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Work Samples

silberg_Construction3.jpg

Medium: Collage of algorithmically generated photographs on a Delta 1 gray card (8x10)

Scanning the Artwork, Palimpsest (2012)

Here, Erika Stearly's painting is being scanned and revealed on an iPhone at the Palimpsest Exhibition (2012)

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About Steven H

Baltimore County

Steven H Silberg's picture
Steven H Silberg is an image-influenced, material-based, process-oriented, cross-media artist with influences ranging from photography to book conservation. Working in image, video, and interactive installation, he engages each medium as a literalist. His curatorial work employs crowdsourced actions and collaborative practices.  In the most recent example, "In Care of The White House," (http://incareofthewhitehouse.org) artists were invited to participate by sending artwork and a... more

The Generative Darkroom

In a darkroom, an iPhone connected to a laptop over WiFi is placed into an enlarger. A patch written in Max/MSP selects pixels on the iPhone to be illuminated for a specified duration. This is captured on black and white photo paper. The selection of pixels is algorithmic making each image unique.

Curatorial Projects

Included here:
Palimpsest (October-November 2012)
A Washington Project for the Arts Coup d'Espace project
Manipulated & Curated by Steven H Silberg and Neil C Jones.
Participating artists: Jesse Morgan Barnett, Scott Blake, Patterson Clark, Jarrett Davis, Samantha DiRosa, Gary Duehr, Mark Geil, Julee Holcomb, Ryan Hoover, Miyakawa, Michele Montalbano, Matteo Pasin, Jessica Rowshandel, Sarah Sachs, Ali Seley, s/n coalition, Eric Souther, and Erika Stearly.

Hughes Remix (March 2014)
Including over 175 artist submissions
online at hughes-remix.tumblr.com

Sole Connection (December 2006 - Present)
including over 250 stories and image submissions.
online at soleconnection.tumblr.com

  • Image and story received for Sole Connection

    22 February 2006<br> <b>Theresa</b><br> <i>"I chose these shoes because they were on my feet for the entire 14 month tour I did for Operation Iraqi Freedom II. I just was able to take them off a few weeks ago and wear some real shoes. But, now that my feet are adjusted to wearing boots, heels are tough to get used to!! I was mobilized on 7 Dec 03 and returned home and discharged from active duty on 6 Feb 05.
  • Sole Connection: A Mile in Another’s Shoes

    Sole Connection: A Mile in Another’s Shoes (2006 - Present) Online at <a href="http://soleconnection.tumblr.com" target="_blank">soleconnection.tumblr.com</a>. <br />&nbsp;<br /> “You won’t know a man until you’ve walked a mile in his shoes.” We spend so much of our time not paying attention to each other.
  • Artworks

    Scott Blake's "QR Amy Goodman", Miyakawa's "Karmic Layers" (middle), Jessica Rowshandel's "Dear Babies, Please Forgive Me" (right, cut off)
  • Exhibition view

    Artwork by Ryan Hoover, Patterson Clark, Michelle Montalbano, Erika Stearly, Jarrett Davis, and Jesse Morgan Barnett.
  • Scanning the Scanning

    Hasan Pitts of s/n Coalition scanning Ali Seley's phone after scanning s/n Coalition's "Beijing Remix"
  • Scanning the Artwork, Palimpsest (2012)

    Here, Erika Stearly's painting is being scanned and revealed on an iPhone at the Palimpsest Exhibition (2012)
  • Palimpsest Exhibition Catalog

    The catalog reinforces the separation of the artwork's content from its substrate through the presentation of the work as it appeared in the exhibition.

