Holographic art currently showing at the Queens Clock Tower in Long Island City, NY, curated by Dr. Martina Mrongovius.
The exhibition Interference:Coexistence at the Holocenter in NYC
If you have ever wondered about holographic art, about what it might look like, about what the creative minds of holographic artists might produce, then you must go to see the show, “Interference:Coexistence”, at the Queens Clock Tower in Long Island City, NY, curated by Dr. Martina Mrongovius.
It’s been awhile since there has been a show in the NY metro area with a comprehensive array of fine art holograms. In the 70’s and 80’s we had the Museum of Holography, a very active place that featured the work of local and international holographic artists. With the closing of the Museum in the early 90’s we lost an important point of access to new work in this unique medium. Analogue Holography (as opposed to Digital Holography) is a very technical medium - one which requires vast amounts of patience and perseverance and knowledge of optics to achieve the desired results. But a small number of artists have been working in holography for a long time and have produced a wide range of art pushing it well beyond the object-based representational medium it may have been perceived as early on.
Last summer’s show at the New Museum (that featured holograms created by well established artists and curated by Jenny Moore) was a beautifully presented show of a specific body of work but, as The New Museum, we would hope that there are plans afoot to show the work of contemporary holographic artists who have built careers in this medium since the late 60’s. The works in the New Museum show were the very first, early works in holography (or only works in holography in some cases) by artists Louise Bourgeois, Chuck Close, Bruce Nauman, Eric Orr, Ed Ruscha, and James Turrell. Most of these works were produced as a result of “The C Project” (all of the above artists except Bruce Nauman participated in The C Project) which provided a process that I liken to working in a bronze foundry. They were brought to the project by another artist, Ron Mallory, and evolved working relationships with two holographic artists, Larry Lieberman and Matt Schreiber, in a facility in Florida (Larry in the earlier days and Matt later on). It was an arrangement that facilitated some very interesting work. Although none of the works shown at the New Museum were ground breaking they did show great potential and they are important works in the history of Holography. Of this exhibited group James Turrell has been pursuing the exploration of this medium quite extensively (some of these works were included in his current retrospective at the LA County Museum of Art).
Betsy Connors, LightRain II, 2010
Well, jump from that show at the New Museum to “Interference:Coexistence: ”, a show curated by Dr. Martina Mrongovius as Director of the Holocenter, a not-for-profit organization based in NYC. Located in the Clocktower at Queens Plaza, this expansive exhibition space is filled with historical gems of holographic art alongside some of the most cutting edge digital holographic images. It is an opportunity to survey the work of some of the early explorers of this medium and the many directions they have taken over the years as well as the new work of young up and coming holographic artists. In contrast to the work from “The C Project”, most of these artists produced this work by building their own holographic systems and interfering light under conditions of no vibration, either on their own or by participating in residency programs where they had access to the pulsed laser or conventional holographic systems. A few pieces were also made in commercial facilities or research labs.
The Holocenter was originally the brainchild of Dr. Ana Maria Nicholson and the late Dan Schweitzer, both holographic artists. Beginning in 1998 and originally funded by the now defunct Shearwater Foundation, the pulsed laser facility was the home of a residency program for artists to make holographic art. The Holocenter is now directed by Dr. Martina Mrongovius, and the pulsed lab is still offering residencies but they are now housed at the University of Ohio.
At this moment The Holocenter is shifting gears and this show marks an influx of new energy embodied by Martina Mrongovius. Martina is a part of a group of younger artists and their associated audience (Martina brings an affiliations with Flux Factorythat are just now being exposed to holographic art. In this show she has selected work from the past (including the works of several artists who have died in recent years) as well as the latest works of young artists coming into this medium and brand new, hot off the presses, pieces from artists like Paula Dawson (Australia). Paula has been on the cutting edge of this medium (from her beginning in holography in the early 70’s) and her recent holograms are being produced from digital content using a haptic device which enables her to draw freehand lines in 3D space with a computer stylus. The range of work in this show helps to give a perspective of this medium over time. The show is extensive, on two floors, and has works that use a variety of different holographic techniques. You will see holograms large and small, in full color, monochrome, rainbow and pseudocolor. Some are animated, others collaged, combined with sculpture, neon, even record players, and all illuminated by light in very specific ways. Without illumination at the correct angle and the right light source each of these images would not be revealed.
