art.wikisort.org - Artist

Nancy Baker Cahill (born 1970) is an American new media artist based in Los Angeles, California. She is known for work that “examines power, selfhood, and embodied consciousness” at the intersection of fine art, social justice, and emerging technologies such as virtual reality and augmented reality.[1]

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Nancy Baker Cahill
Nationality	American
Alma mater	Williams College
Known for	Augmented reality, Virtual reality, Drawing, Graphite, Activism
Notable work	Liberty Bell, Margin of Error, Revolutions
Movement	New media art
Website	https://nancybakercahill.com

Early life and education

Baker Cahill was born in Cambridge, MA. She received her B.A. with Honors in Art from Williams College in 1992. She launched her art career in 2007.[2]

Work

Baker Cahill works in graphite, paint, sculpture, video, virtual reality (VR), and augmented reality (AR).[3][4] She was listed as one of ARTnews’s 2021 ‘Deciders.’[5] Her work explores themes related to the human body as a site of ongoing struggle and resistance,[6][7] “[dissecting] notions of power moving over and through the body.”[8]

One series, Bullet Blossoms, involved Baker Cahill shooting her paintings with bullets.[9] Exhibition highlights include the site-specific 2019 Desert X Biennial in the Coachella Valley.[10][11] Baker Cahill generated large scale, animated drawings in AR for the Salton Sea and above the wind farms in the Coachella Valley.[12][13] She had a solo exhibition at Boston Cyberarts,[14] an AR public art exhibition at the Boston Greenway, a VR public art project on the Sunset Digital Billboards[15] sponsored by Innovation Foundation, a VR/AR event at Los Angeles Contemporary Exhibitions (LACE), and an immersive solo exhibition at the Pasadena Museum of California Art.[16][17][18][19] In April 2021, Baker Cahill's VR video work was included in “Luminex: Dialogues of Light”, a walkable digital art exhibition projection mapped onto various buildings in downtown Los Angeles.[20] In 2022, she was one of two featured artists in the LUMA Foundation's Elevation 1049 Biennial in Switzerland, showing two new AR works Siren Songs in St. Moritz and Gstaad.[21]

Baker Cahill is the recipient of a 2012 ARC Grant from the Center for Cultural Innovation, was a 2019 nominee for the Rema Hort Mann Emerging Artist Grant, and received an "Impact Maker to Watch" award at LA City Hall.[22][23][24] She was the subject of a 2019 Bloomberg Media Studios "Art+Technology" short documentary.

Baker Cahill is an international public speaker. She was a featured 2018 TEDx speaker in Pasadena, CA and delivered a keynote at Games for Change in New York City, NY.[25][26][27] In 2020, the Berggruen Institute announced that Baker Cahill would be one of its ten inaugural Artist Fellows in its Transformations of the Human program.[28][29]

Baker Cahill was an artist fellow at Occidental College's Oxy Arts’ Encoding Futures Residency in 2021[30] and received the 2021 Williams College Bicentennial Medal of Honor from her alma mater.[31] In 2022, Baker Cahill was a Falling Walls Art and Science Award Finalist and received the 2022 COLA Master Artist Fellowship.[32] Baker Cahill was named one of the four 2022 LACMA Art + Technology Lab Grant recipients.[33]

Mushroom Cloud

In 2021, Baker Cahill created a monumental AR artwork for Art Basel Miami called "Mushroom Cloud,"[34] where it premiered at Faena Beach, in partnership with NFT platform Aorist, and later, in Santa Monica, CA.[35] Experienced through Baker Cahill’s 4th Wall AR app, the digital artwork explodes over the ocean and becomes "a crackling web of lacy, arterial threads spread throughout the sky. These lilac branches, connected by glowing nodes, form another sort of mushroom cloud, one depicting webs of hyphae, or fungus — mycelium networks — a system in nature that breaks down organic matter and redirects nutrients back to plants, trees and all carbon-based life." The LA Times described the artwork as, “ultimately a hopeful piece," which highlights "a 'connected care' model that Baker Cahill feels humans should take inspiration from, one prioritizing equity and accountability for one another and the planet.” Wired also praised the project's use of art and technology to prompt environmental discussion, claiming, "In this way, art can transport ideas across the internet, like mushrooms communicate life across the planet.[36]

A version adapted for New York City, NY, titled "Mushroom Cloud NYC: Rise" was selected for inclusion in the Immersive Main Competition at the 2022 Tribeca Film Festival.[37]

Liberty Bell

On July 4, 2020, Baker Cahill launched "Liberty Bell," an augmented reality public art installation in partnership with Art Production Fund, Jamaica Bay-Rockaway Parks Conservancy, and Rockaway Artists Alliance.[38][39] "Liberty Bell" featured site-specific artwork in six locations across the Eastern United States: the site of the Boston Tea Party revolt in Boston; Fort Sumter in Charleston; the “Rocky Steps” leading to the Philadelphia Museum of Art; Fort Tilden, the U.S. Army installation in Rockaway, Queens, NY; the Edmund Pettus Bridge in Selma, where the “Bloody Sunday” attack took place in 1965; and the Washington Monument in Washington, D.C.

