Filed under: ART, REVIEWS, WEB/NET/INTERACTIVE | Tags: 2012, 22, and, Anderson, art, cat, draves, gap, gilbert, guggenheim, isabel, Kenji, Laurie, lisa, magazine, on, philip, scott, snibbe, software, sterns, the, uncanny, walcott, williams
By Cat Gilbert
The inaugural LISA 2012 (Leaders in Software and Art) brought together a mix of students, professionals and artists at the Guggenheim this past October to discuss the opportunities and the pitfalls within the realm of software and electronic art. A one day conference that was packed to the gills that founder Isabel Walcott Draves, admitted “next year, we’re going to hold a 2 day conference.” Keynotes were given by Laurie Anderson and Scott Snibbe (creator of Bjork’s Biophila.)
The morning started with an introduction from Draves and the first panel “Collecting New Media Art” which mostly focused on galleries supporting new media artists. While there were interesting and valid variations on what artists sell in this genre, many of the gallery owners admitted collecting and selling new media art is difficult and often molded back into forms of traditional consumer engagement: limited run prints, books, videos etc. They also noted the unique problem of deprecation and works being unviewable once a technology becomes obsolete.
Following was a keynote from Laurie Anderson, whose credentials include NASA’s first (and last) artist-in-residence and well-known musical/artistic innovator. Laurie is an endearing speaker, talented technological artist, and her ability to “break-down” what is sometimes a complex art form is at the heart of why she was keynote at this conference. In speaking about her 2005 World Expo project “Hidden inside Mountains” Laurie zooms through slides, joking about her “hellish” interpretation of the landscape. She also made some mention of her conflict with encouraging young artists at college commencement speeches, in the face of increasingly tough economic conditions for artists.
After Laurie’s speech came the first round of lighting talks. Some of the most interesting insights and projects came from Martin Wittenburg, Philip Stearns, Sophie Kahn, Tristan Perich, Eric Sanner, Claudia Hart, and Jake Barton. Each had a unique perspective on how to utilize technology whether it be through sight, sound, or even emotional response. Some notable pieces include Perich’s well-known compositions using one bit sounds to distort our “reality” of hearing, (see Interval Studies) and Claudia Hart’s avatars plunge into the aspects of the uncanny valley and the idea of “reanimation” and “capture” that is at once both disturbing and fascinating.
Following the first round of lighting talks, the 2nd keynote address was given by Scott Snibbe. Known as the creator of Bjorks’ interactive album Biophila and currently at work on an app for Philip Glass’s music, Snibbe’s speech was interesting not only in the demonstration of the projects themselves, but in his tough questions about distributing new media art. Snibbe concedes that apps pose the problem of being somewhat gimmicky and proposed creating new, smarter, more complete apps, and perhaps less of them. Certainly that coming out of the mouth of someone who has made a career creating apps must be taken with a grain of salt, but for that same reason, taken seriously. Biophilia is the work of someone with a great love and understanding of the inner working of virtual space.
The 2nd panel of the day focused on creative coding tool kits. Moderator Golan Levin begin with a “builder” apropos quote attributed to Abraham Maslow “To a hammer, the whole world looks like a nail…” In general, the discussion focused mostly on displays of what the programs can do as well as the community usage of the programs. The evolution of programs like MAX from Toni Dove to Luke Dubois’ “Hindsight is Always 20/20” is fascinating. Andrew Bell’s commentary on CINDER was also intriguing not only due to the intricacies of the program itself but also due to CINDER being mostly used for advertising purposes. With a palpable sense of duality Bell spoke of the potential but also the limitations to the mass public in comparison to Zach Liberman’s encouragement of something like Open Frameworks being all about community participation.
Following was the 2nd round of lighting talks which typically included more physically manifested ideas. There were notable talks from Kenji Williams, Golan Levin, Mark Shepard as well as Ann Spalter, Karolina Sobecka, Mary Huang, and Kurt Ralskie. The panel was interesting juxtaposition for later questions of how software and media art is producible and profitable within a consumer art world (a question that arose more specifically in the 1st panel “Collecting New Media Art” and most prominently in the last panel “Software Art and Art Establishment.”) Golan Levin, and Huang focused on, among other things, creating clothing and “spare parts” out of 3D printers, while musician Kenji Williams played a brief piece from his (hopefully) Broadway bound work, Bella Gaia, a love letter to the Earth, with a timely focus on the effects of climate change.
