1279:"bitforms gallery on Instagram: "TOMORROW: Siebren Versteeg will host a closing reception of his show, "Up The Ghost". RSVP encouraged but not required at the #LinkInBio. "Love Live x Five" demonstrates Siebren Versteeg's playful approach to his investigations of materiality. The title's sing-song cadence fosters an intimacy that is heightened by Versteeg's relationship to the work's subject. A live webcam feed broadcasts the conservation of a Robert Indiana "LOVE" sculpture from a family-run art fabrication studio, which Versteeg and his sister inherited from their recently deceased father, Peter. Versteeg references "LOVE" as an early influence on his creative aspirations. The sculpture's conservation poses a unique opportunity for the expression of Versteeg's newly-led dual life as both an artist and an attendant to his familial legacy. Siebren Versteeg @nihil_diamond "Love Live x Five", 2022 Custom software (color, silent), live webcam feed, subdomain Dimensions variable Web view of "Love Live x Five" (2022) on June 10, 2022. Installation view with Siebren Versteeg, "The Location of the Image", 2022. Installation view of "Up The Ghost" including "Love Live x Five" in the top left of the image. @nihil_diamond #siebrenversteeg #lovelivexfive #robertindiana #robertindianalove""
2111:"bitforms gallery on Instagram: "SATURDAY: Siebren Versteeg will be in the gallery to talk about his show "Up The Ghost". RSVP encouraged but not required at the #LinkInBio. Siebren Versteeg memorializes "Possibly Living People" in a work of the same name and sourced from the Knowledge page "Possibly Living People", a catalog of 5,945 names of once-noteworthy figures whose death records, or place of death, remains ambiguous between 1905-Present. Evoking the intro credit sequence to "Enter The Void" (2009), transient, animated flickers of names are nested in generative colors, shapes, and typefaces. Each name of a possibly living person appears on a devotedly full-screen scale, reflecting the fullness, achievements, and complexity of the work's title characters. Siebren Versteeg @nihil_diamond "Possibly Living People", 2019 Custom software (color, silent) Dimensions variable Edition of 3, 1 AP #siebrenversteeg #possiblylivingpeople #mediaart #generativeart #enterthevoid #contemporaryart""
843:. Playing on the technological idiom “to give up the ghost”, which refers to the moment a machine stops working. Artworks in the show “contend with apprehension and loss", a personal and cultural reference inspired by the death of the artist's father "as well as with the recent public engagements regarding digital ephemera and commodification”. Multiple algorithmically painted works in the show demonstrated how Versteeg's practice engages with painting through ultra-high-resolution images that develop slowly over time, in complex detail, rather than quickly rendering comparably less-resolved pictures. In the press text, Versteeg said the painted artworks are “generated at a level of detail that surpasses the limitations of display technology as it currently stands”.
586:(2008) continuously generates a digital collage painting. The work indiscriminately sources its digital material by searching Google Images for randomly generated phrases; then, a program executes brushstrokes on top of the collaged images. The work is rendered at a high resolution: 10242 x 10242 pixels. Just as contemporary histories of painting obsess about the materiality of painted surfaces, Versteeg maintains a similarly exacting attention to the resolution of his artwork’s digital materials. Furthermore, the work is intended to be installed on a touchscreen display, so that the artwork may be precisely examined by Versteeg’s audiences.
714:(1958-66).” An active program running on a computer in the gallery reveals a real brush leans against a monitor as an image moves past a window on the touchscreen beneath it. “The brush is motionless, but the digital canvas is supple, and the weight and direction of the marks shift as the pressure on the brush is changing. The floating image becomes a surrogate for the artist’s hand”. Likening Versteeg’s software to "Painting’s
550:(2007) is “a photographic triptych of a F-117 Nighthawk stealth bomber patrolling above a sea of three hundred thousand images drawn randomly from the Internet”. The work suggests that the “daily flood of visual data, no matter how randomly generated,” is nonetheless considered by some visitors as an absolute, militant truth. Indeed, works curated into
510:. Critic James Yood reviewed the show in ArtForum’s March 2008 issue writing that its title insinuates that, “despite the heady promise of a 24/7 global community, the Internet, a proliferating labyrinth always turning in on itself, may isolate as much as it liberates.” Included in the show was Versteeg's 2008 installation
821:(2019) to the exhibition, which shows a self-portrait of the artist reading a newspaper in front of a dumpster tagged with the artist’s stenciled name. The newspaper’s image updates with the latest edition after 24 hours, and as its news content stales, flies appear within the tableau with increasing frequency.
