Austin! 💿
Untitled 5 is at the @blantonmuseum part of a group show called Run the Code: Data-Driven Art Decoded. 🎛️
Check out the other pieces and if you're not there, you can read the arts write up in the @nytimes !!
On view till August 8, 2026
This series of four untitled monotypes depicts cracks in a sidewalk filtered through both digital and analog processes. My goal with these experiments is to embrace computational tools, while undermining the fantasy of digital images and information that are endlessly and perfectly reproducible, will never decay, fail, or be entangled with the world outside themselves. As I generate these prints, algorithmic simplifications and “errors” are introduced, and temporal and physical processes (and my lack of expertise as a printmaker!) impinge upon a perfect reproduction. My hope is that these images evoke a kind of humility and presence contrary to the hermeneutic slickness that is the default result of digital processes fundamentally designed to suppress “noise”.
The iterative steps I use to create each print are:
• photograph failure points in a concrete sidewalk
• run the image pixels from the photographs through an edge-detection algorithm to simplify the edges of the cracks into a series of x,y points (vector lines)
• trace these lines with a laser cutter, burning paper to create a positive and negative stencil
• place the stencils on inked acrylic plates and run these in multiple passes through a traditional etching press – improvising the colors and placement of the stencils with each layer
• include “ghost” prints as some layers – this process of reprinting a plate a second time creates darkened outlines of the stencils from residual ink left on the plate
• re-run the edge-detection algorithm on the photographs at different resolutions, to create more simplified or “degraded” outlines of the cracks
• print new layers with the different resolution stencils
• continue to thin my ink until it “falls apart” leaving blotchy, imperfect areas of color that remind me of the deteriorating concrete
EXTRA/PHENOMENALITIES
January 22 – March 13, 2026
Stanford Art Gallery
Monday-Friday, 12-5pm
Free & open to the public
This exhibition explores forms of appearance that press against the edges of perception—phenomena that are felt only indirectly, sensed as traces, intensities, or disturbances rather than as stable objects. “Extra/phenomenality” refers to this ambiguous zone of surplus and slippage: where aspects of the world exceed or elude our usual modes of noticing, while still shaping how we see, feel, and understand.
ARTISTS:
Morehshin Allahyari, Mark Amerika, Will Luers, & Chad Mossholder, Brett Amory, Rebecca Baron + Douglas Goodwin, Jon Bernson, Daniel Brickman, Paul DeMarinis, Karin + Shane Denson, Ebti, Frank Floyd, Gabriel Harrison, DJ Meisner, Joshua Moreno, Carlo Nasisse, Miguel Novelo, Andy Rappaport, William Tremblay, Camille Utterback, Kristen Wong
CURATED BY: Brett Amory, Karin Denson, and Shane Denson
✨ The five hand-painted glass panels in #CamilleUtterback’s 𝗙𝗮𝘁𝗵𝗼𝗺 come alive after dark through responsive projections.
As winter evenings set in, it’s the perfect time to revisit this installation by @camilleutterback at @Stanford ’s CoDA building, or see it for the first time.
#StanfordArts #PublicArt #InteractiveArt
Now in the gallery is work by Camille Utterback (@camilleutterback ), a pioneer in the field of digital and interactive art. Her work ranges from interactive gallery installations, to intimate reactive sculptures, to architectural scale site-specific works. Historically, Camille’s work has explored the aesthetic and experiential possibilities of linking computational systems to human movement and physicality in visually layered ways. In addition to a newfound love of printmaking, her recent projects combine computer generated animations with custom glass panels or hand formed glass to explore the potential for display surfaces that address the subtleties and sensuality of our depth perception.
Camille’s many awards include a MacArthur Foundation Fellowship (2009) and a US Patent (2001). Her extensive exhibit history includes more than fifty shows on four continents; highlights include the Smithsonian American Art Museum, and the National Portrait Gallery in Washington, DC; the Whitney Museum of American Art, New York, NY, and a solo show at the Amon Carter Museum of American Art (2019). Camille’s Text Rain piece, created with Romy Achituv (1999), is an early digital interactive installation collected by the Smithsonian American Art Museum. Her permanent, site-specific commission Fathom (https://arts.stanford.edu/for-visitors/public-art/fathom/) created for Stanford’s new Computing and Data Science building opened this spring.
