Press Release

Total Page:16

File Type:pdf, Size:1020Kb

Press Release PRESS RELEASE For immediate release November 2005 bitforms gallery, nyc MICHAEL JOAQUIN GREY Weather Reports and the Matter of Media. Please Follow the Yellow Line. OPENING RECEPTION 6-8PM, Saturday, NOV. 24, 2005 EXHIBITION DATES: Nov.24, 2005-Dec. 30, 2006 HOURS: Tuesday-Saturday 11am-6pm, and by appointment bitforms gallery is pleased to announce the opening of Michael Joaquin Grey's solo exhibition, Weather Reports and the Matter of Media. Please Follow the Yellow Line. in Seoul, Korea. There will be an opening reception with the artist present November 24 from 6 to 8 pm. This exhibition, the second in bitforms' new Seoul gallery space, will remain on view through December 30. On exhibit are new computational film works, along with a series of recent paintings. In this exhibition Michael Joaquin Grey plays with unifying a metaphysics of the micro, macro and media worlds. Grey's new digital paintings capture critical moments in his primary experience of movement. The 'Weather Reports' are named for the exact time and location where he creates the related work. In the full body of paintings, Grey records his choreographed movements in a two dimensional template--generating a spatial, schematic, calligraphic and temporal navigational map with a luminous yellow line in a deep blue spatial field. The symbolic yellow brick road from The Wizard of Oz is a prominent feature in Grey's “Perpetual ZOOZ”. In his recent film works, Grey re-envisions critical moments in media and phenomena. Projected on-screen, “Perpetual ZOOZ” captures a 3D hermetic palindromic object molded out of The Wizard of Oz and whirls it into orbit as the film plays out in space as well as time. Perpetual ZOOZ, 2005 A synaesthetic sculpted object of image and sound, “Between Two Milk Bars” unites computational film Kubrick's infamous A Clockwork Orange with the voice of the first man on the moon and John F. Kennedy's famous speech beginning the space race. “Sam Slime Life Cycle” visualizes one of Grey's observational videos of the four stages of a slime molds life cycle out of a matrix of animation building blocks from a classic cell animation of Looney Tune's ultra violence featuring Yosemite Sam and the anvil. This new media form, the Cellular film visualizes the past, present and future of the animation within every moment of the film as each of the individual films in the matrix becomes the 'cell' of a larger body of another film. As part of his recent series, “From Primordial to Precocial”, Grey combines primary experiences and observations of phenomenon with second order collective media and history in order to question our individual and cultural development and identity. Grey's work often reflects on how a process of simple formal or iterative decisions rapidly develop cultural and social meaning. For the past twenty years, Michael Joaquin Grey has been creating work that extends and plays with the boundaries of art, science and media. His investigation centers around the origins of language and life - as related to natural and complex systems, with a focus on the development of an individual. The meta-commentary in his work is informed by personal narratives and creation myths, as well as a deep interest in the underlying spatial language and syntax of all form. 529 west 20th street bitforms.com 212 366 6939 [email protected] Critical moments in natural phenomenon and culture are objects in his work, as are the prepositional states of change between matter, energy, behavior, and meaning. The developmental path of human experience and discovery from observation- through description, explanation and exploitation- are central issues Grey envisions in his artwork. Grey's creative dialogue engages epistemology, pedagogy and the creative limitations of the tools and processes we use to observe, learn and play with our world. Grey's work has been recognized in publications internationally including Artforum, Flash Art, The New York Times, The New Yorker, Leonardo, Artbyte, ID Magazine, Washington Post, Los Angeles Times, The San Francisco Chronicle, Village Voice, London