Sunrise/Sunset is a series of Internet art projects that mark sunset and sunrise in New York City every day. All are commissioned by the Whitney specifically for whitney.org, each project unfolding over a timeframe of ten to thirty seconds.
Using whitney.org as their habitat, Sunrise/Sunset projects disrupt, replace, or engage with the museum website as an information environment. This form of engagement captures the core of artistic practice on the Internet, the intervention in existing online spaces. The series is organized by Christiane Paul, adjunct curator of digital art at the Whitney Museum.
To see the current project, be anywhere on this website during sunset or sunrise.
In Caughtinmoment Lorna Mills continues her explorations of the gif as an iconic visual form of the online environment by breaking down images of sunrises and sunsets into pixelated components that wriggle and twist in mechanical, jerky motions. The jagged edges of the looping forms position digital visuals between film and still image, capturing essential qualities of their abstraction and beauty. Caughtinmoment forever remains in suspension, seemingly expanding sunrises and sunsets into familiar photographic depictions and immediately contracting them to cut-outs that highlight the pixel as a building block of the digital image.
The videos below document past Sunrise/Sunset projects (2009–2017) as they appeared on whitney.org.
Allard van Hoorn, Sunrise / Sunset Haiku Engine May 22–June 21, 2017
Allard van Hoorn's Sunrise / Sunset Haiku Engine visually and verbally translates the sky above the Whitney Museum. Using the names of the Dutch Boy house paint colors as a “haiku engine,” it generates site-specific poetry for day and night. At sunrise and sunset, a screenshot of a patch of sky above the Whitney is taken from a webcam view of the Manhattan skyline. The image is then pixelated to extract a range of colors, which are matched to swatches of the Dutch Boy colors, known for their poetic naming lexicon. For 30 seconds at sunrise and sunset, whitney.org is tiled with these colored paint swatches and their accompanying labels, representing the colors of the sky at that moment. The project uses the sky as a free zone of imagination and draws attention to the perception of our environment.
Rafaël Rozendaal, Almost There
MAY 1, 2015–MAY 21, 2017
Rafaël Rozendaal's net art projects use the browser window to create abstract pictorial space. Many suggest painting, but they are all rooted in the digital vernacular that frames how we navigate the online environment. In Almost There Rozendaal uses black and white circular shapes—vaguely suggestive of the sun or full moon—to "eclipse" the Whitney's website. As visitors to whitney.org move the cursor over the black or white circle obscuring the web site, they cast spinning shadows or light over the page that obscure or expose its content, suspending it between legibility and illegibility, visibility and invisibility. With Almost There Rozendaal strives to capture the states between sleep and waking up—the moment when one stops thinking and starts dreaming (or the other way around).
Rafaël Rozendaal is a Dutch-Brazilian artist who lives and works in New York and uses the Internet as his canvas. His artistic practice comprises websites, installations, lenticulars, writings, and lectures. His work has been shown at venues including the Centre Pompidou, the Venice Biennial, Valencia Biennial, Casa Franca Brasil Rio, TSCA Gallery Tokyo, Seoul Art Square, NIMk Amsterdam, and the Stedelijk Museum project space. It has been covered in numerous publications, among them Time Magazine, Wall Street Journal, Flash Art, Dazed & Confused, Interview, Wired, Artreview, Metropolis M, La Repubblica, and Vogue.
MARCH 5, 2013–MAY 1, 2015
goodmorning goodnight by JODI explores visual and textual representations of sunset and sunrise in the online environment. Overlaid on a grid of latitudes and longitudes of the area surrounding the Whitney Museum are location-specific images of sunsets and sunrises culled from Panoramio, a photo sharing website. Viewers of goodmorning goodnight can follow the visual path of these sunsets and sunrises in different locations around Manhattan. Superimposed over the sunrise and sunset images is a layer of text comprised of scrolling lines and comments scraped from livedash, a website that allows users to search for particular words or phrases on national television. Meanwhile, a progress bar at the bottom of the webpage keeps track of the thirty-second duration of the project in real time. In JODI's signature style, the web is turned inside-out by foregrounding its iconography, processes, and codes. goodmorning goodnight collapses user-generated and media representations of time and space into a single view of Manhattan seen through a browser window.