According to The New York Times, the project took "fifteen months" to develop and sites were chosen "where American history is still being interpreted, its Constitution tested and its identities forged."[40] The AR installations are accessible for free through the 4th Wall App, and will remain available for a year following July 4, 2020.[41]

In an interview with Artnet, Baker Cahill explained that the visual aesthetic of "Liberty Bell," "an animated coil of red, white, and blue brushstrokes roughly in the shape of that famed artifact that seems to float in the air," was intended to question, "how the very concept of liberty was flawed from the beginning. It was available to a select group of people and not others.... You can’t talk about liberty without actively and rigorously engaging the history of slavery.”[42] In a profile interview with Elvia Wilk for Frieze Magazine, Baker Cahill expressed wanting “the one-and-a-half-minute animation ‘to build and to become dissonant, arrhythmic and ultimately sort of chaotic’, reaching near dissolution but managing to retain cohesion.”[43]

Smithsonian Magazine called "Liberty Bell" "ambitious" and notable for its timeliness, writing, "['Liberty Bell'] debuts at a unique point in American history, when communities are reckoning with the racist legacies of historical monuments across the country and, in many cases, taking them down."[44] In a partnership announcement regarding the Washington D.C. installation of "Liberty Bell," the Hirshhorn Museum and Sculpture Garden wrote that, "As 'Liberty Bell' sways above the pool, AR shadows will be cast over the water. The image will create a literal and metaphorical reflective experience for viewers as they are invited to question the very concept of liberty.”

4th Wall augmented reality app

In 2018, Baker Cahill founded the 4th Wall public art app with developer Drive Studios.[45][46] 4th Wall is the AR platform through which Baker Cahill exhibits her own 3D drawings as well as curates public art exhibitions in AR.[47] Curate LA referred to 4th Wall as, "a tool of public engagement and subversive social practice, [offering] a virtual space for fellow artists and collaborators: sites of cultural, historical, or political significance use geolocation information to reveal untold stories or conceptual ideas."[48]

The first version of the app featured Baker Cahill's studio in 360 and a hologram of herself talking about the conceptual foundation of her work.[49] The 4th Wall app includes “Coordinates,” a series of curated and site-specific public art exhibitions in AR.[50]

Social justice and activism

Baker Cahill's work as an artist and curator have been noted for an emphasis on social justice, collaboration, and activism, with the LA Times calling her work "unapologetically political."[51][52]

From 2010 to 2012, Baker Cahill led a collaborative art project at Homeboy Industries called "Exit Wounds." It involved a creative process in which participants from Homeboy Industries told "their stories through their own photographs, original art, text and other objects. Once the works were created they were then shot at with a .45 caliber handgun by Baker Cahill. Using mixed media, these personal narratives revolve around violence, loss and the hope for a future."[53] Works from this project were exhibited throughout Los Angeles as part of the Craft Contemporary (formerly CAFAM)’s “Folk Art Everywhere” program.[54]

Baker Cahill has also used the 4th Wall app as a platform for site-specific public art in augmented reality.[55]

Coordinates

Using the 4th Wall app, Baker Cahill initiated “Coordinates," an ongoing series of global, collaborative, curated & geo-located thematic AR public art exhibitions.[56][57] Among the first participating Coordinates artists were artists Beatriz Cortez, Micol Hebron, Tanya Aguiñiga and Shizu Saldamando.[58][59] Baker Cahill's site selection is hailed as “just as profound as the art itself.” This is particularly apparent in Brianna Harlan's AR monument to Breonna Taylor titled “SHE ASCENDS”, hosted in front of Metro Hall in Louisville on the 4th Wall App.[60]

Defining Line

In November 2018, Baker Cahill co-curated “Defining Line” along the Los Angeles River with the artist Debra Scacco, in which augmented reality artworks were "placed at distinct points along the L.A. River, the works deal with urban redevelopment, environmental issues, untold Native histories and patterns of gentrification."[61]