Telegraph, Wired, Zing Magazine, Art & Auction, and The Wall Street Journal. His work has been seen in Seoul at the National Museum of Contemporary Art as part of the Whitney Museum's 1993 biennale selection, and at bitforms gallery's inaugural exhibition in Seoul this past September. He has exhibited at bitforms gallery, New York and Seoul; the Museum of Modern Art, New York; Los Angeles Museum of Contemporary Art; Whitney Museum of American Art; The New Museum of Contemporary Art, New York; MOCA, Chicago, MOCA, San Diego, The Walker Museum, Museum of Contemporary Art, Miami; Milwaukee Art Museum; Serpentine Gallery, London; Tel Aviv Museum of Art; Kunsthalle Hannover; Norrtalje Konsthall, Sweden; Kunsthalle Loppem, Belgium; Brooke Alexander Editions, New York; Lisson Gallery, London; Barbara Gladstone Gallery, New York, and Stuart Regen Gallery, Los Angeles. Grey is also the inventor of ZOOB, a modeling system that emulates the building blocks of nature and complex systems. He received a BS from UC Berkeley in Genetics and an MFA from Yale. He lives in San Francisco and New York. Comments by Matthew Ritchie on artwork by Michael Joaquin Grey: Firstly, Approaching art from a scientific background with a degree in genetics, Grey addressed elemental processes of sculpture on a far more utilitarian basis than his antecedents. Although Grey's first body of work was formally tied to artists like Robert Smithson, Walter De Maria, and Bruce Nauman, the works in the Petersburg show had the authority one attaches to functional objects-the result of real inquiries in to fundamental nature of things-quite distinct from the speculative respect we attach to elegant hypotheses. At the moment of its emergence his work was already closing the circle with the laboratory. By claiming materials and methods that ranged from exotica like silicon airgel fresh from the labs at Berkeley to more conventional materials like sculpy and steel, Grey assumed extraordinary formal latitude. The second salient feature in Grey's work was the inclusion of a narrative, a primitive cosmology embedded in sculptural form. Between Erosion Blocks: Units of Growth/Decay (1990); The Drip (1998); Unrecoverable (1988); Low Density Silicon Airgel (Solid Smoke) (1990); and Cast River (1988); and Cast River (1988), Grey mapped an elemental landscape of earth, light, air, and water. Two other works, My Sputnik and Electron M. (Microscope) (both 1990), successfully cast themselves as autobiographical poles in his exploration of the micro-macro world. Grey saw these narrative links as essential to the larger utility of the work, distinguishing them from the stand-alone formalism of his predecessors and bringing a metaphysical longitude to the stainless intelligence of the sculptures. Grey's use of slightly exotic, self determining materials to fabricate work and his subsequent integration of them into sculptural forms were to have an enormous influence on his closest colleague, Matthew Barney, who supplied a third element: the withheld glamour and celebrity of a reproducible body. But the work also spoke of to larger issues, specifically the construction of a new kind of artistic operating environment. Only by claiming authority over all levels of production, no matter how complex, could the promise of pluralism be fully incorporated into an individual artist's practice. This was a liberating moment that still affects the art world. Artists as diverse as Liam Gillick, Katy Schimert, and Rirkrit Tiravanija were learning the same lesson, along with its corollary rule; in art, as in science, total freedom has a price. For Grey, whose work continues to broaden scope, the price was the movement of his work beyond the narrow confines of the artworld, resulting in his most pluralistic project yet: the modeling system called ZOOB. (Quoted from the 2001 catalog for LAMOMA's “Public Offering” exhibition, curated by Paul Schimmel) -- bitforms gallery is devoted to emerging and established artists who embrace new media and contemporary art practice-resulting in new languages and artistic experiences. 529 west 20th street bitforms.com 212 366 6939 [email protected] .