The 3rd Panel (Crowdsourced and New Media Art) included Scott Draves (creator of The Electric Sheep), Melissa Mongiat and Mouna Andraos (Daily Tous Les Jours), Jason Eppink (MOTMI) and Fernanda Viegas. Eppink’s projects focused on social trends and engagement from the physical to the screen, including meme based projects and the reanimator lab. Daily Tous Les Jours’ engagement in crowd participation (see swings) through physical manifestation of technology initiated the question, is crowd sourcing for the “crowd” or about the “crowd?” Other main points included, monitoring trolling and software hacks on crowd sourced work, as well as the authenticity of data collected in crowd sourcing. Viegas’ collaborative project with Martin Wittenberg, Wind Map (left) was also seen this last week in lieu of Sandy and displayed effectively how aggregation can be put to use.
“Media Art and the Art Establishment” was the final event of the day and palpably the most anticipated. Panel members included Amanda McDonald Crowley, Christiane Paul, Barbara London, Marius Watz, with painter with critic Ken Johnson as moderator. Discussion focused on s/e artists struggle for acceptance and placement in an community that sometimes lacks resources to provide the proper staff, technology, and in rare cases, understanding of the work itself. Interesting points included, how shows are curated for anthologies and books. There was a larger discussion about documentation of new media shows and panelist, Marius Watz, lobbied for his show (Electra-Oslo, 96′) as a forgotten precursor to many of the larger scale media shows curated today. In contrast to this debate, one main point that unfortunately was not addressed was media art in relation to public accessibility By nature there is some exclusion to those without access to certain tools. That being said, it would be wrong to shame this area of the art world for exclusion, as digital art has really only become viably “popular” within the last decade or so and is still evolving and working towards end goals of inclusion for all, or sometimes inclusion at all. More and more efforts are made for public dissemination within schools and it was good to see LISA offer scholarships to students to attend. It would be amazing to see future conferences offered in conjunction with public interactions and displays with the art. Both things that would raise public awareness of and increase understanding of this art form. As this was the first LISA conference the wealth of successful new media artists, information, and discussion it delivered was truly satisfying. The talent and minds going into creating digital terrains and interactions is every bit as captivating as the strokes of a master painter, or the strikes of a master sculptor. Beyond that, there lie dimensions with media art, that are able to document and rethink the world unlike any other art form and if it is explained to and engages both artist and audience without exclusion, the possibilities for creation are endless.
Filed under: DANCE, REVIEWS, THEATER | Tags: aaron jaffries, amber, arts, break, center, christopher, damongues, dan, EDWARDS, HERE, How, morillo, Pedro, to, williams
Above: Dan Domingues as Aden and Amber Williams as Ana
How to Break, HERE’s most recent production, centers on the revolving story of a doctor, 2 patients (one with leukemia, the other with sickle-cell anemia) and a well-meaning artist in residence at a hospital. The show, while focusing on hip-hop, freestyle culture, more complexly focuses on the decision facing a person, particularly a young person, with a fatal disease and a moment of “breaking” for both strength and freedoms sake.
The show itself is incredibly well suited for adolescents (highly recommend for high school classes,) slightly dull at times for the older crowd, but Jafferis writing is fast paced, funny, if never completely emotionally raw. Part of this may be the nature of utilizing freestyle throughout the piece. While this is definitely a central component in understanding a big part of the “break” of the piece, at times it makes difficult moments funny or more lighthearted than necessary. For anyone who has had, or known someone with cancer, you can’t help but wonder when the true “break” is going to happen and think that when it does…it’s probably not going to rhyme. That being said, grain of salt included, we all cope in our own ways and Christopher V. Edwards says in the director’s note “Everyone involved in the initial collaborative process has been inspired by hip-hop. Some of us breathe it and eat it for breakfast….” so it’s hard to fault her for utilizing freestyle throughout the piece that is based on it. Likewise, the age of the patients also make the flirtatious insult on the playground behavior more realistic and the piece itself, written in part by actual hospital patients through the Mixing Texts Collective project, does speak to Jafferis claim to portray “breaking” as “inspiration, courage, and possibility.”
The standout actors included Dan Domingues and Amber Williams who portray both the over involved doctor (a bit of a fantasy no doubt) and leukemia ridden Ana, popper, design student, and love interest of Joel played by Perdro Morillo, a professional break dancer who is admirably comfortable in his first acting role.