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is… a return to earlier work from 2004, Versteeg updates it with a current stream of CNN Live, interspersed with him seated in a waiting room staring dully at the screen, which sometimes reflects him. Occasionally black screens with the date and time appear, an homage to On Kawara”. After the murder
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from 1958 in which
Cornell “collected and arranged solar statistics, spherical objects, and images of the sun, among other elements, to create an idiosyncratic universe in miniature”. The show received overwhelmingly positive reviews, many of which noted Versteeg’s artworks as exhibition highlights.
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feature, and images that most closely match the composition are then downloaded and displayed." Versteeg notoriously commented on the exhibit saying, “As the nature of the images presented by the work is random, the artist assumes both all and no responsibility for their presence and content”. The
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Versteeg physically realizes his algorithmically-generated paintings by printing the digital compositions on canvas. Despite coding fluid paint trails into the compositions and occasionally sealing the canvases, even the artist's physical objects contain indicators of their digital origins: the
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The anthology’s critical analysis notes that the work prompts “questions of authenticity and fidelity also to painting itself: it is an uncanny, disembodied replica of the painting process, densely layered with carefully rendered brushstrokes such that it becomes impossible to locate where the
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as an image of a list of names on a standard gallery wall, foregrounded by a figure looking up at the names. The image is staged in a style that recalls pdf offer packages for contemporary artworks. In each iteration, Versteeg's work memorializes names from the
Knowledge Category Page titled
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report that upon arriving in the gallery, before the museum opens to the public, that “the screen has already been partially painted over”. A reviewer of the installation stressed the importance of understanding
Versteeg’s art on a holistic level, observing that visitors “know they’ve seen a
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By 2010, Versteeg joined Regina Rex, an artist-run gallery and studio space that was founded in
Brooklyn, New York’s Bushwick neighborhood under the name Queens County, Kings County. By 2016, the space had moved to New York City’s Lower East Side neighborhood and was known as Regina Rex. The
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It is no surprise during this fraught political climate that
Versteeg has chosen to resurrect and rework this piece, which so firmly places the viewer in this excruciating moment, minute by minute. It is also telling that our belief in common truths, of maybe any belief system at all, is so
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The artist is known to re-articulate familiar presentation formats and information systems popularized online, “ultimately jamming their promise of stability and ubiquity”. Drawing attention to the variety of opinions, sources, conversations, and enterprises that contribute to the internet’s
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a monumental, thirty-four-foot-long mural with "a cell-phone-sized LCD screen bearing the
Napster logo" installed in the center of the work that reads: "OWN NOTHING, HAVE EVERYTHING". Versteeg extends the logo's radiating black-and-white arcs "from their minuscule source onto the wall in a
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Between 1999 and 2003, Versteeg showed works through video screenings at artist-run spaces, online and at theatrical venues. During this period, Versteeg participated in www.WhitneyBiennial.Com, an online exhibit that made a guerilla art-style presentation on the back doors of 23
959:, Versteeg has described his recent practice as an investigation into the "voracious appetite for inclusion and affirmation that life online exposes" which "can be seen as analogous to the need for object or artifact that we all too often understand as a prerequisite of art".
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Net Art
Anthology, Versteeg said that “the (digital pursuit of the) paint stroke, for me, becomes indicative of an impossible quest to encode the infinite. It’s become a self-imposed methodology to try and think about the world in a phenomenological way”.
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logo reading Satan Inside”. Versteeg also created a site-specific installation composed of snapshots scraped from the photo-sharing website Flickr and neatly organized into a grid. From afar, the installation was likened to a crazy-quilt in its appearance.