DEC 15, 2011–MARCH 5, 2013
“Light and Dark Networks” consists of two online “data performances”— taking place at sunset and sunrise, respectively—inspired by the structures of natural networks and affected by weather and environmental changes. Visitors encounter depictions of a spider’s web at sunrise and a mushroom’s mycelium—a network of hidden branching filaments that absorb nutrients for the mushrooms to grow—at sunset. Virtual creatures, a spider and mushrooms impersonated by the artist, are activated to perform different “data dances” according to the changes in their habitat, which is defined by current New York City weather and carbon dioxide (CO2) levels. The spider web is blown into different locations on the Museum’s website according to wind direction and speed in New York City, and the number of mosquitos buzzing around the web is determined by the levels of CO2 in the atmosphere. Stretched across the Museum’s website, the mycelium changes its size on the basis of temperature and grows more mushroom videos in response to humidity levels, while the size of mushroom caps and number of spores are driven by CO2 levels. “Light and Dark Networks” explores networks as living organisms—be they spider webs, mycelium, or the Internet—as they are constantly changed by different artificial or natural parameters. Taking a look at the networked nature of both data and the physical environment, as well as their deeper structures, the work playfully examines how our physical and virtual existence are embedded in networks.
R. Luke DuBois
MARCH 10, 2011–DECEMBER 15, 2011
"So many journeys may the sun and moon" by R. Luke Dubois, the third project in the Sunrise/Sunset series, is a piece of software art based on the works of William Shakespeare. The artist-written software locates couplets in Shakespeare's works that contain the word “sun” and “moon,” respectively. It then chooses the next word based on a database of words that follow “sun” or “moon” in the original text—a technique called a Markov chain. This choice is repeated for each word in sequence: every two words can be found together somewhere in a Shakespeare text, but the project navigates through all of Shakespeare's plays. The result reads like a never-ending remix of Shakespeare's language and metaphor, with his use of “sun” and “moon” as starting points in each sunset and sunrise sequence that is overlaid onto the pages of whitney.org. The artwork's title—taken from a couplet spoken by the Player Queen in the play-within-a-play appearing in Act III of Hamlet—hints at the artist's intent to explore hyper- and intertextuality within canonical cultural texts.
MARCH 30, 2010–MARCH 10, 2011
The second commission in the series is "Outlook: Untitled" by artist Stephanie Rothenberg. At sunrise and sunset, a frenzy of faux pop-up advertisements referencing the current world economic crisis take over the screen space of whitney.org. The advertisements are interrupted by a spinning globe that turns into a Magic 8-Ball fortune telling game, inviting visitors to “try me.” The Magic 8-Ball delivers ambiguous messages or cryptic advice about our possibilities of shaping economic structures or affecting the state of the world at the click of a button. "Outlook: Untitled" employs the strategies of mediated Internet culture in which all meaning is delivered instantaneously in visual packets of bits and bytes, yet at the same time, it generates messages that disrupt and question this creation of meaning.
Flash Developer: Jose Raymond Rodriguez-Rosario
NOV 12, 2009–MARCH 30, 2010
First in the series of commissions is "Untitled Landscape #5," a project by the collaborative ecoarttech, (Cary Peppermint and Christine Nadir). At sunrise and sunset, fluctuating orbs of light disrupt the “digital landscape,” and the information environment of whitney.org is disordered by ecoarttech’s visuals, suggesting a natural phenomenon. The size and speed of the orbs will vary based on the number of visitors to whitney.org since the previous sunrise (for sunset) or sunset (for sunrise); higher visitation results in larger, slower-moving orbs. ecoarttech's work has consistently explored relationships between landscape, technology, and culture, and their commissioned work for whitney.org metaphorically explores the museum's information landscape as it is shaped by its visitors.