Recommended publications
  • M a R K D I O N 1961 Born in New Bedford, MA Currently Lives In
    M A R K D I O N 1961 Born in New Bedford, MA Currently lives in Copake, NY and works worldwide Education, Awards and Residencies 1981-82, 86 University of Hartford School of Art, Hartford, CT, BFA 1982-84 School of Visual Arts, New York 1984-85 Whitney Museum of American Art, New York, Independent Study Program 2001 9th Annual Larry Aldrich Foundation Award 2003 University of Hartford School of Art, Hartford, CT, Doctor of Arts, PhD 2005 Joan Mitchell Foundation Award 2008 Lucelia Award, Smithsonian Museum of American Art, Washington D.C. 2012 Artist Residency, Everglades, FL 2019 The Melancholy Museum, Cantor Arts Center, Stanford University, Stanford, CA Academic Fellowships 2015-16 Ruffin, Distinguished Scholar, Department of Studio Art, University of Virginia Charlottesville, VA 2014-15 The Christian A. Johnson Endeavor Foundation Visiting Artist in Residence at Colgate University Department of Art and Art History, Hamilton, NY 2014 Fellow in Public Humanities, Brown University, Providence 2011 Paula and Edwin Sidman Fellow in the Humanities and Arts, University of Michigan, Ann Arbor, MI Solo Exhibitions (*denotes catalogue) 2020 The Perilous Texas Adventures of Mark Dion, Amon Carter Museum of American Art, Fort Worth* Mark Dion: Follies, Laumeier Sculpture Park, St. Louis, MO Mark Dion & David Brooks: The Great Bird Blind Debate, Planting Fields Foundation, Oyster Bay, NY Mark Dion & Dana Sherwood: The Pollinator Pavilion, Thomas Cole National Historic Site, Catskill, NY 2019 Wunderkammer 2, Esbjerg Museum of Art, Esbjerg, Denmark
    [Show full text]
  • MATTHEW RITCHIE Born 1964 Lives and Works
    MATTHEW RITCHIE Born 1964 Lives and works in New York City EDUCATION 1986 BFA, Camberwell School of Art, London 1982 Boston University, Boston, Massachusetts SOLO EXHIBITIONS 2016 Montserrat College of Art, Beverly, MA, ”Matthew Ritchie,” April 28 – June 18 2014 Food and Drug Administration, Silver Springs, MD, “The Garden at This Hour,” October 1 – ongoing Andrea Rosen Gallery, New York, NY, “Ten Possible Links,” September 12 – October 22 ZKM – Zentrum für Kunst und Medientechnologie Karlsruhe, Karlsruhe, Germany, long- term exhibition of commissioned sound works Institute of Contemporary Art, Boston, MA, “Remanence/Remonstrance,” February 28 – March 1, 2015 (catalogue) 2013 ZKM – Zentrum für Kunst und Medientechnologie Karlsruhe, Karlsruhe, Germany, “The Morning Line,” September 15 – present Baldwin Gallery, Aspen, CO, “Slow Light,” July 26 – September 2 2012 Barbican Theatre, London, UK, “The Long Count,” February 2 – 4 2011 L&M Arts, Los Angeles, CA, November 2 – December 10 Thyssen-Bornemisza Contemporary Art Foundation, Vienna, Austria, “The Morning Line,” June 7 – November 20 (catalogue) Holland Festival, Amsterdam, “The Long Count,” June 1 – 2 2010 Thyssen-Bornemisza Art Contemporary, Istanbul, Turkey, “The Morning Line,” Matthew Ritchie with Aranda\ Lasch and Arup AGU, May 22 – September 19 (catalogue) 2009 Andrea Rosen Gallery, New York, NY, “Line Shot,” October 23 – December 2 Southbank Centre, London, UK, "Paradise Lost,” Matthew Ritchie with Aranda\ Lasch and Arup AGU, June c/o - Atle Gerhardsen, Berlin, Germany, "The Need Fire,” May 1 – July 2008 Centro Andaluz de Arte Contemporáneo, Seville, Spain, “The Morning Line,” Matthew Ritchie with Aranda\ Lasch and Arup AGU, October 2 – January 11, 2009 (catalogue) White Cube, London, UK, “Ghost Operator,” May 20 – June 28 2007 St.