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as a collection of “images generated by algorithms or software in various possible forms and applications” where “the complexity of the ideas being executed in each work becomes evident” the longer the viewer observes and considers each work. Exhibited in
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for example, is composed of multiple parts: a waving fake flame sits between a projected light and scrim atop a crate while a video camera trained on the scrim captures its bouncing silhouette. “The choice to display the crate as part of the work takes
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distinction between this bot-made painting and an authentic work of art might lie, if anywhere at all”. The anthology’s curators note that in “reducing front-page news to purely aesthetic information and offering painterly gestures in response, the
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Versteeg’s debut solo presentation at Rhona
Hoffman Gallery in 2005, one journalist noted that condensation droplets flowing down the scrolling graphics in the work seem to be placed “as if to add luster to this intramural media affair”.
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Versteeg’s second show at Rhona
Hoffman Gallery. The work allowed visitors to listen to Peter Versteeg’s “MP3 collection of popular African music by navigating a PC program that also allowed users to illegally burn CDs of the recorded files".
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by depicting an endless stream of marching, crowdsourced images of protestors. Versteeg and his collaborators vowed to post edited images “into a moving collage of hundreds of other submissions” within 48 hours. The artwork was curated into
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87:(born August 5, 1971) is an American artist known for his painting and video works created through digital processes. His multivalent practice responds to the technology of our time and the way we consume and deploy those technologies.
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using the prompt “Satan” and to recreate the image results as drawings. The digitally-drawn pictures were exhibited as inkjet prints that had “a delicacy and sootiness that recall etchings”. In their review of the show, Rachel Wolff,
778:’ daily print edition. After downloading the current front page, Versteeg’s “software begins to render a painterly abstraction on top of the scan, stroke by stroke, continuously developing until the next days’ edition is ready".
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Versteeg gained representation by Rhona
Hoffman Gallery by 2005, and with Max Protetch Gallery in 2007. He continued to exhibit work in group shows and several museums exhibited Versteeg's work in solo and group settings.
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digitally manipulated piece of news, and yet the most interesting part about that experience is that they have no idea what the world decided to care about that day, but at least they got to see a pretty piece of art”.
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sprawling information landscape, Versteeg’s work often intervenes between mass media and its end consumer For example, the artist has been known to use recognizable brand identifiers from major companies, such as
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frequently collaborating with Versteeg’s code. Throughout his career, Versteeg has playfully interacted with constructed identities and painterly abstraction through the use of code. Versteeg prefers to code in
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Pearce, Elizabeth. “Review: Abstraction and Reality in Seibren Versteeg's 'like II' at Umma.” Review: Abstraction and Reality in Seibren Versteeg's 'Like II' at UMMA. Ann Arbor District Library, May 16, 2016.
828:, was produced in partnership with Arsnl.Art. This year long artistic experiment challenges collectors to curate the collection itself: generative artworks based on what's currently trending in our society.
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tore at the heart of our mythologies,” Michelle Heinz wrote before describing how Versteeg’s digital materiality and methods transverse the phenomenological space between the gallery and the outside world.
402:, the exhibition’s curator, explained how Versteeg appropriates meaning from traditional formats and images to give “them new meanings that resonate in today’s world”. Curated into the exhibit, Versteeg’s
912:. Aligning with Versteeg's malleable practice, his work was said to have varied from its instructions: sometimes yielding "images that barely look like those of LeWitt and others that are very accurate".
309:, an important solo exhibition in Versteeg’s early career that reaffirmed the artist’s presentation at the Museum of Contemporary Art Chicago. In 2020, on the occasion of Versteeg’s email-exhibition
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at bitforms gallery in 2022 praised the artist’s uncanny use of projection mapping as confounding the materiality of the artist’s digitally printed canvases. By problematizing the painted canvas in
131:. In one series of the artist’s algorithmically-generated artworks, Versteeg instructs his code to paint over the day’s front page of a credible newspaper using brushstrokes programmed to mimic an
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summarizes important booms in U.S. history, Versteeg continues this practice by programming a code to display a series of Google Images to document the internet boom and the information boom.
928:. The artist previously explained that his interest in painting derives from its long-standing position among art academics as a litmus test for value, quality, and importance. Included in
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of Versteeg in his studio displayed on two adjoining LCD screens while a swarm of pixels migrate between each screen, never fully realizing a complete portrait of the artist. In reviews of
209:(2022) Comprising the work are five computer windows stacked in the form a cross, each depicting the same livestream of Versteeg Art Fabricator’s studio as they worked to restore Indiana’s
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Siebren Versteeg: Artists: USF Graphicstudio: Institute for Research in Art.” Siebren Versteeg | Artists | USF Graphicstudio | Institute for Research in Art. Accessed January 21, 2023.
