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O LG A G E L E T I N A WINTER 2017

MENU 02 / A Dance Party for One 08 / [de]generate stairs 14 / Pan’s Labyrinth 17 / Art Data . 25 / Co green 30 / Ascent Contemporary Projects 39 / Fabrication Skills 43 / Photography 46 / Video


HOW TO MAKE (ALMOST) ANYTHING NEIL GERSHENFELD, MIT FINAL PROJECT

FA L L 2 0 1 6

The work was envisioned as a reaction to the New York City ensemble Hess Is More. Earning critical acclaim as “[the 2014] album-of-the-year candidate” by The Lowbrow Reader, the octet creates experimental dance music rooted in jazz, krautrock, and afrobeat. While the apparatus was conceived to accompany a live performance by the band, it was also meant to be versatile enough to function as a stand-alone installation. Comprised of optical material, a microphone, and a light source the device generated imagery in real time.

/A R D U I N O I D E /PCB DESIGN /WELDING

The band’s emblem – a constellationlike pattern encased in a circle served as aesthetic direction, resulting in a prototype that is similarly ethereal. Simultaneously translating the environment and reacting to it, light was thus paired with sound. / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / /

A DANCE

....... PA R T Y ....... ....... ....... ..... .... ... ...

/ / / / / / / / / /

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FOR ONE

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After experimenting with a number of materials to alter and generate light effects, I elected polycarbonate – a material with notable optic properties. The most intriguing of which is its reaction to heat. When parched, polycarbonate fractures internally and refracts. To elaborate on this effect, I lined the bottom of my structure with reflective film, augmenting the visual effects further. To house the wiring, I welded a rectangular base out of sheet metal steel. The steel’s grey can be persevered as very neutral, almost achromatic. It was thus a good pairing to an otherwise bright structure.

M AT E R I A L


For the lighting portion of the project, I created custom electronic traces, which were extracted out of a thin copper sheet using a vinyl cutter. The traces housed an array of LED lights connected in a matrix pattern, minimizing the number or connections necessary to initiate the output device.

ELECTRONICS


The question of what aspect of music I wanted to illustrate loomed over me for the majority of the semester. Is it amplitude, pitch, frequency? My original intent was to have a algorithm in place that tracks the more subtle audio qualities thus implying a certain structure without fully disclosing it. Much like with other aspects of the project, my vision altered with time. And the answer to the aforementioned question became: rhythm. The decision was a very subjective one – beat is the aspect of music I am most sensitive to, it is what makes hearts throb and hips swing. To capture this quality I programmed my microphone board with a beat detection algorithm.

A LG O R I T H M


C L I C K TO V I E W V I D EO


DIGITAL MEDIA II ANDREW WITT, HARVARD TEAM PARTNER: DIANNA YAN

FA L L 2 0 1 6

Reversing the typical relationship between a stairway and its railing, our stairs were generated by the railing, which in turn, was derived mathematically by a modification to the formula for a reversible helix. Our C# Grasshopper component contained four parametric variables that control the shape of the spiral. The resulting curves served as basis for the medial surfaces.

FA L L 2 0 1 6

In the latter stages of our work we sought to augment this relationship further in two ways. Our first method comprised of forcing a supporting role onto our stairway, akin to that of a column viewed in plan the stair is reinterpreted as a cantilever, which composes the surface and elevation.

For our second variation, we focused on the individual panels that comprise our stairway. As an ode to some of the inspiring case studies from class (e.g. the Yas Viceroy Hotel) we grouped the panels into families of surfaces based on slope. Thus relating the families of shapes to something that is intrinsically unseen. To make the criteria more nuanced we projected the surfaces flat onto the plane – stripping it from its context. /C# /RHINO + GRASSHOPPER / PA P E R M O D E L /3D PLA PRINT

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[ D E ] G E N E R AT E ............... ................ ................ ................... S TA I R S ................... ...................