The set, a series of medical curtains that range from translucent to opaque were used to highlight the beatboxer Yako 440, playing a nurse character who provided beatbox accompaniment (written by Adam Matta) and sometimes comic relief, as well as the canvas for graffitiesque sketches. Yako 440 definitely could have been utilized more fluidly with the other characters on stage. One of the most interesting moments comes at the start of the play when he tells Ana to “breathe” into the microphone and creates a series of loops from it. And while the setup was interesting and the cast navigated the curtains flawlessly, the opening and closing did at times get distracting. Likewise one wanted to see more physical moments to accompany the soundtrack which was often lost behind the curtains.
Overall this piece feels like a very dynamic moment set within the context of a beautiful but sometimes misunderstood artistic culture, as well as the experience of facing mortality head on. What is lacking is visceral emotion, is often made up for in surprising moments of writing and acting, and it’s this combination that speaks to the strength of the creators and the cast.
Filed under: ART | Tags: 22, charles, drawing, landscape, magazine, ocean, painting, the, williams
Filed under: THE WEEK/THE WEEKEND | Tags: 1000 McSweeney’s, 1971, 2, 2012, 2012 Beautiful, 22, 30, 6, 92YTribeca, a, acoustic, ACTIONS, acts, adam, Alumni, Amat BRAIN, an, and, andrew, animal, Appropriation, april, ark, art, Art BANQUET, ARTAUD RED, artist, assembled, at, Aubele, Bassett, beth, between, bird, BLOWN, blue, Boyd, brooklyn, by, BYT, Cadet, cave, CD, Chico, Chiptography, Chris Artist-in-Residence, CITY Karavika, coda, collective, Concert Performance, Confinements, creative, cub, curated, Cynthia, dave, Degrees, DeVotchKa, diane, DJ, DOOMSDAY, duo, Easterson, ed, Edelson, entrance, ethan, every, exhibition, exit, Experience Perfume, federico, Felix, Feminists, Fields, for, from, funk, genius, Girls Colin, Hawk The, Headphone, hosted, in, is, ISABELLA, Koala’s, KROPOTKINS, Lasse, Laurie, Leland, Levin, limitations, literature, Lone, Love EXIT, Lubelski, made, magazine, Magnetic, mann, Marcia, Marhaug ESL, mary, MASCHMEYER Peter, mind, Mitchell Skowhegan, MONSTERS THE, Monuments, MORE Floating, Morelo HAVE, music, Muslim, Neufeld The, new, Nosowsky Poetry, of, on, Oswald, out, outpt, PARDALINCE, parenthetical, paris, Parry, Parts The, performance, poets, Point, POLITICS Kid, powerhousefrenchtablenecklaces ROUDNTABLE, presents, Proceed BinAural, produced, rachel, Radical, Recognizing, release, Restrictions, revolution, Rockman, roll, rose, Rossellini, ryan, said, sam, samara, sarah, Sayrafiezadeh, SCHRADER, Sergei, Set Musicircus MAN, Shelton, SKGB, space, Stetson, student, Sullender Hail, super, Synergy, Tcherepnin, the, three, to, Toolbox, Trouble, Ursula, Vandal Coming, visual, Waves Die, week, white, who, williams, with, wolf, woody, works, years, york, your
Every Exit is an Entrance: 30 Years of Exit Art
Exit Art is pleased to announce their final exhibition EVERY EXIT IS AN ENTRANCE: 30 YEARS OF EXIT ART. Founded in 1982 by Executive Director Jeanette Ingberman and Artistic Director Papo Colo, Exit Art has grown from a pioneering alternative art space into an innovative cultural center.
Filed under: ART, EVENTS, INTERVIEWS | Tags: 22, april, art, artist, arts, ave, brooklyn, burgess, charles, Clarita, collage, Echeverria, eduardo, emmanuel, farm, FREE, Gall, gallagher, gallery, gertler, Gordon, james, Javier, jeffery, jenkins, john, Julien, Kareem, katherine, Leigh, Lionel, magazine, Magnin, Mata, meyer, Moglu, Mora, Natri, new, NICOLE, ny, nyc, PacaudCiara, Paul, Phelan, picture, Polanco, Randy, Recife, Rizk, Rodriguez, room, Roybal, Streeter, surreal, the, tom, UGLY, Valerie, virginia, wells, wilkin, williams, wythe, york
Artist and curator, Charles Wilkin took the time to chat with The 22 about the upcoming collage show All That Remains presented by Ugly Art Room at Picture Farm in Brooklyn. Resourcing from a VAST pool of collage artists, the show is dynamic, bold and most of all, really fun. The show opens Oct 21st, with an reception from 7-9pm at Picture Farm (338 Wythe Ave.)