Mary Harman, Hand and Bucket, 1985
For those of you who are in the NY area, I strongly encourage you to see this show. For those of you who live elsewhere we are going to offer a unique online event. Join us Friday, September 27th, 3 - 4 pm EST for a tour that I will host as Martina and Sam Moree walk around the gallery, showing us the work via digital video. Other surprise guests will also be joining us on the 4 other live video feeds. We will be recording the event which will be posted later on my blog at www.artinthe5thdimension.com. Contact me at greenwoman555 at gmail.com for details regarding how to join us online.
I write as someone whose adult life has (for the most part) been immersed in holography. It has been a grand passion. Walking into the International Center for Photography in 1975 for the show Holography '75: The First Decade
JULY 3–SEPTEMBER 19, 1975, and seeing my first hologram was a mind blowing experience. I spent a long time looking at those images and walked out of ICP in a daze, utterly convinced that this was the medium I wanted to create images with.
It has been a long journey, learning my craft, teaching about it, setting up facilities, working in Optical Research at NY Institute of Technology in tandem with the fabled Computer Graphics Lab in the early 80’s, acting as curator of the NY Museum of Holography and curating independent shows of holograms, creating 3D animations for digital holograms, writing articles about holography and presently teaching it online and blogging about it. Now, 38 years later Nick Dager at Digital Cinema Report has asked me to write about the Future of Holography......... I paused to think about this for a while. Despite the wobbly nature of 3D in the TV and Cinematic worlds there are many developments and new approaches to a broad spectrum of 2D and 3D applications that these days people are calling holographic. It has put new life into a medium that is on a threshold of change in it’s own right but at the same time has caused much confusion.
Before I can talk about the future I think it is necessary to talk a bit about the past as there is currently so much mis-information about holography. The medium was invented in the 1940’s by Hungarian Scientist Dr. Dennis Gabor
Dr. Dennis Gabor
who was at that time working in the UK. He coined the name “Hologram” from the Greek words “holo” - meaning whole and “gram” - meaning message, the whole message. The strict definition of a hologram is that it is a recording of an interference pattern of light into a photosensitive medium and a laser is required to do this. The technique could not be fully demonstrated until the first lasers were invented and in 1962 two scientists at the University of Michigan, Dr’s Emmet Leith and Juris Upatnieks, made the first holograms using lasers with very specialized optics and vibration isolation tables to prevented any movement during recording of the hologram. In the UK, just a few years later in 1968, pioneering artist, Margaret Benyon,
Dr. Margaret Benyon
taught herself how to do this and made her own art holograms at the University of Nottingham. This medium which straddles the worlds of Art and Technology is challenging from many perspectives but offers so much potential to open up new realms of dimensional creative expression.
Over the following two decades we witnessed a very fertile period where artists and engineers collaborated in an exciting environment that kept shifting and changing as new techniques, lasers, chemistry and holographic emulsions were developed. Artists built their own labs, invented new ways to make these amazing images, and developed their own custom systems to illuminate and install them. We also formed a small global community that largely came together at conferences and to install holographic exhibitions. There were many shows, large and small, fine art shows in galleries and museums and also large shows in science museums that featured the varied applications of holography in Art, Science and Technology. Most of these “analogue” holograms required the use of some form of real world object to create the hologram but one development, the Holographic Stereogram, was a precursor to the “digital holographic” techniques that are being developed today. Some of you may remember seeing cylindrical or semi-circular holograms that showed moving figures. A fairly widely seen example was a head and shoulder view of a woman blowing a kiss and then winking as you moved from left to right in front of the image. This was the work of a group in San Francisco lead by holographer Lloyd Cross and these were commonly known as Multiplex holograms.
But this was pre-digital, made by shooting film with a pin registered 35mm film camera while the subject stood on a slowly rotating turntable. The processed film from this shoot was projected one frame at a time onto a long piece of holographic film about a foot high through an optical system that recorded these images as a series of vertical slit holograms. When you look at the final hologram your eyes see a sequence of stereo images that the hologram locates in the right position for each of your two eyes. You see a 3D image but it will change continuously as you move in front of it. By moving from side to side you can play it forwards or backwards, but you control the rate of movement.