PA P E R M O D E L Individual elements of varying thickness


3D PRINTED MODEL Black, sandblasted PLA


S LO P E G E N O M E M O D E L Discreet surfaces of stairway, classified by slope


FA L L 2 0 1 6

/C# /RHINO + GRASSHOPPER /UNITY GAME

Labyrinths have taken on a number of meanings throughout history – e.g. devotion, power, games. The first recorded labyrinth dates back to Egypt at the time of king Amenemhet 1842 - 1797 BCE. In my research I was particularly drawn to garden mazes. While the devotional varieties of such mazes have proliferated since the 13th century, secular garden mazes initially appeared as derivative of small artificial hills during the Renaissance and gaining greater popularity in 15th Century France. Often elaborate in their nature, they espoused equal portions of fun and complexity. Working with Grasshopper, the basis of the maze relies on principles of object oriented programming. A maze object contains cells, each with three open walls (represented by meshes), and one wall that is closed off. The cells also have an indication of the four neighbors and whether passage to them is open or closed. Once the maze object is generated it becomes possible to assess which cells are connected. By picking a random first cell, a cost can then be assigned to the rest of the cells, with -1 serving as an indicator of inaccessibility. A variation Dijkstra’s algorithm can then be applied to find the shortest path from the first cell to the one farthest away (i.e. a cell with the highest cost).

PA N ’ S

LABYRINTH

| ___________ | __________________________ | | | _____ | | | | | | ____________________ | | |________| | |_____| | |_____| | _________________ | | |___________| |___________| | _____| | ___________ | | | | ___________| ___________| | ______| | ________| |_____| | | ___________| ___________|___________| |___________| | | | | __ | _________________ |_____ | | | | | | | | | | | | | ______________|_____ | | | | | | | | | | | | |_____| | _____ | __ | | | | | | | | | | | | |___________| | | | | | | | | | | | | | | | | |_________________| | | | | | | | | | | | | | | | | | _________________|_____| | | | | | | | | | | | | | | | __ ______________| | | | | __| | | | | | | | | | | | | ________ | | | | | | | | | | | | | | | | | | | | _____ | | | | | | ____| | | | | | | | | | | | | | ______| | | | | ________| | | | |_____| | | | | | |_____ | | | | | | | | |_____ | |__| | | |________| | | | |__| | | |___________|_______________________|________|________|___________|

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COMPUTATIONAL DESIGN PANAGIOTIS MICHALATOS, HARVARD FINAL PROJECT

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For this project, I was particularly influenced by Hopscotch – the nomenclature for this series of games comes from the action of hopping over a scratch a line that divides tabs. An inherent factor of the game is the prohibition of touching the dividing line. This is akin to maze running - the method provides a means of confining movement and selecting a path. A child’s progress through the sketch demands meeting the increasing degrees of difficulty. Pan’s Labyrinth takes on the same choreography of movement with a slight exaggeration. The maze object is a punitive one – it’s difficulty increases with every step thus entrapping players and thwarting their efforts.

G A M E P L AY


R A N D O M M A Z E G E N E R AT I N G A N D PAT H F I N D I N G A LG O R I T H M E X A M P L E S


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DATA SCIENCE, GA WEB SCRAPER

Housed within immaculately white walls of galleries, the contemporary art market is opaque. Available information is limited to winning bid prices published by auction houses. Transactions taking place in the primary market, i.e. sale of art that comes directly from the artists’ studios are impenetrable.

FA L L 2 0 1 5

/PYTHON / D ATA A N A LY S I S

D ATA

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W H AT D O THESE IMAGES H AV E I N COMMON?

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ART

Challenged by the lack of transparency, I sought my own answers. Artsy is an Online platform that boasts to house an excess of 300,000 images of art, frequently available for sale. By scraping Artsy’s website, artsy. net, I was able to attain information on over 66,000 artworks.