    [Show full text]
  • Larry Johnson
    LARRY JOHNSON born 1959, Long Beach, CA lives and works in Los Angeles, CA EDUCATION 1984 MFA, California Institute of the Arts, Valencia, CA 1982 BFA, California Institute of the Arts, Valencia, CA SELECTED SOLO EXHIBITIONS (* indicates a publication) 2019 Larry Johnson & Asha Schechter, Jenny's, Los Angeles, CA 2015 *Larry Johnson: On Location, curated by Bruce Hainley and Antony Hudek, Raven Row, London, England 2009 *Hammer Museum, Los Angeles, CA 2007 Patrick Painter Inc., Santa Monica, CA Marc Jancou Contemporary, New York, NY 2001 New Photographs, Cohan, Leslie & Browne, New York, NY 2000 The Thinking Man’s Judy Garland and Other Works, Patrick Painter Inc., Santa Monica, CA Modern Art Inc., London, England 1998 Galerie Daniel Buchholz, Cologne, Germany I-20 Gallery, New York, NY Margo Leavin Gallery, Los Angeles, CA 1996 *Morris and Helen Belkin Art Gallery, The University of British Columbia, Vancouver, Canada 1995 Margo Leavin Gallery, Los Angeles, CA [email protected] www.davidkordanskygallery.com T: 323.935.3030 F: 323.935.3031 1994 Margo Leavin Gallery, Los Angeles, CA 1992 Rudiger Shottle, Paris, France Patrick de Brok Gallery, Knokke, Belgium 1991 303 Gallery, New York, NY Rena Bransten Gallery, San Francisco, CA Johnen & Schottle, Cologne, Germany 1990 303 Gallery, New York, NY Galerie Isabella Kacprzak, Cologne, Germany Stuart Regen Gallery, Los Angeles, CA 1989 303 Gallery, New York, NY 1987 Le Case d’ Arte, Milan, Italy 303 Gallery, New York, NY Galerie Isabella Kacprzak, Stuttgart, Germany Kuhlenschmidt/Simon Gallery, Los Angeles, CA 1986 303 Gallery, New York, NY SELECTED GROUP EXHIBITIONS (* indicates a publication) 2021 Winter of Discontent, 303 Gallery, New York, NY The Going Away Present, Kristina Kite Gallery, Los Angeles, CA 2020 Made in L.A.
    [Show full text]
  • “Utterly Essential” the NEW YORK TIMES DIGITAL PROGRAM
    Utterly“ essential” THE NEW YORK TIMES 1 Digital World Premiere 1 World Premiere Sonic Experience 1 World Premiere In-Person Installation 3 Digital U.S. Premieres DIGITAL PROGRAM PROTOTYPEFESTIVAL.ORG SCROLL TO CONTINUE TABLE OF CONTENTS Click on any section below to jump to the page. LAND ACKNOWLEDGEMENT TITLE PAGE FESTIVAL LINEUP ARTIST INFORMATION ABOUT PROTOTYPE STAFF MEMBERSHIP SUPPORT FOLLOW US ACKNOWLEDGEMENT PROTOTYPE pays respect to the Munsee Lenape ancestors past, present, and future. We acknowledge that the work of PROTOTYPE is situated on the Lenape island of Manhattan (Mannahatta) and more broadly in Lenapehoking, the Lenape homeland. The performers and artistic team of MODULATION are located in many different locations in this country. We acknowledge that this work is situated in various native homelands including those of the Boriken Taíno, Canarsie, Chochenyo, Chumash, Diné, Kizh, Lenape, Lenni- Lenape, Munsee Lenape, Muwekma, Ohlone, Pawtucket, Tewa, Tiwa, Tongva, annd Wôpanâak. Inspired by the words of Adrienne Wong: PROTOTYPE acknowledges the legacy of colonization embedded within the technology, structures, and ways of thinking we use every day. This production is using equipment and high-speed internet, not available in many Indigenous communities. Even the technologies that are central to much of the art we make leave significant carbon footprints, contributing to changing climates that disproportionately affect Indigenous people worldwide. We invite you to join us in acknowledging all this, as well as our shared
    [Show full text]
  • Guide to the Colin De Land and Pat Hearn Library Collection MSS.012 Hannah Mandel; Collection Processed by Ann Butler, Ryan Evans and Hannah Mandel
