The Auto Show, 2019 Public Art season on The Greenway

Augmented Reality Art on the Greenway
Rose Fitzgerald Kennedy Greenway Conservancy, Boston MA
Starting Wednesday, May 15th, 2019
With generous support from Hoverlay

In partnership with Boston Cyberarts, the Greenway Conservancy commissioned AR artists and a local historian to conceptually explore the themes of transportation and the automobile superimposed with views of The Greenway, combining the past, the present, and the future.

The featured AR artists on this project are Nancy Baker Cahill, Will Pappenheimer, and John Craig Freeman.

John Craig Freeman has contributed two augmented reality public art experiences for The Auto Show, including Fossil Fueled, a whimsical representation of the history of fossil fuel consumption, and Roadside Detritus, a poetic contemplation of U.S. Route 1, which was once routed along the same path through Boston that makes up the Rose Kennedy Greenway today.

IMG_1513Fossil Fueled, John Craig Freeman, augmented reality public art, Rose Fitzgerald Kennedy Greenway Conservancy, Boston MA, 2019.

These two projects allow users to view and explore world-scale virtual representations of the detritus of an era of optimism based on the freedoms afforded by the automobile and the interstate highway system. Fossil Fueled includes a collection of virtual gas pumps, dating from the 1920s to the 1970s. Some have become unmoored, spinning in midair.

IMG_1507.jpgRoadside Detritus, John Craig Freeman, augmented reality public art, Rose Fitzgerald Kennedy Greenway Conservancy, Boston MA, 2019.

Old Route 1 was produced along the remaining U.S. Route 1 through Massachusetts from Attleboro to Newburyport. The artist traveled the historic highway scanning residual evidence of the utopic mid-twentieth century automobile culture.

Press

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Bloomberg, ART + TECHNOLOGY

Technology is changing the way we make, experience and share our ideas. But how do artists use it to shape their craft and the way their audiences experience it? ART + TECHNOLOGY explores how creatives are bringing the disparate fields of ART + TECHNOLOGY together to reveal surprising works that belong to a whole new genre.

ART + TECHNOLOGY Episode 26: “Can AR drive change?”

Viewing technology as a crucial part of the art world in 2018, John Craig Freeman works with AR to create authentic artwork that will be relevant to the masses. In the twenty-sixth episode of ART+TECHNOLOGY, we are introduced to John’s AR art through the lens of globalisation and local communities.

John’s project, Coming Home is an AR public art installation that raises awareness of the houseless in San Francisco. To showcase the plights of the elderly, the homeless and students; Coming Home combines AR and storytelling to create a vehicle for education and empathy through art.

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Coming Home

An immersive augmented reality public art installation created by John Craig Freeman and Sound Made Public, Produced by Lava Mae and ZERO1

Public launch September 7th–14th, PROXY, San Francisco

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Coming Home, is a walk through augmented reality experience connecting the people of San Francisco across the housing divide. Visit the project page.

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Facing Rocky Flats

 

Canyon Gallery
9th Street and Canyon Boulevard, Canyon Blvd, Boulder, CO 80302
April 27 – June 10

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Reproduction of one of eleven 10’ x 40’ billboard images from the 1990 interventionist public art project Operation Greenrun II, John Craig Freeman, 10′ x 40′ mosaic laser prints on coated fluorescent paper. Photo Mark Freeman.

Curated by Jeff Gipe, “Facing Rocky Flats” precedes the planned public opening of the Rocky Flats National Wildlife Refuge. This group exhibition uses art and oral history to explore the past, present, and future of this contentious site.

From 1951 to 1989, Rocky Flats produced the plutonium “pits” (or fissile cores) for every nuclear weapon in the U.S. arsenal. During that time, the plant was alternately revered as a patriotic enterprise that protected American freedom, reviled as the most destructive bomb factory in human history, and denounced as a secretive polluter that spread deadly radiation across Denver’s suburbs. Equally heated debates have broken out over Rocky Flats’ demolition (1995-2005) and the ongoing efforts to keep its residual contamination from spreading.

