From Twin Quasars to Digital Frontiers at the Whitney Artport Whitney Virtual Space.

Twin Quasar, 2024, images courtesy of Ashley Zelinskie and The Whitney Museum

By LARA PAN May 22, 2025

The Twin Quasar is a quasar located in the constellation Ursa Major, also known as the Big Bear. It appears as two distinct quasars due to the phenomenon of gravitational lensing. This object holds historical significance as it was the first instance where gravitational lensing was conclusively proven. Remarkably, it is possible to capture the Twin Quasar using amateur astronomical equipment. I could delve deeply into the topic of quasars and black holes, but let’s turn our attention to Zelinskie’s work, which we can enjoy viewing at the Whitney Artport Whitney Virtual Space.

It has now been nearly a quarter of a century since the Whitney Museum has been shaping the next wave of creativity through pioneering digital innovation. One of the key figures behind this evolution is Christiane Paul, the curator of digital art at the Whitney Museum, whose visionary approach embraces the transformative potential of emerging technologies.

Twin Quasar is a work by Ashley Zelinskie, specially conceived for the Whitney Museum’s virtual landscape. It is an invitation—an exploration of the thresholds between the seen and the unseen, a challenge to push beyond surface appearances. Through the fusion of digital art, technology, and conceptual depth, Zelinskie’s work reimagines the way we experience space and perception in the virtual realm. At a time when many art magazines overlook digital and technology-driven art, it is heartening to see institutions like the Whitney championing these conversations. Meanwhile, science journals seem increasingly attuned to artists engaging with technology in compelling ways. On the occasion of the upcoming event On Art, Science, and the Virtual World, taking place on May 22nd and hosted by the Whitney Museum, I’ll be conducting an interview with Ashley and Christiane, whose work continues to deepen my appreciation for digital art.

LP: Ashley, you’ve been collaborating with NASA as an artist for quite some time. What inspired you to create a piece around the Twin Quasar and present the concept of gravitational lensing? Can you share how this project came to life?"

Gravitational lensing has fascinated me since 2022, when the first images from the James Webb Space Telescope were revealed. I had the pleasure of being at NASA Goddard when the photos were shared with the public. I remember the “Deep Field” image in particular from that day. It included a strange, circular smudge in the foreground that immediately caught my eye. I later learned this was a perfect example of gravitational lensing. I was curious to learn more and the idea stuck in the back of my mind. 

That same year, while I was interviewing Dr. Tim Rawle of the European Space Agency (ESA) for the ESA version of my “Unfolding the Universe” virtual reality project, we ended up going completely off-topic and diving deep into the mechanics and mysteries of gravitational lensing. That conversation left a lasting impression on me, and there’s a video of that discussion (and my excitement) on my Instagram.

The concept of light being bent and magnified by an invisible intermediary force felt like a powerful metaphor to explore artistically as part of Twin Quasar. With the help of Christiane Paul, the Curator of Digital Art at the Whitney, we combined the concept of gravitational lensing with works from the Whitney’s collection. The paintings are not only represented in the sculpture but also serve as each of the “twin quasars,” adding color and light through an animated particle system. In a way, this is an invisible sculpture—without the color and light of the paintings, there would be nothing to see. Only through the light being bent and distorted does the gravitational effect reveal itself. 

Twin Quasar, 2024, images courtesy of Ashley Zelinskie and The Whitney Museum

LP: There are two ways to access your project on the Whitney online digital platform: 'Enter Project on MONA' and 'Enter the Archival Project'. Each provides a distinct experience. I would love to hear more about both platforms 

The Mona version of “Twin Quasar” is a platform to experience the work alongside others. People from anywhere in the world can log in to the space, view the art, and interact with one another. It is a more social experience, in which each viewing is shaped by those you view it with. In contrast, the archival version provides a solo experience, designed to be a consistent experience over time. Being alone in the space can also be a more meditational experience.

The great part about having the piece on a multiplayer platform like MONA is you can host events such as artist talks or educational outreach. During my “Unfolding the Universe” exhibition in VR I hosted lectures with scientists on the Webb Telescope team, as well as a literally “Launch” party when the telescope was launched into orbit. 

There is also a third format for “Twin Quasar” and that is in the Apple Vision Pro headset. This creates a fully immersive experience, and gives a truly galactic sense of scale. It’s a great way to experience the work.

LP: How has the collaboration between you and Christiane Paul been on this project? Do you think it will be possible to create a tangible experience, perhaps in a room using VR in the near future?

It has been such a pleasure collaborating with Christiane. Her curatorial vision and expertise in digital art have been instrumental in shaping "Twin Quasar." Christiane has a remarkable ability to balance the technical intricacies of digital media with its broader cultural and artistic significance. She was a fantastic sounding board throughout this process, helping me refine the piece and pushing me to realize my vision for this piece. She is one of my favorite people to work with! 