    CCS Bard Archives Phone: 845.758.7567 Center for Curatorial Studies Fax: 845.758.2442 Bard College Email: [email protected] Annandale-on-Hudson, NY 12504 Guide to the Colin de Land and Pat Hearn Library Collection MSS.012 Hannah Mandel; Collection processed by Ann Butler, Ryan Evans and Hannah Mandel. This finding aid was produced using ArchivesSpace on February 06, 2019 . Describing Archives: A Content Standard Guide to the Colin de Land and Pat Hearn Library Collection MSS.012 Table of Contents Summary Information ................................................................................................................................................ 3 Biographical / Historical ............................................................................................................................................. 5 Scope and Contents ................................................................................................................................................. 6 Arrangement .............................................................................................................................................................. 6 Administrative Information ......................................................................................................................................... 7 Related Materials ...................................................................................................................................................... 7 Controlled Access Headings ....................................................................................................................................
    [Show full text]
  • Patrick Painter, Inc
    PATRICK PAINTER, INC LARRY JOHNSON 1959 Born in Long Beach, CA Lives and works in Los Angeles, CA EDUCATION 1982 B.F.A., California Institute of the Arts, Valencia, CA 1984 M.F.A., California Institute of the Arts, Valencia, CA SOLO EXHIBITIONS 2010 Larry Johnson’s Hits from the 80s, Patrick Painter Inc., Santa Monica, CA Frame Tales, Marc Jancou Contemporary, New York 2009 Hammer Museum, Los Angeles, CA 2007 Patrick Painter Inc., Santa Monica, CA Marc Jancou Contemporary, New York, NY 2001 New Photographs, Cohan, Leslie & Browne, New York, NY 2000 The Thinking Man’s Judy Garland and Other Works, Patrick Painter Inc., Santa Monica, CA Modern Art Inc., London 1998 Margo Leavin Gallery, Los Angeles 1996 Morris and Helen Belkin Art Gallery, The University of British Columbia, Vancouver, Canada 1995 Margo Leavin Gallery, Los Angeles, CA 1994 Margo Leavin Gallery, Los Angeles, CA 1992 Patrick de Brok Gallery, Knokke, Belgium 1991 303 Gallery, New York, NY Rena Bransten Gallery, San Francisco, CA Johnen & Schottle, Cologne, Germany 1990 303 Gallery, New York, NY Galerie Isabella Kacprzak, Cologne, Germany Stuart Regen Gallery, Los Angeles, CA 1989 303 Gallery, New York, NY 1987 303 Gallery, New York, NY PATRICK PAINTER, INC Galerie Isabella Kacprzak, Stuttgart, Germany Kuhlenschmidt/Simon Gallery, Los Angeles, CA 1986 303 Gallery, New York, NY SELECTED GROUP EXHIBITIONS 2010 How Many Billboards? Art in Stead, MAK Center for Art and Architecture at the Schindler House, Los Angeles, CA Rive Gauche/Rive Droite, Marc Jancou Contemporary, New York The Last Newspaper, The New Museum, New York 2009 Geography of the Imagination, Lead Apron, Los Angeles, CA Collection: MOCA’s First Thirty Years, The Museum of Contemporary Art, Los Angeles, CA 2008 Endless Summer, Glendale College Art Gallery, Glendale, CA Heroes and Villains, Marc Jancou Contemporary, New York, NY Idle Youth, Gladstone Gallery, New York, NY 2007 Good Morning, Midnight, Casey Kaplan Gallery, New York, NY L.A.