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THEY WERE ALL SOLD ON A R T S Y. N E T


01 / Sale Status - indicating that only 7% of the artworks in my dataset have sold 02 / Images of the artworks 03 / Artwork Category - Painting, Photography, Print, etc . 04 / Name of the partner institution 05 / Partner institution type (gallery, museum, etc) 06 / Artwork dimensions - as well as whether it was voluminous 07 / Artwork prices were sparse - only about 28% of the records had prices associated with them (prices ranged from 1 to 2,000,000 USD) 08 / Currency 09 / Published date 10 / Name of the artist - to give the name some context, I scraped Artnet’s top 300 list of artists and assigned a Boolean value of 1 if the artist’s name amongst the ones listed

F E AT U R E S E T


PUBLISHED ON ARTIST TO P A RT I ST TITLE PRICE PA R T N E R T Y P E

#321812, #cd4e29, #ec6d4c

2014-11-06

2015-01-24

Andy Warhol

Bernie Taupin

yes

no

painting

painting

Mao

Sancho Panza in New York

26 X 22 in

48 X 60 in

unknown

$20,000 - 30,000

Joseph K. Levene Fine Art

KM Fine Arts

gallery

gallery

#7d575a, #d1d1ce, #b8b4b1


PUBLISHED ON ARTIST TO P A RT I ST TITLE PRICE PA R T N E R T Y P E

#321812, #cd4e29, #ec6d4c

2014-11-23

2015-01-04

Chihiro Kabata

Dinah Worman

no

no

painting

painting

In the Air

A Road Through Stacked Fields

unknown

20 X 20 in

$7,000

$2,800

Art Front Gallery

Saks Galleries

gallery

gallery

#868c93, #5e6462, #9aa7b9


PUBLISHED ON ARTIST TO P A RT I ST TITLE PRICE PA R T N E R T Y P E

#afa7ac, #534d44, #837a74

2015-11-23

2015-01-01

Julia Stoops

Matthias Merkel Hess

no

no

painting

sculpture

Protective Escort

Water Pistol

16 X 12 in

1 X 5 X 3.5 in

unknown

$250

Upfor

Salon 94

gallery

gallery

#9bbcc4, #245c76, #e3e9e8


W H AT E F F E C T D O E S C O LO R H AV E O N T H E P R O B A B I L I T Y O F A R T W O R K S A L E ? The feature I was most excited by was the images. In his book, Collectible Investments for the High Net Worth Investor, Stephen Satchell puts forth the following: “Attractive subjects are more highly valued than unattractive subjects… Certain colors are more desirable than others – for example, red and blue will generally dominate yellow and green [in terms of artwork sales].”

T H E R E I S M O R E T O T H E S A L E O F A R T W O R K T H A N C O LO R A LO N E ? Given the opacity of the art market, I was particularly interested on the impact of the status of an artist, artwork type, and artwork price. To me those indicators would imply whether a work was bought for personal enjoyment or as an investment.

H Y P OT H ES I S 2

H Y P OT H ES I S 1


RED SELLS

Running a logistic regression confirmed that red artworks sell, particularly indianred. A color called peachpuff, along with yellow showed to be positively correlated. Green (lime especially) has a negative correlation. However, drawing a conclusion about blue was more difficult. Lightblue was negatively correlated and a deeper blue showed to have an unstable coefficient with little impact on artwork sale. Black had a negative impact while white was positively correlated. Suggesting that lighter paintings have a greater tendency to sell – a similar pattern was observed between silver and grey.

C O N C LU S I O N 1

COEFFICIENT

.38

.35

.23

.23

.15

.14

.05

.038

-.14

-.15

-.21

-.69

-.91

.009

.007

.01

.004

.009

.018

.013

-.01

-.005

-.023

-.012

-.003

-.008

C O R R E L AT I O N


O T H E R S T R O N G I N D I C AT O R S W E R E P U B L I S H E D M O N T H , A R T W O R K C AT E G O R Y, A N D W H E T H E R T H E A R T W O R K WA S 3 D

Published on 1-2015

Partner Type - Museum

Prints

Photography

Being under the impression that smaller pieces were more accessible, I was surprised to see three dimensional pieces and works in the sculpture category had a positive relationship.