The 22 Magazine: You happen to be a collage artist yourself, correct? Tell me what it is that first got you hooked on collage and what you love about it?
Charles Wilkin: Yes I’m a collage artist. It’s funny because I sort of fell into collage by accident in college. I was late for a drawing class and forgot to bring my pencils and paper. I ran across the hall with nothing more than a stack of photos I’d just printed from my photo class. Instead of smacking my hand with a ruler for being unprepared my instructor said ” well use those photos”. Clearly she saw something in what I had done that day and encouraged me to make more collages. I guess what I love about collage is it’s immediacy and the happy little accidents that happen along the way. I love not knowing where I’m going until I get there and with collage I can sort of get lost in the moment. I think that’s what I really love about it most, for me it’s very freeing.
Filed under: THE WEEK/THE WEEKEND | Tags: $10, 2000, a, abstraction, agony, al, Alexandra, alissa, ana, animation, art, artists, beautiful, Birch, blachly, blip, boar, bradshaw, brainery, Brehm, brooklyn, chadwick, chanty, chast, chats, christians, christopher, Crispin, cristea, digital, dixon, Doron, electronica, experiments, eyebeam, family papers, festival, fireside, gallery, Gorczynski, grossmalerman, Guy, horton, Howard, hunnicut, idolatry, idols, indie, inside, Ion, Jacques, jedeo, jimbo, jonathan, kate, kid, Langberg, Lindsay, louis, lytly, manobar, most, nautical, nelson, new, Nicolas, NYSG, of, painter, painting, patti, physcs, place, puppet, razvan, richards, romanitc, romero, salse, Sassoon, satire, schroder, sea, shaw, show, shredder, smith, solo, sterling, sticom, studio, summer, television, the, through, TV, Vidal, Video, wadzinski, walk, Wheat, williams, years, york
531 West 26th Street, NYC
Guy Richards Smit satirically bends artistic authorship with new paintings and video in Grossmalerman! Thanks to Guy Richards Smit for the following text from Jonathan Grossmalerman, writing in defense of his portrayal in Grossmalerman!, Amagansett, April 2011:
“That a man, any man, be he a thundering genius or a mere citizen, might die never having had his own sitcom, seems to me, a terrible injustice.” Those were the last words of my father, Saul Grossmalerman, a strikingly sullen man with few ambitions, a habitual liar about boring things not worth lying about. What a piece of shit. In any case, this was one of the more interesting things he said and that it was uttered on his deathbed gave it a certain…approximation of gravitas. For what it’s worth, it has always been a burr on the tunic of my outrageous success. It was with that in mind that I, perhaps foolishly, gave permission to the painfully charismatic Guy Richards Smit when asked to use my name and paintings in his “sitcom,” a show ostensibly about me and my life. Let me state frankly: it is not.(READ MORE.)
May 18 at 6:00pm FREE
Curated and hosted by Kate Brehm, this on-going series features impromptu, informal and intimate conversations with NYC’s puppet artists. This month’s special guests: Christopher Williams and Patti Bradshaw and we will discuss the End of the World! Followed by a performance of Alissa Hunnicutt’s The Kid Inside. (READ MORE.)
Date: Thursday, 19 May 2011, 7–9 pm
Location: Cabinet, 300 Nevins Street, Brooklyn (map and directions here)
FREE. No RSVP necessary
Please join Jimbo Blachly and Lytle Shaw, editors of the Chadwick Family Papers, for the land launch of the Nelson Manobar. The Chadwicks’ recently restored occupiable model of Admiral Nelson’s HMS Victory has never before been exhibited publicly in the United States.
The event features:
Drinks from the hull of the Manobar
Rare recordings of Chadwick Dalton’s legendary sea chanty collection
Reception May 20; 7-9pm
May 19, 2011 through June 19, 2011
NY Studio Gallery is pleased to present Al Wadzinski’s third solo show in New York. Wadzinski’s False Idols refer to the predominantly Judeo-Christian concept of idolatry, the worship of a physical object as a god. Here these carefully assembled icons are comprised of humanity’s abandoned cast-offs, the remnants of our bloated consumer culture now repurposed as inert fetish objects. The centerpiece of the exhibition revolves around a massive golden calf, referencing the Old Testament story, but this god-proxy’s body is a shopping cart filled with gold-painted bones, its undeniably bovine head an amalgam of odd parts ranging from boots to a Christmas tree stand. (READ MORE.)