    [Show full text]
  • Mark Dion CV21
    ___________________________________________________________________________ Mark Dion Born 1961 in Bedford, MA, USA Lives and works in Copake, NY, USA Education 1981-82, 86 University of Hartford School of Art, Hartford, CT, BFA 1982-84 School of Visual Arts, New York 1984-85 Whitney Museum of American Art, New York, Independent Study Program 2001 9th Annual Larry Aldrich Foundation Award 2003 University of Hartford School of Art, Hartford, CT, Doctor of Arts, PhD 2005 Joan Mitchell Foundation Award 2008 Lucelia Award, Smithsonian Museum of American Art, Washington D.C. 2012 Artist Residency, Everglades, FL 2019 The Melancholy Museum, Cantor Arts Center, Stanford University, Stanford, CA Academic Fellowships 2015-16 Ruffin, Distinguished Scholar, Department of Studio Art, University of Virginia Charlottesville, VA 2014-15 The Christian A. Johnson Endeavor Foundation Visiting Artist in Residence at Colgate University Department of Art and Art History, Hamilton, NY 2014 Fellow in Public Humanities, Brown University, Providence 2011 Paula and Edwin Sidman Fellow Selected Solo Exhibitions 2021 Mark Dion: The Accused, Verbeke Foundation, Kemzeke, Belgium The Pavillon of Confectionary Curiosities, collaboration with Dana Sherwood, DeCordova Sculpture Park and Museum, Lincoln, MA 2020 The Perilous Texas Adventures of Mark Dion, Amon Carter Museum of American Art, Fort Worth* Mark Dion: Follies, Laumeier Sculpture Park, St. Louis, MO Mark Dion & David Brooks: The Great Bird Blind Debate, Planting Fields Foundation, Oyster Bay, NY Mark Dion &
    [Show full text]
  • Larry Johnson Full
    LARRY JOHNSON BORN 1959 Long Beach, CA Lives and works in Los Angeles, CA EDUCATION 1984 MFA, California Institute of the Arts, Valencia, CA 1982 BFA, California Institute of the Arts, Valencia, CA SOLO EXHIBITIONS 2019 Larry Johnson & Asha Schechter, Jenny’s, Los Angeles, CA 2017 Larry Johnson, Works from the 80’s and 90’s, Kimmerich Gallery, Berlin, Germany 2015 Larry Johnson: On Location, Raven Row, London, England 2010 Larry Johnson's Hits from the 80s, Patrick Painter Inc., Santa Monica, CA Frame Tales, Marc Jancou Contemporary, New York, NY 2009 Hammer Museum, Los Angeles, CA 2007 Patrick Painter Inc., Santa Monica, CA Marc Jancou Contemporary, New York, NY 2001 New Photographs, Cohan, Leslie & Browne, New York, NY 2000 The Thinking Man's Judy Garland and Other Works, Patrick Painter Inc., Santa Monica, CA Modern Art Inc., London, England 1998 Margo Leavin Gallery, Los Angeles, CA I-20 Gallery, New York, NY Galerie Daniel Buchholz, Cologne, Germany 1996 Morris and Helen Belkin Art Gallery, The University of British Columbia, Vancouver, Canada 1 1995 Margo Leavin Gallery, Los Angeles, CA 1994 Margo Leavin Gallery, Los Angeles, CA 1992 Rudiger Shottle, Paris, France Patrick de Brok Gallery, Knokke, Belgium 1991 303 Gallery, New York, NY Rena Bransten Gallery, San Francisco, CA Johnen & Schottle, Cologne, Germany 1990 303 Gallery, New York, NY Galerie Isabella Kacprzak, Cologne, Germany Stuart Regen Gallery, Los Angeles, CA 1989 303 Gallery, New York, NY 1987 303 Gallery, New York, NY Galerie Isabella Kacprzak, Stuttgart, Germany Kuhlenschmidt/Simon Gallery, Los Angeles, CA 1986 303 Gallery, New York, NY GROUP EXHIBITIONS 2019 Avengers: Someone Left the Cake Out In the Rain, Reena Spaulings Fine Art, Los Angeles, CA Queer Forms, Katherine E.