    PDF icon Palimpsest Exhibition Catalog
  • Palimpsest (12 October - 29 November 2012)

    A Washington Project for the Arts Coup d'Espace project Manipulated & Curated by Steven H Silberg and Neil C Jones. Participating artists: Jesse Morgan Barnett, Scott Blake, Patterson Clark, Jarrett Davis, Samantha DiRosa, Gary Duehr, Mark Geil, Julee Holcomb, Ryan Hoover, Miyakawa, Michele Montalbano, Matteo Pasin, Jessica Rowshandel, Sarah Sachs, Ali Seley, s/n coalition, Eric Souther, and Erika Stearly. From the Press release: "As digital texts—documents, photographs, video—become ubiquitous, we adapt to new ways of reading, adjusting to the layers of information these digi
  • Hughes Remix

    [ curatorial team: Steven H Silberg, Chris Peregoy, Tom Beck ] <br/> The re-presentation of archival images in part or as a whole has become a standard in contemporary photographic practice.
  • &quot;Construction: 1922 / 2011&quot;

    created with images from the Hughes Collection, University of Maryland, Baltimore County. (my submission to the Hughes-Remix project)

Mirror Minus

“Mirror Minus” is an interactive installation that continues within my experimental process of Reductive Video. The body of work entitled “Reductive Video” borrows the choice to depict changes in movement (either as individual frames or wholly contained in a single image) and applies it to the technical rendering of images. Using custom software written in Max/MSP/Jitter, video is broken down to reveal only the pixels that change from frame to frame, no longer implying form, but instead the shape of what has changed from the previous frame.

  • Mirror Minus (infinity variation)

    During the pop-up installation at BRINK creative digital agency in Washington DC (10/22/15-12/7/15), two instances of Mirror minus were installed on opposing walls, allowing the viewer to engage in the space between the projections. This is documentation of one moment as seen by (and projected upon) the two screens.
  • “enjoying a little mother/daughter time at the @a2artcenter.”

    documentation photo from the installation of this work at the Ann Arbor Art Center, Summer 2015. (via Kimberly Murphy—instragram:_kimmis_)
  • Yoga in the Gallery

    During installation of “Mirror Minus” at Rosewood Art Center (Kettering, OH), yoga sessions where held in the gallery. Rather than coming as deliberate viewers of the artwork, these participants began to explore the abstract documentation of their movement in relation to their yoga practice. The image on the right of the composite is a screen capture of the projection that appears in the image on the left) Rosewood Art Center, Kettering, OH, 05-02-2014
  • Mirror Minus

    The first documentation from the inaugural installation of this yet untitled interactive artwork, which works on the same principle as my Reductive Video works. Installed at Howard County Arts Center, Ellicott City, Maryland. January 2014-February 2014. Using a webcam, the space is analyzed for changes and those changes are projected back into the space.
  • captured documentation

    Photograph of the projection created by Mirror Minus while I was documenting the installation.

For Love

"For Love" represents the reduction of a video into a single print. Similar to the work "After Muybridge, After Marey", the changes in motion and movement are layered to create impressions of these on-screen activities.

The source material is appropriated from online amateur pornographic video-sharing websites.

  • For Love 051

    10.2" x 13.6" (the dimensions of a 17" computer monitor) printed on uncoated Rives BFK. Hand torn edges. Mounted to "float" against the wall.
  • For Love 020

    10.2" x 13.6" (the dimensions of a 17" computer monitor) printed on uncoated Rives BFK. Hand torn edges. Mounted to "float" against the wall.
  • For Love 071

    10.2" x 13.6" (the dimensions of a 17" computer monitor) printed on uncoated Rives BFK. Hand torn edges. Mounted to "float" against the wall.
  • For Love 089-b

    10.2" x 13.6" (the dimensions of a 17" computer monitor) printed on uncoated Rives BFK. Hand torn edges. Mounted to "float" against the wall. This image was selected by Maryland Art Place for their IMPRINT program in 2014. ( more info at <a href="http://mdartplace.org/opportunities/imprint" target="_blank">http://mdartplace.org/opportunities/imprint</a> )
  • For Love 129

    10.2" x 13.6" (the dimensions of a 17" computer monitor) printed on uncoated Rives BFK. Hand torn edges. Mounted to "float" against the wall.
  • For Love 003

    10.2" x 13.6" (the dimensions of a 17" computer monitor) printed on uncoated Rives BFK. Hand torn edges. Mounted to "float" against the wall.
  • For Love 041

    10.2" x 13.6" (the dimensions of a 17" computer monitor) printed on uncoated Rives BFK. Hand torn edges. Mounted to "float" against the wall.
  • For Love 015

    10.2" x 13.6" (the dimensions of a 17" computer monitor) printed on uncoated Rives BFK. Hand torn edges. Mounted to "float" against the wall.
  • For Love 084

    10.2" x 13.6" (the dimensions of a 17" computer monitor) printed on uncoated Rives BFK. Hand torn edges. Mounted to "float" against the wall.
  • For Love (installed)

    15 images (each 10.2" x 13.6" - the dimensions of a 17" computer monitor) printed on uncoated Rives BFK. Hand torn edges. Mounted to "float" against the wall.