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out of the context of the white cube,” Heinz argued in her review of the show. Versteeg has indicated that the work demonstrates how layers of mediation impact visual understanding.
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as “chaotic but illuminating”, the magazine declared Versteeg the idol of “every Harry Potter-loving/Hackers-watching/anti-capitalist computer geek”. Versteeg's work often relies on
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collective was made up of 10 organizing artists who shared a desire to “carve out a context that is not beholden to the social and commercial pressures of the greater art world”.
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Gala. The presentation intended to “expose multiple, sometimes conflicting currents, as well as extraordinary works that fall outside of any conventional aesthetic definition”.
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said Versteeg’s work takes “the piss out of the art world’s ever-renewed obsession with pigment slapped onto canvas, and its tolerance for all the cliché that come with it”.
692:(2017). In each of these works “the act of making a painting is distilled into the immeasurable potential of algorithms as well as the decision of when to make them stop”.
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observed that “there has come to be a blurring of the boundaries between fact and cinematic fiction”. Versteeg’s work would be presented in a similar context in 2014 in
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205:(1970) sculpture the year before his son’s birth. A year after Peter’s death in 2021, Siebren Versteeg returned to the sculpture with an ephemeral artwork titled
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the artwork was noted as the ultimate crystallization of Versteeg’s subversive critique of the indeterminacy and uncertainty of contemporary media structures.
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in October 2022 that takes its name from the tendency of Instagram to suggest followers to its users upon following an account. Versteeg consigned
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McCulloh, Douglas, Nikolay Maslov, and Rita Sobreiro Souther. “Stephanie Syjuco, Jason Lazarus, and Siebren Versteeg - Art in the Plague Year.”
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concludes that building off of painting’s legacy with digital media is “an awkward pairing… but, just as likely, we’re not used to it”.
859:(2022) demonstrates how the artist works through multiple iterations of a single, complex idea to arrive at a resolute form. Versteeg realized
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bitforms gallery began representation of the artist in 2022, on the occasion of Versteeg’s second solo exhibition, mounted in 2022,
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290:(2003): a digital animation showing the artist in a waiting room; the current day and time; and, a television mounted to the wall.
262:’s trademark white ribbon billows across a red background plasma screen while a scrolling script registers headline news. Shown in
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in 1989 under the name “New Haven Art Fabricators". Siebren Versteeg and his sister Emily continue to operate the family business.
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Yood, James. “James Yood on Siebren Versteeg.” The online edition of Artforum International Magazine. ArtForum, March 1, 2008.
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Yood, James. “James Yood on Siebren Versteeg.” The online edition of Artforum International Magazine. ArtForum, March 1, 2008.
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themes around identity, and an abundance of information continued to build towards a 2007 show at Rhona Hoffman Gallery titled
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printed painting’s flatly-rendered surfaces recall a methodically machined pattern. An early review of Versteeg’s work in the
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examined a sampling of visual information in order to reveal the Internet’s new methods of disseminating information online.
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https://artdaily.cc/news/37676/The-RISD-Museum-of-Art-Presents-Siebren-Versteeg--In-Advance-of-Another-Thing#.Y8__5ezMLnh.
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Staff. “The RISD Museum of Art Presents Siebren Versteeg: In Advance of Another Thing.” ArtDaily. Jose Villarreal, 2010.
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search to find a matching image online. Every sixty seconds, the painting made by the computer is uploaded to Google’s
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mounted a solo show for Versteeg, the artist’s first solo exhibition at a major institution. Curated in the museum’s
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774:'s Net Art Anthology. The artist instructed his program to create an abstract painting on top of the front page of
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325:(2003) at the Ulrich Museum of Art. I went into the gallery every day and watched the run up to the re-election of
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Keller, Margaret. “Folds and Fields: An Interview with Angelina Gualdoni.” Temporary Art Review, June 15, 2016.
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Versteeg’s father built a career in fine art fabrication beginning in Los Angeles, where he cast sculptures for
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Helphenstein, Hilde Lynn. “Today's Paper (with Flies) | Mixed Media | Sotheby's.” Sotheby's. Sotheby's, 2022.