Camille is an associate professor of art in the Department of Art & Art History, and by courtesy, of Computer Science, at Stanford University. Her work is represented by Haines Gallery in San Francisco.
PIECES
untitled, 2023
Monotype
X4
Caption continued in comments👇
Mysterious, tactile, and temporal. #CamilleUtterback’s latest installation, #Fathom is animated by real-time, computer-generated projections that react to people’s presence and movement in the space.
💬 “I was really interested in helping people think about how data has always been culturally specific. It is never completely abstract, or neutral, or disembodied. It always exists within materials that we have to encode it in something.” — @camilleutterback
👉 Experience Fathom at @Stanford ’s CoDa building.
#StanfordArts #PublicArt #InteractiveArt #ArtAndData
✨ First light, first glance. With Vera C. Rubin Observatory’s debut images online, we’re spotlighting Fathom’s top triangle as a bridge between art and astrophysics. ✨
Yesterday, the 8.4 m Simonyi Survey Telescope debuted its first images using the 3.2 gigapixel LSST camera—part of a decade‑long Legacy Survey of Space and Time, capturing the entire Southern sky every 3 nights 🌌 🔭
With support from a Humanities Seed Grant, @stanfordaah faculty Camille Utterback will continue her artistic collaboration with the Center for Decoding the Universe to blend astrophysics, data science, and AI.
This fall, along with Stanford students, they will process nightly LSST data from the @rubin_observatory using custom open-source tools. These animations will be projected live onto the T5 glass panel in the CoDa stairwell—bringing cosmic data into a shared, tangible experience .
🔺 Swipe through—from concept to cosmic.
📸 ‘Fathom’ installation images: Henrik Kam
#stanfordarts #artshapesus #fathom #publicart #coda #verarubinobservatory #LSST #firstlight #mediaart #artandtech #darkmatter #cosmiccollab #glassart
Fathom, a groundbreaking new public artwork by #CamilleUtterback, is now on view at #Stanford ✨ Congratulations, Camille!
Commissioned for @stanford ’s new Computing and Data Science (CoDa) building and installed in its five-story windowed stairwell, Fathom is an interactive installation, illuminated by the sun during the day, and animated after dark with live computer-generated projections that respond to the presence and movement of people in the building.
Each of Fathom’s five triangular panels depicts different examples of encoded data. @camilleutterback , a Stanford faculty member, developed the wide variety of imagery in collaboration with the university’s research community.
Swipe to learn more ➡️
Images: Installation views of Fathom at Stanford University. Photos by Henrik Kam (slides 1, 4, 6), Andrew Brodhead (slide 2), and Camille Utterback (slides 3, 5)
#publicart #artandtech #glassartwork #stanfordarts
Ever wonder how a public artwork like Fathom comes to life? 🧠✨
In this segment, @stanfordaah Assoc. Professor @camilleutterback takes us inside her process—materials, prototypes, and more—all leading to the creation of Fathom for Stanford’s CoDa building.
Hit the 🔗 to see more and follow us for more incredible arts stories happening across the farm.
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#stanfordarts #artshapesus #publicart #coda #camilleutterback #creativeprocess #artandtech #mediaart #prototypes #glassart
What if data moved like light? 🌐💫
Camille Utterback’s Fathom is a new public artwork installed at the CoDa building—an immersive piece that turns movement and data into a living, shifting visual language. Developed in collaboration with Stanford faculty, including astrophysicist Risa Wechsler, Fathom bridges code, material, and imagination in ways you have to see to believe.
CoDa will be shared by the Department of Computer Science, the Department of Statistics, and Stanford Data Science, and will support teaching and research across the university, including the School of Humanities and Sciences.
This teaser is just the beginning.
Hit the 🔗 in @stanfordarts bio to watch the full video—and stay tuned for more clips from the story 👀
🎵MB01QYDYI38SVEO
#stanfordarts #artshapesus #publicart #coda #camilleutterback #interactiveart #mediaart #artandtech #facultycollab