Reductive Video: "After Muybridge, After Marey" & "Location Studies"

These experiments in "Reductive Video" are an homage to the work of Eadweard Muybridge, Etienne-Jules Marey, and Thomas Eakins, bringing their ideas into the 21st century by highlighting the changes in motion and movement as experienced and recorded by technology. Video is captured and processed, comparing one frame of video against the next. Only those pixels that differ from the previous frame are then displayed. These changes are then also compiled into a single print. By presenting video and print side-by-side, viewers are able to both isolate motion and experience the whole event in an instant.

  • Reductive Video Location Study: Mount Royal Lightrail Station

    "Experiments in Reductive Video" moves the work of Eadweard Muybridge, Etienne-Jules Marey, and Thomas Eakins into the 21st century, highlighting the changes in motion and movement as experienced and recorded by technology. Video of a person, place, or action is captured and processed, comparing one frame of video against the next. Only those pixels that differ from the previous frame are then displayed. These changes are then compiled into a single print. By presenting video and print side-by-side, viewers are able to both isolate motion and experience the whole event in an instant.
  • Reductive Video Location Studies: Cape Neddick, Maine

    "Experiments in Reductive Video" moves the work of Eadweard Muybridge, Etienne-Jules Marey, and Thomas Eakins into the 21st century, highlighting the changes in motion and movement as experienced and recorded by technology. Video of a person, place, or action is captured and processed, comparing one frame of video against the next. Only those pixels that differ from the previous frame are then displayed. These changes are then compiled into a single print. By presenting video and print side-by-side, viewers are able to both isolate motion and experience the whole event in an instant.
  • After Muybridge, After Marey: Male Juggler - Anterior View, 2010

    Print. presented with partner video. dimensions variable (ranging from 16" x 9" to 32" x 18") printed on uncoated Rives BFK. Hand torn edges. Mounted to "float" against the wall.
  • After Muybridge, After Marey: Male Juggler - Anterior View, 2010

    partner video for print: "Male Juggler - Anterior View, 2010"
  • After Muybridge, After Marey: Female Cyclist - Left Lateral View, 2009

    Print. presented with partner video. dimensions variable (ranging from 16" x 9" to 32" x 18") printed on uncoated Rives BFK. Hand torn edges. Mounted to "float" against the wall.
  • After Muybridge, After Marey: Female Cyclist - Left Lateral View, 2009

    partner video for print: "Female Cyclist - Left Lateral View, 2009"
  • After Muybridge, After Marey - installed

    small installation of After Muybridge, After Marey - 4 images flanking the 4 partner videos (played in sequence on one screen)
  • After Muybridge, After Marey - overview

    An overview of the reductive video process as used in "After Muybridge, After Marey"

Lumen Prints

For the past few years, I have been exploring the Lumen print process - long exposure on photographic paper without development.

Some items are fixed (which changes the color of the image but offers permanence).

Some items are photographs of the lumen prints for inkjet printing. Those originals are sealed away in light tight boxes.

  • Mr. Chillato

    Lumen print on RC paper from digital paper negative.<br /> Fixed for permanence.
  • Banana peel on 2 overcast days

    7/10/13-7/11/13<br /> Lumen print of a banana peel exposed across 2 overcast days with overnight rain (6pm-9am)<br /> Kodabromide <br /> single weight <br /> E2<br /> Unfixed
  • Cilantro on Coriander

    5/17/13<br /> Lumen Print of Cilantro leaves over inkjet image of coriander seeds.<br /> Ilford <br /> Warm Tone <br /> Fiber<br /> Glossy<br /> Unfixed
  • Grape Leaves on Grapes

    5/30/13<br /> Lumen Print of Grape leaves over inkjet image of grapes.<br /> Agfa <br /> Portriga-Rapid PRK 118 <br /> Fine-Grained Matt<br /> Unfixed
  • Autumn 10/15/2013