1958:"Digital Artist Siebren Versteeg is Debuting a Collection of Time-Based Generative NFTS That Critiques… NFTS"
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786:… to the inherent malleability of online information and its openness to multiple interpretations”.
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megalomaniacal explosion that ends only when the wall does". Yood’s review concludes that, “the promise of
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2006:"Algorithmic Painting in Physical Space: Vickie Vainionpää: Software & Siebren Versteeg: Up The Ghost"
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https://www.clotmag.com/oped/email-exhibit-yours-sincerely-siebren-versteeg-and-bitforms-by-charlotte-kent
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Kent, Charlotte. “'Email Exhibit! Yours Sincerely, Siebren Versteeg and Bitforms'.” CLOT Magazine, 2022.
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in its main gallery space, which received similarly positive reviews. “Siebren Versteeg’s recent show,
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In 2003, Chicago-based Rhona Hoffman Gallery offered Siebren Versteeg’s work at art fairs, including
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Kattan, Bana, and Scott Fitzgerald. “Invisible Threads:” The NYUAD Art Gallery, September 22, 2017.
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457:(2005) seemingly undermined the implied permanence of the show’s title. The artwork depicts a dual
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https://www.sothebys.com/en/buy/fine-art/_siebren-versteeg-todays-paper-with-flies-1ba3?locale=en.
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Snodgrass, Susan. 2006. “Siebren Versteeg at Rhona Hoffman and Polvo.” Art in America 94 (3): 160.
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prompted international protests, Versteeg collaborated with Stephanie Syjuco and Jason Lazarus on
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in multiple formats between 2019-2022, although he credits Dodd Galleries as the work's initial
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In 2007, Versteeg contributed to a group show at New York-based gallery Foxy Productions titled
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Versteeg was born in 1971 in New Haven, Connecticut to Louise and Peter Versteeg. He earned his
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School of Visual Arts, School of the Art Institute of Chicago, University of Illinois at Chicago
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https://www.nyuad-artgallery.org/en_US/our-exhibitions/main-gallery/invisible-threads-archive/
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Siebren Versteeg referenced his father in earlier artworks, too. In 2005, the artist created
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unpack our perception of time by appropriating pop culture. Three scenes are depicted in
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Young, Jullian. “Daily Times (Performer).” 21st Century Digital Art, February 27, 2018.
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406:(2007) creates a dialogue between the artist’s practice and earlier art history. Where
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1911:“Daily Times (Performer).” NET ART ANTHOLOGY: Daily Times (Performer). Rhizome, 2012.
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https://www.artintheplagueyear.com/Stephanie-Syjuco-Jason-Lazarus-and-Siebren-Versteeg
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Live news is as much a provisional memorial as anything else. Take, for instance, the
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In 2005, Rhona Hoffman Gallery first exhibited Versteeg’s work in a solo show titled
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https://temporaryartreview.com/folds-and-fields-an-interview-with-angelina-gualdoni/
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Wolff, Rachel. “The Devil inside the Internet.” Art Candy. Vulture, August 9, 2007.
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protesters earlier this summer; one of the most touching works of art I’ve seen."
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635:. The artist contributed an algorithmically painted injet on canvas work titled
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1199:"The RISD Museum of Art Presents Siebren Versteeg: In Advance of Another Thing"
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In 2007, Max Protetch Gallery mounted Versteeg’s first show in New York City,
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Rhona Hoffman Gallery included Versteeg’s art in the gallery’s retrospective
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In 2011, the gallery mounted their last solo presentation of Versteeg’s work
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Central to the show were three software programs that the artist developed:
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1171:"Louise Versteeg Obituary (1947 - 2019) - Milford, CT - New Haven Register"
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http://www.graphicstudio.usf.edu/gs/artists/versteeg_siebren/versteeg.html
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earned strong reviews for Versteeg’s algorithmically painted canvases. In
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https://www.artforum.com/print/reviews/200803/siebren-versteeg-41878.