Battlegrounds

In October 2019, Baker Cahill co-curated “Battlegrounds” with Jesse Damiani.^{[citation needed]} The citywide exhibition focused on contested sites in New Orleans, LA, featuring 30 artworks in augmented reality from 24 artists, including Dawn DeDeaux and Keith Calhoun and Chandra McCormick. In an interview with the LA Times, Baker Cahill called "Battlegrounds" a "reclamation of history," explaining that "every artist in this show, whether it's quietly and poetically or more outspoken, are engaging directly with their community, with their environment, with their history, their own lived experience."[51]

In Plain Sight

The 4th Wall app was the augmented reality platform used for the In Plain Sight project, organized by artists Cassils and Rafa Esparza, which featured both real and augmented reality skywriting located over U.S. detention centers from 80 different artists.[62] Named by Artnet as one of the “Defining Public Artworks of 2020,”[63] the texts consisted of "messages of solidarity and defiance typed in the sky to highlight the plight of immigrants held in detention centers."[64] The use of augmented reality allowed In Plain Sight to "continue to exist in myriad forms after the last clouds of vapor have evaporated."[65] The project continued at the 2021 Texas Biennial.[66]

NFTs

In 2021, Baker Cahill expanded her focus to include site-specific augmented reality artworks using non-fungible tokens and blockchain technology to address questions of ontology and social justice. In May 2021, Baker Cahill exhibited Slipstream 001 in The Bardo: Unpacking the unReal exhibition at Casey Reas’ blockchain gallery, Feral File along with artists Claudia Hart and Auriea Harvey. Charlotte Kent in The Brooklyn Rail wrote: “Cahill used torn graphite paper to create a sculpture that was transmuted into a 3D object and then filmed so that it moves in a slow semi-circle at a set distance before us. We want to approach but can’t. By purchasing it you gain access to other features, hidden in the layers of the artwork’s simulated reality.”[67]

Contract Killers

Collaboratively developed by Nancy Baker Cahill, Art Lawyer Sarah Conley Odenkirk, Contemporary Art Museum of Houston, and Snark.art, Contract Killers was described as “a unique and powerful NFT project.”[68] Baker Cahill, quoted in The Art Newspaper, said “the promise of blockchain, of a decentralised network and accountability, has not only failed to deliver but ‘simply offered new and unregulated means for existing structures to creatively re-entrench and rebrand themselves.’”[69] In 2022, The Art Newspaper stated that, "to date, the most impressive comment on issues of trust and smart contracts is Contract Killers (2021).”[70] New media art curator and historian Christiane Paul commended Baker Cahill's critique of the "shortcomings of smart contracts," writing, “By minting them as NFTs she positions the smart contract among other kinds of contracts—social, judicial, financial—and highlights the instability of all of them.”[71]

The ‘Contract Killers’ digital assets are ‘four separate AR renderings of a dissolving handshake.’ Each AR handshake Baker Cahill created was recorded in front of a selected charged environment—City Hall, the Hall of Justice, and fiat cash—to “represent a realm of obligation and agreement where trust evaporates, where stated contracts continue to fail individuals and communities.”[72] The project was described as a “conceptual emblem decrying all manner of broken social contracts”. In LA Weekly, Shana Nys Dambrot wrote, “this piece questions the “promise of the blockchain when there are no consequences for breaking contracts.”[73] Contract Killers was minted on Tezos and paired “with physical assets, rewards and consequences outlined in a reimagined smarter contract.”[72]

Grants and awards

• 2022: LACMA Art + Tech Grant Recipient[74]
• 2022: Tribeca Official Selection, Immersive Main Competition 2022[75]
• 2022: Falling Walls Art and Science Award Finalist[76]
• 2022: C.O.L.A. Master Artist Fellowship[77]
• 2021: Bicentennial Medalist, Williams College[78]
• 2020: Fellow, Berggruen Institute, Santa Monica, CA[79]
• 2019: Artist in Residence, Facebook, Los Angeles, CA
• 2019: Honoree, Fulcrum Arts Benefit, 2019
• 2019: Official Selection, Games for Change Immersive Arcade
• 2019: Nominee for Rema Hort Mann Emerging Artist Grant, 2019
• 2019: Impact Maker to Watch 2019, Stratiscope, City Hall, Los Angeles, CA
• 2014: Herradura Art Competition, Los Angeles 2nd Place 2014
• 2012: ARC Grant from the Center for Cultural Innovation

References

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