As for creating a tangible, immersive experience, I absolutely think it’s possible. In fact, it is something I’m always pursuing. VR offers a unique way to bring audiences closer to phenomena like the Twin Quasar. Only with VR could I hope to recreate the sensation of looking through a gravitational lens, or even navigating the warped space-time it represents. It’s truly the best medium for something like this. However, as a classically trained sculptor I am always looking to pair my digital work with more traditional physical media. Recently I have been making a number of works in marble, creating a wonderful contrast between classic materials and modern concepts. Hybrid installations that combine digital and physical works are a great way to engage audiences—both in and out of a headset—and situate the work in the context of art history. It doesn’t hurt that sculpture is one of my first loves!

Twin Quasar, 2024, images courtesy of Ashley Zelinskie and The Whitney Museum
 

LP: Christiane, artport was created a while ago. I would love to hear about how it all began and what inspired its creation.

Christiane: I started working as a curator of digital art at the Whitney Museum in 2000, at a time when art institutions started paying more attention to net art, which had emerged as a medium in the mid-1990s. I conceptualized artport as the Whitney’s portal to net art, and the museum launched the site in 2001. The Walker Art Center had already created an online exhibition space, Gallery 9, under the direction of Steve Dietz, in 1997; and SFMOMA inaugurated its online gallery e.space in 2000. Since 2001, I have commissioned more than 100 original works of net art for artport. The goal always was to trace the evolution of Web-based art and show the breadth of artistic practice in this medium. I also believe that it is important to integrate online art into museum exhibitions and see it in context with other media. 

LP: You invited incredible artists, including Peter Burr, to create commissioned works for Artport. A book tracing these projects would be fantastic. How do you envision Artport's future? Can we expect more exhibitions at the Whitney that incorporate new technologies soon?

Christiane: In 2026, we will be celebrating artport’s 25th anniversary with an exhibition in the museum and an accompanying catalogue, which will trace the site’s history. The artport gallery will continue to showcase the latest developments in net art, and we are making more efforts to connect artport projects to the physical museum space: for example, with Nancy Baker Cahill’s CENTO, a monumental AR creature that is flying over the museum’s 8th floor terrace, and the On the Hour series, net art projects that unfold over 30 seconds on whitney.org and all the screens in the museum, marking every full hour around the clock. Opening in April will be the next Hyundai Terrace Commission by Marina Zurkow, on view on the Whitney’s 5th floor terrace and accompanied by an exhibition of Marina’s work in the adjacent gallery. It’s going to be an exciting large-scale site-specific installation.

LP: Christiane and Ashley What lies ahead for the Twin Quasar? What are the next steps in its journey?

The journey of “Twin Quasar” is far from over. One of the most exciting aspects of this piece is its potential to evolve and expand across different mediums and contexts. As VR technology continues to advance at a rapid pace, it’s thrilling to imagine how this work can grow alongside those innovations. I envision hosting virtual events where participants from all over the world can step into a fully immersive environment. Through these experiences, they could not only witness the phenomenon of gravitational lensing in real time but also engage deeply with the science and the narrative behind it.

This approach builds on some of my previous work, such as “Unfolding the Universe” (2021), where I hosted a series of virtual events featuring NASA scientists and engineers. Those events allowed audiences to engage directly with experts, bridging the gap between art, science, and public understanding. With “Twin Quasar”, I hope to take that model even further.

LP: Ashley, the last question is for you. Can you tell us a bit about your upcoming projects?

I am currently working on a collaboration with astronaut Mike Massimino, focusing on his time in space repairing the Hubble Telescope. The show will combine traditional marble sculptures with cutting-edge digital works, such as projection-mapped video and holograms.

The marble sculptures are particularly special. They are 3D scans of Mike’s spacesuit and equipment. I have especially enjoyed carving the intricate fabric details of the gloves and boots into stone. I’ve always been drawn to the contrast of soft, pliable fabrics rendered in hard stone, and in this case, it feels especially meaningful. The spacesuit, telescope, and shuttle are all this striking white color, which beautifully echoes the Carrara marble. My digital work can sometimes feel high-tech and ephemeral, particularly when exploring complex and abstract phenomena like space exploration and zero gravity. The marble grounds the work, quite literally, bringing it back to earth. The works will have a tight and deliberate color palette inspired by the natural blue tones of Earth, the deep black of space, and the white and copper of the Hubble Telescope. 

Ultimately, this project explores the frontier of space travel, the resilience of the human spirit in the vastness of space, and the profound responsibility to protect our home, Earth—the only place in the universe we truly belong. WM