Today the former bomb plant is invisible to the eye, yet its radioactive remnants will outlast the half-life of plutonium – 24,110 years. The legacy of Rocky Flats is still in its infancy. “Facing Rocky Flats” surveys the first of what will be many generations of creative undertakings necessary to keep the site’s history and memory alive.

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Canyon Gallery, Bolder Colorado. Photo Mark Freeman, 2018.

John Craig Freeman is an artist with over two decades of experience using emergent technologies to produce large-scale public work at sites where the forces of globalization are impacting the lives of individuals in local communities. With his work, Freeman seeks to expand the notion of public by exploring how digital networked technology is transforming our sense of place.

In the late 1980s, Freeman moved to Colorado to pursue an MFA at the University of Colorado. Before he arrived, a group of environmentalists known as Citizens Against Billboards on Highway 93 had organized a successful boycott against a group of billboard that were lined up in a row, just outside the front gates of the Rocky Flats plant. The ads, located along one of the most scenic parts of the drive along the Front Range of the Rocky Mountains, were considered an eyesore. Plutonium contamination is, of course, invisible.

Unable to convince local businesses to advertise on the billboards, the owner was driven out of business and the billboard structures stood empty for several years. Freeman recognized the billboards potential for public art and began making proposals using early Macintosh desktop computing technology. After convincing the owner to loan the structures for the project, Greenpeace got wind of the project and offered to fund it.

Operation Greerun II, consisted of eleven 10′ x 40′ billboard faces, made of thousands of individual 8.5” x 11” bitmap laser prints per billboard.

Over about a mile, the text read “TODAY” “WE MADE” “A 250,000 YEAR” “COMMITMENT”. The half-life of of plutonium, the duration of time that it remains deadly, is a quarter of a million years.

The decision to shut down plutonium operations at Rocky Flats was quietly taken during the media firestorm that followed this project.

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Installation, Facing Rocky Flats. Photo Mark Freeman, 2018.
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Exploring an Augmented Reality

Ronni Gordon, The Take Magazine, November 18, 2017

New media artist John Craig Freeman uses augmented reality in public art projects to let us see two worlds at once.

hero-2It’s hard to escape the debate over the proposed border wall with Mexico, but, if you live in New England, difficult to envision the area where it would go. New media artist John Craig Freeman has brought the U.S.-Mexico border to Boston through a technique called augmented reality (AR), or digital information integrated into the world in real time. His project, Virtual U.S. Mexico Border, enables viewers to be in two different worlds simultaneously. Read the entire article.

 

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Screen City Biennial, Stavanger Norway

Virtual US/Mexico Border, augmented reality public art
Opening October 5th–8th, 2017, until October 31st.

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Curated by Tanya Toft and Daniela Arriado, Screen City Biennial is produced in partnership with the Stavanger Maritime Museum. The theme of the Biennial, Migrating Stories, reflects topics of migration and post-colonialism, new geographies and ecology, real and virtual voyages, storytelling and narratives traveling through time.

 

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John Craig Freeman, Portal to an Alternative Reality

Emerson Urban Arts, Media Art Gallery
Opening reception: Wednesday, September 20, 2017, 5:00-7:00 pm
Exhibit on view: September 21 – November 18, 2017
25 Avery Street, Boston, MA 02111
Gallery hours: Wednesday-Saturday 2:00-7:00 pm

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An installation of virtual reality and augmented reality projects by new media artist John Craig Freeman, Professor of Visual and Media Arts at Emerson College, Boston.

John Craig Freeman, Professor in the Department of Visual and Media Arts at Emerson College works in emergent digital media to create virtual and alternative reality installations that address social and political issues of currency. With his work, Freeman examines sites where the forces of globalization are impacting the lives of individuals. He seeks to expand the notion of public art by exploring how digital networked technology is transforming our sense of place. This exhibition features two of his recent subjects interpreted through three different projects: Chinatown Station with Service to Wuhan (2017); Virtual U.S./Mexico Border (2017); and Border Memorial: Frontera de los Muertos (2015).

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