Top 300 Artist

GBP Currency

Video Art

Partner Type – Foundation

Dominant Color – Dark Olive Green

EUR Currency

Published on 10-2012

Dominant Color – Indian Red

Sculpture

Dominant Color – Peachpuff

Paintings are typically priced higher than prints, all other factors being equal.

Partner Type – Gallery

Prints frequently have editions of a few to many and are therefore deemed less valuable. Last year, a New York Times article reported on art market trends shifting toward prints and works on paper. Perhaps this trend hasn’t been embraced entirely. My results points to artworks in the Painting Category as positively linked. Conversely, prints and photography have a negative coefficient.

It must be noted that this relationship is not straightforward, as artworks published 3 years ago, for example, have a lower coefficient than the ones published 2 years back - implying that longer published pieces might be misaligned with popular taste.

Functional Objects

Brightness

Published on 3-2012

Installation

Published on 6-2014

Published on 6-2013

3D

Painting

Partner Type - Non-Profit

Pieces listed a couple of years ago (201306) did the best. On the other hand artworks that were newly published (2015-01) had a negative coefficient. Suggesting that the longer an artwork has been published on artsy.net, the higher its exposure to prospective buyers. Exposure, in turn, can drive sales.

C O R R E L AT I O N .65

.62

.33

.31

.25

C O N C LU S I O N 2

.21

.21

.11

.099

.093

.089

.081

-.016

-.017

-.2

-.21

-.23

-.27

-.33

-.34

-.71

-.71

-.83

-.85


USER EXPERIENCE, GA MOBILE APPLICATION

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Co green is a conceptualized mobile application, created as part of a User Experience Design course. People waste around the world with little awareness of the quantity as well as the rate at which they do so. As individuals become more conscientious of their lifestyles, they are more amenable to change.

FA L L 2 0 1 4

Co green enables you to see recycling possibilities. A couple of screen taps can get you to the nearest compost/E-waste/ furniture/textiles facility, see what your neighbors across the lawn/town/state/ country/world are doing, and set personal recycling goals at your own pace.

FA L L 2 0 1 4

CO G R E E N ...............

R E C YC L I N G MOBILE APP

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/A X U R E /A P P L I C AT I O N I N T E R FA C E /USER RESEARCH

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By supplying context I aimed to facilitate greener initiative amongst the ecominded. My belief was rooted in that fact that by illustrating waste and comparing wasteful habits locally and internationally, behavioral change will occur./ / / / / / / / / / / / / / / / / / / / / / / / / / / / / / /

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WINNIE ROUSSEAU, 26

Born in Brooklyn, currently residing in Long Island with her parents – Winnie has a Bachelor’s degree in business studies. She works in an administrative capacity for a start-up but yearns to pursue painting. While ecologically mindful, she will not recycle unless bins are clearly marked and are within reach.

F E AT U R E M AT R I X

Pe

rso

ty bili a l i Ava

TECHNICAL PROWESS

5 – wizard

na lI

nit iav e

on ce ure lian ct Re rastru Inf

Community

Accessibility

ct

Fin an

cia l I m pa

PERSONAS

M O T I V AT I O N S : Karma points ++ , Wants to find ways to be greener, Follows socially driven content on recycling F R U S T R AT I O N S : People that litter and waste excessively, Busy, Self-criticism – not doing enough

3

1– technophobe


complete? set goals on-boarding

my goals

landing page

search for facilities

add to favorites

waste stats (charts)

waste stats (map)

returning user? explore

fun fact

enable location enter location

snapshot habits

get context

select a facility

save to favs

explore goals

set goals

sign up

U S E R F LO W

TA S K F LO W


E X P LO R E

In the explore section of the app, the first visualization that the user is presented with is a simple scatter chart with the GDP per capita on the y-axis and waste per capita on the x-axis. Swiping to the right brings the user to the waste composition interface and swiping to the left brings the user to the map. From there, the user can dive into waste composition and geographic comparisons.