    12 hour exposure on<br /> Agfa <br /> MultiContrast Premium MCP310RC <br /> Glossy<br /> Unfixed<br />
  • Twenty-four Hours of Autumn Shade

    10/15/2013 - 10/16/2013<br /> Exposed by leaving in an area that in shaded during the entire day from 9:10pm to 9:10pm<br /> Forte<br /> PolyWarmtone Art<br /> Ivory Base<br /> Unfixed<br /> [Produced as part of my collaboration for The Light Ekphrastic (Nov. 2013): <a href="http://thelightekphrastic.com/issues/november-2013-issue-16/porter-silberg-nov-13/" target="_blank">http://thelightekphrastic.com/issues/november-2013-issue-16/porter-silberg-nov-13/</a> ]

Pixel-Lapse (photobooth)

"Pixel-lapse" photography is the process of creating an image one pixel at a time. Beginning in the upper left corner, pixels are captured sequentially at a set rate until the entire image is formed.

"Pixel-lapse" combines the temporal nature of long exposure photography and the precise organization of the digital matrix. By creating an image one pixel at a time, each part of the image shows different captured moments. In the end, each image not only has dimension but also gains duration and velocity. When the image is complete, we are left with the experience of the passing of time, abstracted by the inability to view the sum total of the event or experience.

The pixel-lapse project has three current iterations: (1) images created by the artist (including portraits), (2) a full sized interactive photo booth installation, and (3) a downloadable home version of the photo booth.

Please visit http://www.pixel-lapse.com to download the software (PC and Mac) and view the various shared galleries.

Pixel-Lapse

"Pixel-lapse" photography is the process of creating an image one pixel at a time. Beginning in the upper left corner, pixels are captured sequentially at a set rate until the entire image is formed.

"Pixel-lapse" combines the temporal nature of long exposure photography and the precise organization of the digital matrix. By creating an image one pixel at a time, each part of the image shows different captured moments. In the end, each image not only has dimension but also gains duration and velocity. When the image is complete, we are left with the experience of the passing of time, abstracted by the inability to view the sum total of the event or experience.

The pixel-lapse project has three current iterations: (1) images created by the artist (including portraits), (2) a full sized interactive photo booth installation, and (3) a downloadable home version of the photo booth.

Please visit http://www.pixel-lapse.com to download the software (PC and Mac) and view the various shared galleries.

Internet Meme Flip Books

The ?Internet Meme Flip Books? aim to place popular internet memes in the hands of viewers. This project explores the history of the moving image contrasted with the ubiquity of internet material.

Each flip book is printed on Fabriano Artistico using Dr. Mike Ware's "New Cyanotype" mixed in the 1:1 ratio. Each book is side sewn and the spine wrapped with paper.

  • Internet Meme, Volume 4: Badgers

    Colophon:<br> INTERNET MEME, VOLUME 4 is printed in an edition of 10 copies & 2 Artist Proofs by Steven H Silberg.<br />&nbsp;<br /> Images are sequenced from the video, "Badgers" as found on weebls-stuff.com, at 12 fps and printed on Fabriano Artistico Extra White, 140lb. Hot Press using Dr. Mike Ware's "New Cyanotype" diluted 1:1. The typeface is Trinigan FG designed by Andreas Höfeld (Fontgrube)
  • Internet Meme, Volume 4: Badgers

    Colophon:<br> INTERNET MEME, VOLUME 4 is printed in an edition of 10 copies & 2 Artist Proofs by Steven H Silberg. <br />&nbsp;<br /> Images are sequenced from the video, "Badgers" as found on weebls-stuff.com, at 12 fps and printed on Fabriano Artistico Extra White, 140lb. Hot Press using Dr. Mike Ware's "New Cyanotype" diluted 1:1. The typeface is Trinigan FG designed by Andreas Höfeld (Fontgrube)
  • Internet Meme, Volume I: Baby Cha Cha