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https://www.artforum.com/print/reviews/200803/siebren-versteeg-41878
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The gallery also showed Versteeg’s work in a 2014 group show titled
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1723:"Siebren Versteeg: LIKE II | University of Michigan Museum of Art"
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In 2010, the RISD Museum mounted a show of Versteeg’s work titled
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https://bitforms.art/pdfs/press/Touch_inMemoriam_Katie%20Geha.pdf
1861:"Siebren Versteeg Turns His Computer Into Painting's Terminator"
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at United Precision in the late 1970s, Versteeg’s father opened
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1775:"Review: At NADA Art Fair, Collecting for Pleasure, Not Status"
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A Continuous Slideshow of Images Returned from Searches for
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https://www.foxyproduction.com/exhibitions/209/images/34705
1430:"MCA - UBS 12 x 12: New Artists/New Work: Siebren Versteeg"
1227:"SAIC Alums Featured in Gallery Show Celebrating New Media"
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The Cinema Effect: Illusion, Reality and the Moving Image.
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Geha, Katie. 202. "Touch_In Memoriam." bitforms gallery.
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appeared in an important two-part 2008 exhibition titled
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1090:"The Race to Save Computer-Based Art | Conservation Lab"
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in the gallery’s satellite space. Featured in the show,
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could construct a participatory, fluid social identity.
2256:"Neither There nor There | Yale University Art Gallery"
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Suggested Followers: How the Algorithm is Always Right,
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as not-to-be missed for its "terrific video" artworks.
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Versteeg participated in his first group exhibition at
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thoroughly eroded in our current mediated environment.
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Versteeg's work is included in the collections of the
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https://www.vulture.com/2007/08/the_devil_inside.html
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http://www.digiart21.org/art/daily-times-performer-1
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https://anthology.rhizome.org/daily-times-performer.
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Grabner, Michelle, "Six Degrees: Siebren Versteeg,"
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Painting, Generative Art, Process Art, New Media Art
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744:PublicPublicAddress: A Nationwide Virtual Protest.
523:in general… seems to Versteeg to be unfulfilled.”
449:began to be deployed as a structure through which
613:Invisible Threads: Technology and its Discontents
250:An important work from this period is Versteeg’s
166:. Peter Versteeg went on to oversee projects for
557:The following year, Max Protetch Gallery showed
746:The work sited a virtual protest in support of
1359:"whitneybiennial.com - Announcements - e-flux"
1262:“About.” Versteeg Art Fabricators, LLC, 2018.
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611:artwork was also exhibited in a 2016 show of
374:Versteeg trained a drawing program to search
294:confronts the viewer with a large replica of
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2230:"Welcome to the Ulrich Museum's Collection"
1698:"For Siebren Versteeg, the Internet is art"
944:Furthermore, a recent review of Versteeg’s
770:an important artwork that was published in
2187:"Joe Grimm and Siebren Versteeg Underdonk"
329:. It was a devastating time in America...
321:“In 2004, I showed the live computer work
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243:trucks surrounding the museum during the
991:at the Warehouse in Miami, Florida; the
639:to the show. Other artists curated into
2035:"S i e b r e n V e r s t e e g . c o m"
1242:SAIC alum Siebren Versteeg's (BFA 1995)
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2212:"Boom (Fresher Acconci) - RISD Museum"
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1522:"'Days of Endless Time' Takes It Slow"
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1465:“Solar Set.” Foxy Production, 2007.
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637:_doorformsbitman_6000x6000_323 (2Ă—3)
596:University of Michigan Museum of Art
365:, a reference to a boxed artwork by
2317:Artists from New Haven, Connecticut
1833:Droitcour, Brian (April 21, 2017).
993:Museum of Contemporary Art, Chicago
766:In 2012, Versteeg created his work
598:held a temporary exhibition called
1649:from the original on April 1, 2023
1565:"Siebren Versteeg at Max Protetch"
1507:Gopnik, Blake. “Moving Pictures.”
1041:"Siebren Versteeg at Max Protetch"
920:Siebren Versteeg engages with the
272:Museum of Contemporary Art Chicago
149:School of Art Institute of Chicago
14:
2086:"Category:Possibly living people"
1563:Perkins, Gregg (March 23, 2007).
1264:https://artfabricators.com/about.
806:Versteeg’s work was curated into
789:Attendants to an installation of
758:
484:In his review of the exhibit for
301:A year later, Katie Geha curated
157:University of Illinois at Chicago
1976:"Siebren Versteeg, Up The Ghost"
902:Wall Drawing Titles/Instructions
824:In March 2023, his genesis NFT,
755:, a virtual exhibition in 2021.