    [Show full text]
  • MATTHEW RITCHIE 1964 Born in London, United Kingdom Lives And
    MATTHEW RITCHIE 1964 Born in London, United Kingdom Lives and works in New York, United states EDUCATION 1986 BFA, Camberwell School of Art, London 1982 Boston University, Boston, Massachusetts SOLO EXHIBITIONS 2022 Matthew Ritchie: A Garden in the Flood, Frist Art Museum, Nashville, TN (forthcoming) 2021 Matthew Ritchie: Florilegium, CVAD Galleries, College of Visual Arts and Design, University of North Texas, Denton, TX 2018 The Demon in the Diagram, Moody Center for the Arts, Rice University, Houston, TX Time Diagrams, Baldwin Gallery, Aspen, CO 2016 Matthew Ritchie, Montserrat College of Art, Beverly, MA 2014 The Garden at This Hour, Food and Drug Administration, Silver Springs, MD Ten Possible Links, Andrea Rosen Gallery, New York, NY ZKM – Zentrum für Kunst und Medientechnologie Karlsruhe, Karlsruhe, Germany, longterm exhibition of commissioned sound works Remanence/Remonstrance, Institute of Contemporary Art, Boston, MA 2013 The Morning Line, ZKM – Zentrum für Kunst und Medientechnologie Karlsruhe, Karlsruhe, Germany Slow Light, Baldwin Gallery, Aspen, CO 2012 The Long Count, Barbican Theatre, London, United Kingdom 2011 L&M Arts, Los Angeles, CA, The Morning Line, Schwarzenbergplatz, Thyssen-Bornemisza Contemporary Art Foundation, Vienna, Austria The Long Count, Holland Festival, Amsterdam, Holland 2010 The Morning Line, Eminou Square, Thyssen-Bornemisza Art Contemporary, Istanbul, Turkey 2009 Line Shot, Andrea Rosen Gallery, New York, NY Paradise Lost, Southbank Centre, London, United Kingdom The Need Fire, c/o - Atle Gerhardsen, Berlin, Germany 2008 The Morning Line, Centro Andaluz de Arte Contemporáneo, Seville, Spain Ghost Operator, White Cube, London, United Kingdom 2 2007 New Media Series: Matthew Ritchie, The Iron City, St. Louis Art Museum, St.
    [Show full text]
  • Continuing Education Bulletin Fall 2013
    Film Web Design and Video Game Design www.sva.edu 212.592.2060 Fax 212.592.2050 Tel 10010-3994 NY York, New 23 Street, East 209 Voice-Over Studio Photography Advertising SCHOOL OF VISUAL ARTS VISUAL SCHOOL OF Jewelry Video Design Digital Copywriting Photography Design Acting Art for Kids Pre-College Animation • Program Visual Drawing Continuing Education Bulletin Education Continuing Effects Motion Graphics Computer Art Printmaking Cartooning Art History Interior further information. for sva.edu/cecredit at visit our website Please accepted. is credit Transfer is available. study Part-time needs. your meet to courses schedule of all with a flexible disciplines, in several courses as credit Design, as well in Graphic program a degree oers Education Continuing The Division of L Design OO Sculpture Illustration K Painting IN Advertising Computer Periodicals Postage Paid at New York, NY York, New at Paid Postage Periodicals G Animation TO Animation START START Computer Art, Computer Ceramics • Children’s OR Fall 2013 Fall Animation and Visual Effects Book FINISH Illustration DDesignesign Woodworking Film and Video YOUR Fine Arts BACHELOR Blacksmithing Continuing Education Illustration and Cartooning Bulletin Fall 2013 Interior DDesignesign ’S D Photography Desktop EG Publishing Screenwriting REE Professional DDevelopmentevelopment ? Visual and Critical Studies Published by the Visual Arts Press, Ltd., © 2013 The School of Visual Arts does not discriminate on the basis of gender, race, color, creed, disability, age, sexual orientation, marital status, national origin School of Visual Arts Bulletin (USPS-004171) or other legally protected status. is published quarterly: fall, winter, spring, summer by School of Visual Arts The College reserves the right to make changes from time to time affecting 209 East 23 Street policies, fees, curricula and other matters announced in this or any other New York, NY 10010-3994 publication.