    Colophon:<br /> INTERNET MEME, VOLUME 2 is printed in an edition of 10 copies & 2 Artist Proofs by Steven H Silberg. <br />&nbsp;<br /> Images are sequenced from the video, "Baby Cha Cha" as found on YouTube, at 12 fps and printed on Fabriano Artistico Extra White, 140lb. Hot Press using Dr. Mike Ware's "New Cyanotype" diluted 1:1. The typeface is Trinigan FG designed by Andreas Höfeld (Fontgrube)
  • Internet Meme, Volume 2: Baby Cha Cha

    Colophon:<br /> INTERNET MEME, VOLUME 2 is printed in an edition of 10 copies & 2 Artist Proofs by Steven H Silberg.<br />&nbsp;<br /> Images are sequenced from the video, "Baby Cha Cha" as found on YouTube, at 12 fps and printed on Fabriano Artistico Extra White, 140lb. Hot Press using Dr. Mike Ware's "New Cyanotype" diluted 1:1. The typeface is Trinigan FG designed by Andreas Höfeld (Fontgrube)
  • Internet Meme, Volume I: Dramatic Chipmunk

    Colophon:<br /> INTERNET MEME, VOLUME 1 is printed in an edition of 3 copies by Steven H Silberg. <br />&nbsp;<br /> Images are sequenced from the video, "Dramatic Chipmunk", at 12 fps and printed on Fabriano Artistico Extra White, 140lb. Hot Press using Dr. Mike Ware's "New Cyanotype" diluted 1:1. The typeface is Trinigan FG designed by Andreas Höfeld (Fontgrube)
  • Internet Meme, Volume 1: Dramatic Chipmunk

    Colophon:<br /> INTERNET MEME, VOLUME 1 is printed in an edition of 3 copies by Steven H Silberg.<br />&nbsp;<br /> Images are sequenced from the video, "Dramatic Chipmunk", at 12 fps and printed on Fabriano Artistico Extra White, 140lb. Hot Press using Dr. Mike Ware's "New Cyanotype" diluted 1:1. The typeface is Trinigan FG designed by Andreas Höfeld (Fontgrube)

Pipeline (2004), Now Playing (2007)

Selections from earlier works.

  • Now Playing: 'Lord of the Rings: Fellowship of the Ring'

    Lord of the Rings: Fellowship of the Ring (2001)<br> Peter Jackson<br> 777 x 331
  • Now Playing: 'Fear and Loathing in Las Vegas'

    Fear and Loathing in Las Vegas (1998)<br> Terry Gilliam<br> 634 X 270
  • Now Playing: 'TRON'

    TRON (1982)<br> Steven Lisberger<br> 571 x 243
  • Now Playing: 'Star Wars: A New Hope'

    Star Wars: A New Hope (1977)<br> George Lucas<br> 641 x 273
  • Now Playing: '2001: A Space Odyssey'

    2001: A Space Odyssey (1968)<br /> Stanley Kubrick<br /> 709 x 302<br /><hr /><br /> Long before the cave at Lascaux, humans attempted to record complex ideas and events through writing and drawing. Language developed as a means to abstractly represent actions and emotions, writing as a means to visually describe that spoken language. Words on the page have become shorthand for memories of experience.<br />&nbsp;<br /> Music uses the same model, transcribing symbols to a page to represent tempo, duration, and pitch.
  • Autumnal-detail

    Cedar, Vine, Oil Paint 75" x 90" x 12" 2012
  • Pipeline: Receiver / Interaction

    Users / Viewers interact with the receiver (microphone) to alter the original image [Beijing, 2006]
  • Pipeline: Recorded Image

    Image recorded from the installation at the Decker Gallery, MICA, Baltimore, MD (Spring 2004)
  • video overview of &quot;pipeline&quot;(interactive installation)

    <b>Project Statement</b><br /> Within the artistic realm, there is the potential for manipulation, damage, decay, or loss to be exhibited as a creative process. This creation/damage itself occurs both because of, and in spite of, human interaction. The resulting artwork emerges from the collaboration between the disruptor of data and the reorganizer/interpreter of information.<br />&nbsp;<br /> By reassessing the relationship between the disruptor and the organizer, degradation can be considered a constructive process.
  • Pipeline: Recorded Image

    Image recorded from the installation at Missouri State University (Fall 2007)

Steven H's Curated Collection

This artist has not yet created a curated collection.