218:The MP3 Collection of My Father,
1773:Smith, Roberta (May 14, 2015).
1520:Logan, Liz (October 14, 2014).
955:Speaking to a 2019 work titled
660:Distrust That Particular Flavor
573:Negative Shadow of a Fake Flame
568:Negative Shadow of a Fake Fire,
305:at the Ulrich Museum of Art in
77:http://www.siebrenversteeg.com/
1671:McQuaid, Cate (June 4, 2010).
971:in New York City; the Chicago
969:Whitney Museum of American Art
1:
2302:21st-century American artists
2162:"Dyeing Merging Multitasking"
1859:Gopnik, Blake (May 2, 2017).
1481:Wolin, Joseph R. "Solar Set"
981:The Albright-Knox Art Gallery
512:OWN NOTHING, HAVE EVERYTHING,
276:12 x 12: New Artists/New Work
254:(2003), which juxtaposes the
1749:https://aadl.org/node/334759
702:, Brian Droitcour described
386:Reviewer, praised “the fake
999:in New Haven, Connecticut.
396:In Advance of Another Thing
344:, covered with graffiti by
2333:
2287:American new media artists
2140:The San Francisco Standard
983:in Buffalo, New York; the
819:Today’s Paper (with flies)
989:The Marguilies Collection
885:'s introductory credits.
600:Siebren Versteeg: LIKE II
2166:Ortega y Gasset Projects
2061:"Possibly Living People"
904:(2022) to the gallery's
813:a collecting exhibit at
768:Daily Times (Performer),
192:Versteeg Art Fabricators
139:Early life and education
2065:www.siebrenversteeg.com
2039:www.siebrenversteeg.com
1643:www.siebrenversteeg.com
1613:www.siebrenversteeg.com
896:, Versteeg contributed
846:One reviewer described
791:Daily Times (Performer)
784:Daily Times (Performer)
760:Daily Times (Performer)
478:Neither There nor There
455:Neither There nor There
220:which was exhibited in
2236:. Ulrich Museum of Art
1889:Art In The Plague Year
957:Possibly Living People
910:Artificial Imagination
874:Possibly Living People
861:Possibly Living People
857:Possibly Living People
753:Art In the Plague Year
548:Something for Everyone
404:Boom (Fresher Acconci)
350:
303:History and Being Here
270:In November 2003, the
133:Abstract Expressionist
1509:Washington Post, The.
729:, Versteeg presented
436:Art Basel Miami Beach
422:Rhona Hoffman Gallery
319:
252:Dynamic Ribbon Device
245:2002 Whitney Biennial
145:Bachelor of Fine Arts
1639:"Zero Is The Center"
795:University of Denver
578:Making its debut in
538:Max Protetch Gallery
498:Days of Endless Time
222:Press Enter to Exit,
153:Masters of Fine Arts
2260:artgallery.yale.edu
2234:de1.zetcom-group.de
2059:Versteeg, Siebren.
1974:gallery, bitforms.
1807:gallery, bitforms.
1391:artgallery.yale.edu
1096:. September 6, 2016
987:in Washington, DC;
922:history of painting
674:Reflections Eternal
627:in New York City’s
580:Zero is the Center,
508:Press Enter to Exit
486:The Washington Post
468:Accessioned by The
296:The History Channel
2142:. October 29, 2022
2092:, February 3, 2023
1835:"Siebren Versteeg"
1779:The New York Times
1606:"New York Windows"
1483:Time Out New York.
1327:"versteeg_bio.pdf"
1020:"Siebren Versteeg"
916:Critical reception
826:For a Limited Time
776:The New York Times
748:Black Lives Matter
696:Reflection Eternal
668:The New York Times
559:Zero is the Center
430:in New York City;
346:Black Lives Matter
2191:www.underdonk.com
1047:. March 23, 2007.
727:Covid-19 Pandemic
608:'search by image'
400:Judith Tannenbaum
372:The Satan Series,
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584:New York Windows
532:40 Years, Part 1
256:Associated Press
207:Love Live x Five
151:in 1995 and his
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2012:. June 20, 2022
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690:Eye In The Sky
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463:determination,
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2068:. Retrieved
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2014:. Retrieved
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1983:. Retrieved
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