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2

4

6

5

3

Interaction gesture

WIREFRAMES

Feature notes


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7 4

1 3

6 2

2 1

1

3

WIREFRAMES

2

3


In the course of growing the business we were selected as finalists in the New York StartUP 2013 business plan competition, put on 6 exhibitions, and hosted an 8-course culinary experience for 50 people in collaboration with Salvage Supper Club. / / / / / / / / / / / / / / /

/ W E B D E V E LO P M E N T / C U R AT I O N /ENTREPRENEURIALISM

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FA L L 2 0 1 3 - S P R I N G 2 0 1 6

ASCENT ............... ................ ................ C O N T E M P O R A R Y ................... ................... ................... P R OJ ECT S

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FA L L 2 0 1 3 – S P R I N G 2 0 1 6

Ascent Contemporary Projects, (Ascent) was a contemporary art gallery and curatorial service provider aiming to connect art lovers, collectors, and boutique service companies with the works of emerging and mid-career contemporary artists based in New York City. The company was founded by Alexandra Dubodel and I.

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FINE ART GALLERY


In the world of fine art, there emerged a number of new ventures aimed at demystifying and democratizing the art world by relying primarily on the use of e-commerce. What we felt was missing from this model, however, was the real world exhibition factor. Exhibitions present one of the key ways for artists to introduce their work to the public and potential clients. They provide a valuable opportunity to educate viewers while creating connections to the works of other artists.

P R O B L E M S TAT E M E N T

Purchasing art is a big deal. As part of its business model, Ascent allowed clients to preview the piece that interests them in their home or office for a monthly fee, most of which will be applicable toward the cost of a purchase. Ascent’s main advantages included our emphasis on exhibitions, a unique preview-to-own system, the use of an e-commerce site in lieu of a permanent storefront, and the production of rotating exhibitions for corporate clients.

M I S S I O N S TAT E M E N T


TA R G E T M A R K E T

Median Income *2011 NYC residents, by age group

100-249

1500

Annual Sales **2011 NYC-based companies, by employee count

100 - 500MM

50 - 100MM

20 - 50MM

750

10 - 20MM

201K+

151K - 200K

126K - 150K

101K - 125K

76K - 100K

61K - 75K

17500

50-99

5 - 10MM

35000

20-49

2.5 - 5MM

52500

10-19 2250

1 - 2.5MM

65+

500K - 1MM

45 to 64

< 500K

25 to 44

Number of Corporations

Under 25

51K - 60K

02 / Client-driven organizations: particularly design firms, advertising agencies, small luxury hotels, high-end realtors, law firms, insurance companies, hedge funds and other finance firms. The revenue figure of our ideal company varies from industry to industry, but they generally have sales volumes exceeding 2.5 million.

3000

70000

45K - 50K

01 / Individuals: busy professionals seeking to enhance their image and expand their cultural horizons with annual income in excess of 75K.

CORPORATE PROFILE**

INDIVIDUAL PROFILE*

Number of People

Ascent Contemporary Projects had a dual-focus target market comprised of individuals and luxury businesses located in Manhattan, Brooklyn and Queens.


WEBSITE I led the initiative of designing the website. It was one of Ascentâ&#x20AC;&#x2122;s main competitive advantages. The e-Platform provided 24/7 access, unfettered by opening hours, to buy and to lean about contemporary art at your own pace.


SELECT EXHIBITIONS: CHAMBER ONE Featuring work by Lisa Kellner September 7-28, 2014 One need not be a Chamber - to be hauntedOne need not be a House The Brain has Corridors - surpassing Material Place … Ourself behind ourself, concealed Should startle most Assassin hid in our Apartment Be Horror’s least…” -Emily Dickinson, c.1863


S E L E C T E X H I B I T I O N S : M E TA M O R P H O S I S Featuring work by Dave Rittinger January 17-25, 2015 Metamorphosis, Rittingerâ&#x20AC;&#x2122;s first solo-exhibition, showcased a body of work focused on the use of reclaimed and salvaged materials. His unexpected transformations of every day articles arouse curiosity in their evolved significance.