As we moved into the 90’s it was apparent that our world was entering into a new digital phase and the “analogue” aspect of early holography began a shift into the digital world. Over the past 20 years there have been a number of hybrid systems developed to create holograms from digital content. These holographic printers make it possible to create hard copy holograms from digital models rendered out to specific parameters for each particular system. These images can have some animation but it is limited to about 10 seconds. In addition, by using a digital video camera on a rail or an array of cameras firing simultaneously, it is also possible to make holograms from video content. Holograms produced this way can be quite large (so far up to about 2M x 2M) or as small as a ½” square label or a postage stamp. Depending on the type of hologram that is being printed and the company printing it, they can be either a one off (mostly the very large sized holograms) or millions of copies (small labels) with various sizes and copying volumes in between.
That holograms are essentially “hard copy” 3D images that go on the wall or sit on your desk may be a surprise to some of you. So many people were first exposed to the idea of holography in Star Wars with Princess Leia being projected out of R2D2 in her distress call and then later the idea of the Holodeck became firmly implanted in our minds by Star Trek.
Tupac Shakur “hologram” at Coachella 2012
More recently rap artist Tupac Shakur was revived from the dead with a “holographic” performance at Coachella that set everyone talking about holograms again. None of these are holograms. None of these are even 3D. They are all a product of the imagination of Hollywood and musical promoters. These images have conditioned the world to think of holograms as a form of moving 3D without glasses and the public accept these things as truth because they don’t know the difference having never seen a real hologram.
Speaking with Dr. Michael Bove at the Spatial Imaging Lab at MIT, (who inherited a pioneering project to make holo video from the late Dr. Stephen Benton, inventor of the Rainbow hologram), I learned that holographic video has taken a large step forward recently with a new low cost approach that they wrote about in a recent article in the journal, Nature. However, according to Michael, we are at least 10 years away (in practical terms) from a small sized commercial application of this technology. Even small sized, fully dimensional TV without glasses still has a way to go.
So how do I see the future of holography?
Well lately I’ve been looking at a number of projection techniques and dimensional systems that I think may be bridges towards the goal of fully dimensional moving holograms as well as some new developments in what might be called “hard copy” holograms.
Let’s look first at the Tupak Shakur “hologram”. This was produced by the use of an update of a very old technique (from Victorian times) that is known as Pepper’s Ghost. A technique used in theaters and by spiritualist of that time (and later by Disney in the Haunted House), it created illusions of ghosts using a large piece of glass and lighting the subject in a specific way. The image created with this technique appeared to be alive, moving, ghostly looking and seeming to hang in thin air.
Pepper's Ghost as presented in Victorian Era theaters.
In the past few years this technique has been updated and the glass has been replaced by a thin mylar film that is tightly stretched in huge sheets and is suspended across the stage of large theaters or even outdoors at a 45 degree angle.
This alone did not make Tupak revive. It required shooting in very high resolution, some amazing CG work using a body double, and the mapping of Tupak’s head to the body as well as very powerful projectors that make the projected image look quite real. The fact that he moves around showing different parts of himself helps the illusion but it is still 2D.
There are several groups out there currently developing hybrid systems that take this technology a little further down the road towards the Holodeck. Right now they are largely under wraps but I think that what we will see will be systems that look more and more convincing and that use higher definition projection and new ways of projecting stereo 3D, some without glasses. These may be quite effective and engaging and for all who have not seen an actual hologram, quite believable as holograms. I do think that with clever use of this medium many creative and engaging productions will be made.
Along side of this, Virtual Reality techniques in immersive media are a different hybrid approach, again not truly holographic but your brain receives input that makes you feel as though you are immersed in an interactive 3D world. These systems are becoming practical tools for engineers, designers, and artists to create art as well as prototypes of a wide range of products and to simulate testing them under a range of conditions. They are made more immersive by using haptic devices that simulate touch, navigation, and interactivity in those worlds.
Another approach that has been taken by a few companies is to create content that is rendered out as video from animated 3D computer models into many different camera views (say 20 or 30) or shot with that number of digital video cameras for a live situation and to project all of these views side by side onto a specially designed holographic screen. The screen creates a seemingly continuous viewing area from these many different perspective views and as you move from side to side in front of it you have the ability to look around within a moving 3D scene. Like a true hologram this device does not require glasses to view it.
