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Josh Harlan Studio

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Josh Harlan Studio

Contact information, map and directions, contact form, opening hours, services, ratings, photos, videos and announcements from Josh Harlan Studio, Visual Arts, 1450 South Dixie Highway, West Palm Beach, FL.

Josh Harlan is a visual artist developing digital works, using image viewers like Preview and spreadsheet viewers like Excel to capture or create data visualizations.

05/06/2022

On the occasion of the Grand Prix in this weekend, we're revisiting our favorite art-and-auto collaboration and 's 1974 commission by French auctioneer and racecar driver is top of the list. 🚗 The BMW Art Car is decorated in bold, dynamic forms that recall the artist’s famous mobiles and stabiles. ⁠
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The ex*****on of Calder's BMW Art Car operates as a kinetic work of art. 🎨 The is the debut institutional venue in the United States to exhibit the Calder BMW Art Car (Artist’s Proof).⁠
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📸 : Calder Foundation, New York © 2021 Calder Foundation, New York / Artists Rights Society (ARS), New York. Photo: BMW AG

01/24/2022

🗞️ It was an honor to have my exhibition “Data is Art/Art is Data" at featured in .⁠
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and I discussed the notion that art and finance can coexist:⁠
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"There's a presumption if you focus on business or finance that you can’t be part of the art world. It's not two completely separate parts of my life [but] two ways of working with the same material." — ⁠
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01/11/2022

2022 is already off to an amazing start, but we're still reflecting on the many milestones and opportunities I had to show my work around the country last year 🌎

We ended the year showcasing two works from my "Spectrum Fragments" series in the 's special section, 30 x 30 curated by US Regional Managing Director, Cristina Salmastrelli in celebration of its 30th NYC edition.

The "Spectrum Series" is inspired by a government chart of frequency allocations by usage type, including radio, television, cellular and satellite communications. 📡

My solo presentation, “Intangible Assets” was on view in at 675 Third Ave. Curated by with , the exhibition featured three distinct bodies of work: “Household Income and Math Scores” (2021), “Katya” (2020), and “Nine Years Since the Crisis” (2019).

01/06/2022

We're well into the swing of 2022 and rearing up for an exciting year ahead. Still reflecting on the many milestones and opportunities I had in 2021 to present my work in person again as the world opened back up. 🌎

We started the year showcasing "Katya" (2020), a series exploring changes in daily movements by people in various metro areas following the onset of the COVID-19 crisis, based on location tracking data from cell phones.📡

Two works from the series were included in , juried and curated by . 🌴

Humbled and grateful for the support of the organization and the wider community that came out to highlight the show and our fellow local artists.

01/01/2022

Learn more about the behind my "Katya" series which explores changes in daily movements by people in various metro areas following the onset of the COVID-19 crisis, based on location tracking data from cell phones. 📡⁠
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The source data is structured to explore the relationship between socioeconomic status and activity patterns during the crisis, with movement in upper income areas depicted in blue and lower income areas depicted in red. 📈⁠
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12/23/2021

One of the highlights from in West Palm Beach earlier this month: 🌴⁣
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presents rotating exhibitions and viewable storage of the Collection. Curated by , , and 2021/22 guest curator .⁣
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A big thank you to for opening your doors to us! ⁣
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Scroll for some of my favorite works in the new installation 👉⁣
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12/11/2021

🤖 My inspiration for "Every Front Page for a Year" (2017). ⁠The final work was derived from this chart of every front page of the “South China Morning Post” for a year, indicating the placement, size and type of each article. 🗞️⁠⁠
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I extract fragments or “data cuts” and strip away all signifiers of the original function or purpose of the data. These manipulations are executed in vector graphics software such as Adobe Illustrator and outputted as digital files. The completed work is fused to aluminum panel in a 400-degree heat-transfer, dye sublimation process.⁠
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11/22/2021

I’ve always been interested in the concept of financialization, which is driven by the dissemination of data, the use of data visualizations, and the protection of data through encryption and other methodologies. 📈 The financialization of the art object — as evidenced by the advent of NFTs and other art market phenomena — blurs the distinction between the creative economy and private equity and shadow banking activities.

I am exploring transforming my artwork with animation and dynamic manipulations to create new works that can be minted on the blockchain and acquired as NFTs.

This animation combines the nine panels from my series “Nine Years Since the Crisis” that represents the trading activity in the wake of the 2008 financial crisis. 📊 Referencing the S&P 500 Index “heat map,” I render raw data for the years of 2010-2018 into works of geometric abstraction inspired by the minimalist aesthetic of predecessors such as Josef Albers and Brice Marden. ⁠
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10/31/2021

Learn more about the behind "When Will AI Exceed Human Performance," a body of work that explores the social implications of a future where AI technology is prioritized over human performance. 📈 ⁠
The series presents an excerpt from a data visualization published in "The Economist" The graph cites a study of the same name, jointly published by Oxford and Yale Universities in May 2018. ⁠
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10/08/2021

"When Will AI Exceed Human Performance"(2021) is a body of work that explores the social implications of a future where AI technology is prioritized over human performance. ⁠⁠🤖⁠
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The series presents an excerpt from a data visualization published in The Economist based on a 2018 study. The report weighed the consequences of machine learning on policy-making, technology, ethics, and social behavior. 📈 The color scheme is further meaningful in its reference to Brice Marden’s historic "Red, Blue, Yellow I" painting from 1974. ⁠
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10/03/2021

Looking forward to discussing my work tomorrow❗️ Monday 10/4 at 4 PM I'll be going live with at my exhibition “Intangible Assets” on view at 675 Third Avenue through November 18th, curated by . ⁠
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We'll discuss the three series featured in the exhibition: ⁠
📈 “Household Income and Math Scores” (2021): ⁠ a body of work based on a data set that explores the correlation between household income and home country on international math test scores as published in the "Economist" in 2020. ⁠
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📈 “Katya” (2020)⁠: this series explores changes in daily movements by people in various metro areas following the onset of the COVID-19 crisis, based on location tracking data from cell phones.⁠
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📈 “Nine Years Since the Crisis” (2019): a series of 9 panels that represent the trading activity in the wake of the 2008 financial crisis⁠
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09/18/2021

Thrilled to announce two works from the "Spectrum Fragments" series will be part of 's special section, 30 x 30 curated by US Regional Managing Director, Cristina Salmastrelli in celebration of its 30th NYC edition. Sept. 22 – 26 🎟 Tickets at the link in bio 🔗

The "Spectrum Series" is inspired by a government chart of frequency allocations by usage type, including radio, television, cellular and satellite communications. While generally designed to be useful or practical rather than aesthetic, data visualizations sometimes yield surprisingly appealing formal qualities when sufficiently abstracted from their original intent.

Images: “Spectrum Fragment 2D,” 2017, dye sublimation print on aluminum panel, edition of 5,⁠ 48 x 48 in; “Spectrum Fragment 3D,” 2017, dye sublimation print on aluminum panel, edition of 5, 48 x 48 in⁠
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1450 South Dixie Highway
West Palm Beach, FL
33401

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