HOW TO MAKE (ALMOST) ANYTHING NEIL GERSHENFELD, MIT WEEK 9

FA L L 2 0 1 6 I used Maya to create a simplified serpentine shape. The contour of which was CNC milled out of foam. Because the function of the object was envisioned as a purely aesthetic one I opted to use linen as the fibrous base. To cloth was fitted with incisions in the basis of the curved surface, scrunched with epoxy, and vacuum bagged.

COMPOSITES


HOW TO MAKE (ALMOST) ANYTHING NEIL GERSHENFELD, MIT WEEK 9

FA L L 2 0 1 6 For this assignment, the students were instructed to “make something big”. Given the ample room for creative freedom within the task, I chose to interpret “big” as a collection of many. Working with metal has been something I’ve always wanted to do – sheet metal in particular has a very alluring craft property. Yet, I never had access to a metal shop until graduate school. In the process of creating a abstract sculpture, I got to use new tools and methods. Rolling and hammering metal into shape was very satisfying, empowering, and addicting – in fact, working with the material became a hobby of mine over the course of the semester.

S H E E T M E TA L


HOW TO MAKE (ALMOST) ANYTHING NEIL GERSHENFELD, MIT WEEK 9

FA L L 2 0 1 6 There was a big emphasis on electronics for this course. In our second week of class we were instructed to make an in-circuit programmer â&#x20AC;&#x201C; everything, from the terminology to the methods, about the task was new. However, due in part to the relentless nature of the course and my own dogged persistence, I was able to persevere and successfully design, program, and network nearly a dozen boards.

ELECTRONICS


HOW TO MAKE (ALMOST) ANYTHING NEIL GERSHENFELD, MIT WEEK 9

FA L L 2 0 1 6 I used Rhino to make the positive of an object intended to function as a light fixture with an hollowed center and a hole to route the wiring. Continuing to work in Rhino I created a three-part mold positive complete with air vents and two femalemale connectors to preserve the correct fit. The shape was CNC milled out of foam and cast in OOMOO to create a mold negative from which I cast objects made using Hydrostone, Rockite, and moss.

MOLDING AND CASTING


TRIPTYCH SERIES

SPRING 2014 - PRESENT My photographs typically consist of several [color] variations on a single object. In this way I hope to harmoniously unify yet underscore the visual differences. The format of a triptych helps to facilitate this mission. By viewing the congruous yet disparate pieces side by side, the viewer is challenged to reconcile and accept the differences between the three works.

P H OTO G RA P H Y


FRUIT, AND SUCH COLLABORATOR: EFRAIM KLEIN

FA L L 2 0 1 5 Healthy eating habits are a very important topic. Particularly, in the US where obesity and eating disorders are heavily discoursed. While these conditions are serious, my opinion is such that the related discourse doesn’t have to be. On the contrary, I find that effectiveness is a result of a ludic experience, not a pedantic one. Humor is big aspect of who I am. It makes my days memorable and my interactions enjoyable. Yet, humor wasn’t a big part of my work. Until now… Directed and filmed by Efraim Klein, written by me, starring Natalya Nyn and Stan Rozenraukh Fruit, and Such is a series of absurd skits - showcasing organic matter in an awkward fashion.

VIDEO


C L I C K TO V I E W V I D EO


C L I C K TO V I E W V I D EO


C L I C K TO V I E W V I D EO


O LG A G E L E T I N A

HTTP://FAB.CBA.MIT.EDU/CLASSES/MAS.863/SECTION.HARVARD/PEOPLE/GELETINA/INDEX.HTML GELETINA.COM OGELETINA@GSD.HARVARD.EDU 646.421.9685

olga geletina's portfolio 2017  

by olga geletina

olga geletina's portfolio 2017  

by olga geletina

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