Other groups are working with a variety of mechanical, scanning approaches to create volumetric images that appear 3D - again not truly holographic but interesting to explore.
All of these approaches take us into worlds that are engaging and fun, although not really holographic, and as such can only go so far towards the true potential of what holograms can actually do.
So, although we can’t yet make high enough quality moving true holographic images, we can make some pretty high quality digital holograms with around 200 - 1,000 frames of animation. It is now possible to create 3D animations, render them out to a particular spec for each custom system and send that data to a holographic printing facility where they will print you a full color digital hologram. These are typically printed element by element or hogel by hogel (holographic pixel) or strip by strip in older htbrid system. There are a variety of these systems around the world, each producing a holographic image that has it’s own style or look depending on the material and chemistry used to record it on and process it (this part is still analogue) and the design of the actual optical system. There is a growing small group of these commercial facilities spread out around the world. Artists such as the acclaimed Light and Space artist, James Turrell, and Pop Artist, Ron English,
Holograms by James Turrell
and Pop Artist, Ron English, have made a number of holograms with these companies.
Cathy Cowgirl by Ron English
New developments in recording materials coupled with a new generation of diode lasers (tiny, more powerful and cheaper) and 3 wavelength pulsed laser systems (which make ultra short bursts of intense laser light) have made some advances possible in analogue holography that are very significant. We now have panchromatic holographic emulsions (they record a full spectrum of visible light wavelengths). Some of these record laser light into the older silver halide type emulsions which require chemical processing and others record laser light into a photopolymer that is essentially “fixed” by either baking it or flashing it with uv light - no chemical processing. These new materials have been used to make holograms of real world objects that are so convincing that it is nearly impossible to tell which is the real hologram and which is the object when displayed similarly.
Hologram by Colour Holographic, UK
Holographic artists are also pushing the envelope with digital holographic technology. Dr. Paula Dawson who teaches at the University of New South Wales in Australia is a pioneering holographic artist who followed in the footsteps of Margaret Benyon and over the years has created a startling array of holographic art that has always been at the edge of the newest technology. Most recently she has been working with a haptic device known as the PHANTOM
which allows her (with custom software developed by programmers who work closely with her and which are funded by a grant from the Australian government) to create digital volumetric drawings with her own hand moving in 3D space. This digital data is then appropriately prepared for one of the holographic systems described previously in this article and printed. This ground breaking approach opens the door for artists to hand draw holographic images in the volume of space allowing them to use line drawing in a totally new volumetric way.
Paula Dawson 2013
Digital hologram (detail) as part of Holoshop:Drawing and Percieving in Depth exhibition as part of ISEA2013. Holographic content was created using with the Holoshop haptic (tactile) drawing tool. Hologram produced with the assistant of Zebra Imaging, TX.
Thinking about holography in the near future I strongly believe that we are moving towards a next generation of holographic images that will be startling in their realism. With that level of quality holograms will be open for exploration in a multitude of abstracted and imaginative ways. Of course, the success of such holograms depends even more on the skills of the artists creating the content because ultimately content is the ingredient in this mix and writing on the subject of creativity in content brings me back to my own work in this field.
I have been convinced for a long time that it is essential for any artist who wants to create content for digital holograms using 3D animation to also learn as much as possible about analogue holography. Analogue holograms have unique properties that do not exist in any other medium. To give you a taste, each little piece of the holographic image contains information about the whole image; you can create interpenetrating dimensions; you can encapsulate Time and Space and then play it backwards and forwards as you interact with the image. When you understand the subtleties of the many techniques of Analogue Holography you can begin to get your head around how to create 3D animations within the computer that can simulate these phenomena. Then you have the potential to create truly effective holograms from digital content. Without this you will just be making a hard copy form of 3D animation created on a 2D screen.
So, here and now, I feel like we are poised on the threshold of a new wave of holographic possibilities. Just today I read a report from Matt Brennesholtz at Display Central who wrote about the decline in box office for S3D but he also reports that “MarketsandMarkets Analysis” predict that the global 3D imaging market is expected to grow from $3.01 billion in 2013 to $9.82 billion by 2018. The market he identifies embraces all of the imaging techniques that this article has discussed. A door is opening into a dimensional imaging world that is pregnant with creative potential and waiting for inspired artists to explore it.
This article was first published in Digital Cinema Report August 16th 2013