoint Oil Release was not an episodic
event, but rather an accretion of oil from many of the
refineries on Newtown Creek1.” (From http://www.dec.
The “out of sight” nature of this environmental disaster
resonates with the virtual qualities of an augmented reality
artwork. Augmented Reality makes use of the layered
nature of our modern technologies to comment on issues of
history, culture and environment.
Lise Prown & Curt Belshe have worked collaboratively for
more than 20 years on projects that explore the intersection
of public art, local history, and information graphics. These
transient public artworks use the language of signage to
examine expectations of signification in an urban environment.
7. PLAYGROUND: A BEAM OF INTENSE
DARKNESS // SARAH DRURY
Location: McCarren Park Playground, Driggs & Lorimer
“…, one must cast a beam of intense darkness so that
something that has hitherto been obscured by the glare of
the illumination can glitter all the more in the darkness.1”
Contemporary educational wisdom returns to the notion
that play is at the heart of learning, i.e., that kids don’t so
much receive knowledge as discover multiple facets of the
matter through experimental engagement. The knowing
self emerges through continual emptying and filling, erasure and
embrace, ignorance and seeing. The play space is a container
for the unknown, with its darkness and desires, and against
which the outlines of change flicker.
Mobile Augmented Reality presents a similar paradigm: the
viewer catches a glimpse of an emergent image continually
re-drawn against a moving landscape.
Sarah Drury’s work of the past 10 years has explored the
subject, “I”, as a dynamic, fragmentary, emergent instance of
sound, image, movement and touch using sensing and tracking
technologies. Some of these projects have pointedly
questioned: What is the self? How is the self formed in social
interaction? What is the self as a phenomenon existing in and
around representation? Sarah Drury is a media artist working
with video, interactive installation
and performative media. Her work has been presented
at international venues, including: BAM’s Next Wave Festival,
National Theater of Belgrade, Boston CyberArts Festival,
Brooklyn Museum, the Kitchen, SIGGRAPH, ISEA, Philadelphia
Fringe Festival, and others. Drury is an associate professor in
the Temple University Film & Media Arts Program.
 In his book “A Beam of Intense Darkness: Wilfred Bion’s
Legacy to Psychoanalysis”, James Grotstein recounts his experience
of being read this phrase by Bion, in a free translation from
8. X/Y // HANA IVERSON & CHRIS MANZIONE
Location: 897 Lorimer St. (near Bedford)
Hana Iverson and Chris Manzione share an interest in the body
as shape, metaphor and site of meaning. In their work, the
body’s inherent properties of weight, mass and physicality operate
within a digital field of ephemera, instability and generative
thought. These figures “dance” in the landscape, loosely tied
to location, simultaneously present in the mobile phone and
absent in the physical world.
In Hana Iverson’s multimedia work, the body, often fragmented,
has been the site of her exploration, the locus of perception,
of identity, of memory. The bodies in this work merge with the
landscape, they touch each other but also speak independently
to their own emotional expression. The images reflect a dream:
shadows of people who were there but are no longer. Iverson’s
public projects, Cross/Walks: Weaving Fabric Row and View
from the Balcony along with her education initiative Neighborhood
Narratives, employ the neighborhood as social practice to
explore questions about place, embodiment, and social engagement
inside of mobile and alternative forms of distribution. She
is currently Visiting Scholar at the Institute for Women & Art,
Rutgers University and Senior Fellow at the Center for Creative
Chris Manzione is a sculptor who works with both physical
and virtual shapes and structures. For him, the body is a shell,
a husk that is shed to reveal the echo of its spatial properties,
invisibly changing over time. He perceives bodies as silhouettes,
and uses touch and the tactile aspect of form to seek
intimacy and closeness. In 2010 Chris initiated the Virtual Public
Art Project (VPAP), a platform for the public display of digital
works of art, maximizing public reception of augmented reality
art through smartphones.
9. NASCI Å PINHOLE-TORN EXTERIORS
REALITY // HOLLY SENTER
Location: Intersection of Bedford Ave., Lorimer St. and
The conception of Nasci å Pinhole was my attempt to reconcile
what I saw as a senseless human intervention in the 2010 Prospect
Park goose slaughter. 450 birds were systematically exterminated
in the middle of the night to ensure the apparent safety
of airline travelers. However, the birds that were killed were
non-migratory and not a threat to airline traffic. In response to
this perceived over-kill, I created a void, devoid of all color and
history. Both my own ghosts and the ethereal nature of nature
then reformed in my studio space, albeit upside-down.
With use of small holes and slits I turned my space into an
ultra-reflective pinhole camera that reflects the augmented
landscape of Pratt Institute’s campus. I filmed the daily
pinhole eclipse of the sun and the fleeting happenstance
reflected in front of it onto the floor and wall, digitally. This
new, seemingly living form, exists without the specific
time and place of its creation. Yet, the digitized video is
both the result of and a reflection of a specific time and
place. For Décollage: Torn Exteriors, this digital video was
filtered again into an animated .gif to be viewed through
Layar. Augmented reality, via Layar, further displaces the
orb by allowing it to be seen out-of-doors, as a reflection of
outdoors in indoor space. In reality it should cease to exist
in the light of day, yet it jumps along in your palm on your
Smartphone, captured. Nasci å Pinhole, literally translates,
to be born a pinhole. Nasci is the root of both the word
nature and nation. It references both the unformed nature
of regret and memory with a physical searching for time
and place. It is formed yet unformed; it exists within, but
only as a reflection.
Holly Senter has a BFA from Ontario College of Art &
Design (OCAD) and is about to receive her MFA from Pratt
Institute. Her works include installations and performances
based on fleeting happenings and their subsequent exploitation.
She currently lives in Bushwick, Brooklyn.
DOWNLOAD THE LAYAR APP
Décollage: Torn Exteriors projects can be viewed inthe-
round on iPhone 3GS and Android phones using
the Torn Exteriors layer in the free application Layar.
1. Download Layar for IPhone 3GS or Android
2. After having the Layar app installed on
your phone, the Torn Exteriors layer can be
accessed via Layar’s built in layer directory
(Search for “Torn Exteriors” layer).
3. Once Torn Exteriors layer is running and you
are physically in the vicinity of one of the
Torn Exteriors projects, you can switch
to ‘Map view’, which will direct you to the
precise location of the project.
4. Once you have arrived within viewing
distance of one of Torn Exteriors projects,
switch to “Reality View”, you can now walk
up to and around the virtual object, using
the iPhone 3GS or Android phone to vie
DOWNLOAD THE JUNAIO APP
For Décollage: Torn Exteriors, Patricia Adler’s Unmasked
Heroes can be viewed in the
Ventana244 gallery following instructions posted