Thursday, May 19, 6:30-8pm
If we think back to our High School years…probably nothing. But to the scientific mind, the concept of the “elegant proof” is deep and satisfying thing. In a survey some years back, physicists identified the 10 experiments that they felt were not just important…but really cool, elegant…and beautiful. They span millennia, from Ancient Egypt to Modern Europe.
Each experiment will be related, along with the how and why of its execution (some may be tried at home – depending on your research budget). How to measure the size, mass and rotation of the Earth. What light is made up of. The atom and electron. Wave mechanics. And a smidgen of Quantum Mechanics. At the end, you will walk out with a broad, expansive survey of Physics and its history. Led by Daniel. (READ MORE.)
Romantic Agony @ HORTON GALLERY.
May 19 – Jun 18, 2011
Jacques Louis Vidal
Blip Festival will take place May 19-21, 2011
Marshall McLuhan writes, “Obsolescence never meant the end of anything, it’s just the beginning.” Taking Blip Festival’s spirit of ‘obsolescence as the beginning’ into the realm of visual art, a nightly screening is presented by artists who are bringing new life to the technology and aesthetics of our recent past.
From animated GIFs to video collage, from memes to digital abstraction, the artists included in Blip Festival Gallery employ the wealth of creative technologies of networked culture. Includes work and premieres by: Sterling Crispin, Alexandra Gorczynski and Nicolas Sassoon.
Curated by Lindsay Howard
Filed under: THE WEEK/THE WEEKEND, WRITING | Tags: 22, 92nd, 92Y, adam, ames, angeles, angelo, ansel, boise, brooklyn, CA, california, carolin, cavazos, city, contest, cornelius, D.A., discovery, donnelly, eady, elkins, floridia, fourth, greensboro, IA, idaho, iowa, jacobsen, joan, lehmann, leiman, los, magazine, manhattan, megan, Nation, new, nikolopoulos, north, ny, nyc, poetry, powell, prize, rebecca, roberts, shrif, solmaz, street, tallahassee, the, timothy, williams, xavier, Y, year, york
Formerly called the Discovery/The Nation poetry contest, the Joan Leiman Jacobson Poetry Prizes are, for the fourth year, presented by Boston Review poetry editor Timothy Donnelly.
The four winners of the 2011 “Discovery”/Boston Review Poetry Contest are: Ansel Elkins, of Greensboro, NC; Angelo Nikolopoulos of New York, NY; Adam Roberts, of Iowa City, IA; and Solmaz Sharif, of Los Angeles, CA.
The three runners-up for 2011 are Xavier Cavazos of Ames, IA; Rebecca Lehmann of Tallahassee, FL; and Megan Williams of Boise, ID.
At their reading on May 9, the winners will be introduced by Timothy Donnelly, Cornelius Eady and D. A. Powell (subject to change).
Filed under: THE WEEK/THE WEEKEND | Tags: 22, a, abstract, as, aton, brooklny, brooklyn, Canada, cargins, carvings, Chelsea, creation, DC, drawings, drive, eilliwams, frabk, frank, gallery, kern, magazine, mark grotjahn, mary, michael, MOORE, motion, mutation, mythology, new, noodle, ny, nyc, painting, r., rabbithole, reynolds, rhytyms, S, sculpture, sculptures, space, straightforward, straightfowards, studios, the, wayne, williams, wood, york
Wood Sculpture, 1957-1967
and Recent Photographs
May 5-June 4, 2011
As always, Mary starts with observation and moves towards myth.
– Hayden Herrera
DC Moore’s new exhibition of Mary Frank’s work, Transformations: Wood Sculpture, 1957-1967 and Recent Photographs, features her dynamic wood sculptures, direct carvings from the 1950s and 60s that marked her emergence as one of the most innovative artists on the New York art scene. The exhibition also presents drawings from the same time, vibrant figures that both complement her sculpture and expand the range of her explorations of space, motion, and the rhythms of the human body. This is the first exhibition of these seminal works since they were originally shown over forty years ago. VIEW FULL PRESS RELEASE.