The Washington Post

‘D.O.L.L.’ at Artisphere: art in focus

Hiroshi Jacobs's “Play It Forward” doesn’t just light up when visitors walk by or wave their arms near it. It also donates money to a charity, based on how much you interact with it. It’s one of the more successful pieces on view. (Michael O'Sullivan)

The current exhibition at Artisphere — part of a collaborative venture with the Washington Project for the Arts called Experimental Media 2012 — is a case in point. “D.O.L.L.: DIWO OPNSRC LMFAO LHOOQ” features interactive and high-tech works by 11 contemporary artists. Some of it is brilliant; some, not so much. A number of art works I couldn’t honestly evaluate, because they were out of order when I visited.

Read my review, and check out a selection of images from the show, after the jump.

Artist Patrick Resing’s “ Hugg #1” is a Roomba-like robot that throws its wire “feelers” around your legs and moans creepily when it senses your presence. It kept getting stuck in the corner. (Patrick Resing/Artisphere)

Pete Froslie’s “Anxiety Book” doesn’t want you to look at it. Thanks to a small motor, its cover opens slowly before your eyes, and then snaps shut as soon as you get too close to a motion sensor. A cute idea, but it was especially fickle when I visited. (Pete Froslie/Artisphere)

Steven Silberg’s “Pixel-Lapse Photo Booth” is fun to play with. It takes your picture over the course of two minutes, one pixel at a time. If the printer’s broken, you can check out an archive of wacky images from the show on the artist’s Web site. (Steven H. Silberg/Artisphere)

Like some sci-fi movie set, Michelle Lisa Herman's “The Social Network” senses your presence as you walk under it, jabbering at you through multiple speakers as you move through the space. (Michael O'Sullivan)

Powered by a fan, a Tyvek tube inflates to fill a wooden cage every 15 minutes or so, and then deflates. Called “Spending It All in One Place,” Christian Benefiel’s sculpture had technical difficulties, at one point getting stuck halfway. (Michael O'Sullivan)

K. David Fong's mirrored lightboxes create the illusion of infinitely regressing portals. They’re pretty cool, but Chul Hyun Ahn, for whom Fong has worked as a studio assistant, does the same thing. (Michael O'Sullivan)

Not everything in the show is high-tech. Jeff Chyatte’s “My Space” sculpture — part jungle gym, part cage — is meant to remind you about how imprisoning social networks can be. (Jeff Chyatte/Artisphere)

Is the economy worse than we think? Blake Fall-Conroy’s hand-cranked “Minimum Wage Machine,” which is supposed to spit out pennies at the rate of one every few seconds — minimum wage — was repeatedly jammed. (Blake Fall-Conroy/Artisphere)
Born and raised in Washington, D.C., Michael O’Sullivan has worked since 1993 at The Washington Post, where he covers art, film and other forms of popular — and unpopular — culture.


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