    [Show full text]
  • Press Release
    PRESS RELEASE bitforms gallery, New York For Immediate Release (212) 366-6939 / [email protected] February 2006 MICHAEL JOAQUIN GREY REENTRY from primordial to precocial OPENING RECEPTION: 6-8 pm, Friday, March 10, 2006 HOURS: Tuesday-Saturday 11am-6pm, and by appointment EXHIBITION DATES: March 10 - April 15, 2006 (extended one week) bitforms gallery is pleased to announce a New York solo exhibition with Michael Joaquin Grey. REENTRY opens Friday, March 10, 2006 at 6 pm with a reception for the artist, and has been extended to run through April 15. Gallery hours are 11 am to 6 pm Tuesday through Saturday. In this exhibition Michael Joaquin Grey plays with a unifying metaphysics of the micro, macro and media worlds. In his new computational cinema and film objects, Grey re-envisions critical moments in culture and phenomena. On view are three synaesthetic works, “Perpetual ZOOZ”, “The So What Moon Calendar” and “Reentry”, each creating simultaneous relationships in sound, space, and media. “Rereentry” is a silent cellular film that collectively visualizes past, present and future within a matrix of cells forming the larger body of another film. Grey’s recent drawings on paper are also part of the exhibition. For the past twenty years, Michael Joaquin Grey has been creating work that extends and plays with the boundaries of both art, science and media. His investigation centers around the origins of life, language and form - as related to natural and complex systems. Critical moments in natural phenomenon and culture are objects in his work, as are the prepositional states of change between matter, energy, behavior, and meaning.
    [Show full text]
  • FY2010 Annual Listing
    2009 2010 Annual Listing Exhibitions PUBLICATIONS Acquisitions GIFTS TO THE ANNUAL FUND Membership SPECIAL PROJECTS Donors to the Collection 2009 2010 Exhibitions at MoMA Installation view of Ernesto Neto, Navedenga. 1998. Polyamide stretch fabric, sand, Styrofoam, cloves, cord, and ribbon, 144 x 180 x 252" (365.8 x 457.2 x 640.1 cm). Gift of Donald L. Bryant, Jr. Photo © 2010 Jason Mandella Installation view of the exhibition Gabriel Orozco. Photo by Charles Watlington 4 5 Exhibitions at MoMA In Situ: Architecture and Looking At Music II Projects 90: Song Dong Landscape June 10–November 30, 2009 June 24–September 7, 2009 April 8, 2009–February 22, 2010 Organized by Barbara London, Organized by Barbara London, Organized by Andres Lepik, Curator, Associate Curator, Department of Associate Curator, Department of and Margot Weller, Curatorial Media and Performance Art. Media and Performance Art, and Assistant, Department Sarah Suzuki, The Sue and Eugene of Architecture and Design. Performance 4: Roman Ondák Mercy, Jr., Assistant Curator for June 23–August 17, 2009 Prints and Illustrated Books. Polish Posters 1945-89 Organized by Klaus Biesenbach, May 6–November 30, 2009 Chief Curator at Large, The Museum Young Architects Program 2009 Organized by Juliet Kinchin, of Modern Art, and Director, June 26–September 14, 2009 Curator, and Aidan O'Connor, MoMA PS1; and Jenny Schlenzka, Organized by Andres Lepik, Curator, Curatorial Assistant, Department of Assistant Curator, Department of Department of Architecture and Architecture and Design. Media
    [Show full text]