Curriculum Vitae of Robert Spahr
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Post Human Future Tense
Post-Human//Future Tense Essays Edited by Daniël Ploeger and Nicholas Sagan ISBN 978-0-557-90584-3 © 2010 the authors, artists, and PH//FT Press. Post-Human//Future Tense Exhibition was curated by Victoria Bradford, Michelle Graves, Nicolas Shawn Ruley and Nicholas Sagan. Juried by John Manning, Melissa Potter and Jason Salavon. Catalog essays were edited by Daniël Ploeger and Nicholas Sagan. Catalog layout and editing by Nicholas Sagan and Clifton Meador. Cover image: Andy Mattern, AC Remote Control. Photographs by Michelle Graves. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of the publisher. Published by PH//FT Press and Qoop.com Acknowledgements...................................................................................................P5 Curatorial Statement: The Edge of Obsolescence? by Nicolas Shawn Ruley............................................................................................p7 // Introduction: Being-Human as Evolving Memory: art and posthumanism in the present tense by Daniël Ploeger........................................................................................................p9 // Essays: Cautionary Tale of the Cyborg, Our Posthuman Identity by Nogin Chung........................................................................................................p17 Hybrid Voices, Other Bodies by Erin Gee..................................................................................................................p21 -
Widewalls Jason Salavon Exploration of the Visual Plane Soon at Mark
Dethal, Lor. “Jason Salavon Exploration of the Visual Plane Soon at Mark Moore Gallery”. Widewalls. January 2016. JASON SALAVON EXPLORATION OF THE VISUAL PLANE SOON AT MARK MOORE GALLERY The modern way of life has been undoubtedly shaped and choreographed by large networks and digital data. With an omnipresent digitized culture, the growth of visual capacity in such form has increased exponentially in the recent past, forming the social and technological landscape of today. We’ve seen a number of artists exploring the merits and consequences of the modern way of life, probing how it has affected inter-human relationships as well as individual consciousness. Analyzing the vast field of digital data, American contemporary artist Jason Salavon contributes to the exploration of modern culture, obsessions and mannerisms through the display of his latest work. Presenting 14 new pieces based on computer processing, which can lead to some amazing art pieces, the solo exhibition in the Mark Moore Gallery by Jason Salavon titled All The Ways opens in February. New Perspectives on Familiar Born in Indiana in 1970, Jason Salavon earned his MFA at The School of the Art Institute of Chicago and his BA from The University of Texas at Austin. He taught at The School of the Art Institute of Chicago, and is currently associate professor in the Department of Visual Arts and the Computation Institute at the University of Chicago. Having been employed as an artist and programmer in the video game industry for several years, Salavon developed a unique perspective and understanding of the digital reality, ultimately using computer software of his own design in order to reconfigure preexisting media and data to create new visual works of fine art. -
Jason Salavon
JASON SALAVON Education 1997 Master of Fine Arts, The School of the Art Institute of Chicago 1993 Bachelor of Arts, The University of Texas at Austin Solo Exhibitions 2013 Eight Modern, Santa Fe, NM, Jason Salavon: Chance Animals, July 19 – September 1. The Taubman Museum of Art, Roanoke, VA, Jason Salavon: A Seamlessness Between Things, June 15 – August 31. Ronald Feldman Fine Arts, New York, NY, Control, February 23 - March 30. 2012 Mark Moore Gallery, Culver City, CA, Tragedy of the Commons, April 14 – May 19. 2010 Ronald Feldman Fine Arts, New York, NY, Old Codes, April 8 - May 8. Tony Wight Gallery, Chicago, IL Old Codes, March 13 – April 10. 2009 Hyde Park Art Center, Chicago, IL Spigot (Oracle’s reflection), September 23 – February 6. 2008 Columbus Museum of Art, Columbus, OH, Currents: Jason Salavon, January 18 – May 4. Mark Moore Gallery, Los Angeles, CA, Jason Salavon, November 1 – December 20. Inman Gallery, Houston, TX, Annex and Catalogue, May 30 – July 5. 2007 Gaain Gallery, Seoul, Korea, Jason Salavon, March 2 – April 1. 2006 National Portrait Gallery, Washington, D.C., Portraiture Now, July 1 – January 7. Galerie Kusseneers, Cologne, Germany, Art Cologne, November 1 – 5. 2005 List Visual Arts Center, Massachusetts Institute of Technology, Cambridge, MA, The Late Night Triad, December 17 – January 30. Rockford Art Museum, Rockford, IL, Jason Salavon, October 14 – January 8, 2006. Inman Gallery, Houston, TX. Emblem, April 8 – May 14 2004 f a projects, London, UK, The Late Night Triad, May 14 – June 12. Earl Lu Gallery, LASALLE-SIA College of the Arts, Singapore, Jason Salavon: Brainstem Still Life, July 28 – August 29. -
Annual Report 2013-2014
The Museum of Fine Arts, Houston Arts, Fine of Museum The μ˙ μ˙ μ˙ The Museum of Fine Arts, Houston annual report 2013–2014 THE MUSEUM OF FINE ARTS, HOUSTON, WARMLY THANKS THE 1,183 DOCENTS, VOLUNTEERS, AND MEMBERS OF THE MUSEUM’S GUILD FOR THEIR EXTRAORDINARY DEDICATION AND COMMITMENT. ANNUAL REPORT ANNUAL 2013–2014 Cover: GIUSEPPE PENONE Italian, born 1947 Albero folgorato (Thunderstuck Tree), 2012 Bronze with gold leaf 433 1/16 x 96 3/4 x 79 in. (1100 x 245.7 x 200.7 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.728 While arboreal imagery has dominated Giuseppe Penone’s sculptures across his career, monumental bronzes of storm- blasted trees have only recently appeared as major themes in his work. Albero folgorato (Thunderstuck Tree), 2012, is the culmination of this series. Cast in bronze from a willow that had been struck by lightning, it both captures a moment in time and stands fixed as a profoundly evocative and timeless monument. ALG Opposite: LYONEL FEININGER American, 1871–1956 Self-Portrait, 1915 Oil on canvas 39 1/2 x 31 1/2 in. (100.3 x 80 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.756 Lyonel Feininger’s 1915 self-portrait unites the psychological urgency of German Expressionism with the formal structures of Cubism to reveal the artist’s profound isolation as a man in self-imposed exile, an American of German descent, who found himself an alien enemy living in Germany at the outbreak of World War I. -
Postinternet, Its Art and (The) New Aesthetic
POSTINTERNET, ITS ART AND (THE) NEW AESTHETIC — A Conceptual Framework for Art Education POSTINTERNET, ITS ART AND (THE) NEW AESTHETIC — A Conceptual Framework for Art Education Elina Nissinen Master of Arts thesis, 30 ECTS Supervisor Kevin Tavin Master’s Program in Art Education Department of Art Aalto University School of Arts, Design and Architecture 2018 Author Elina Nissinen Työn nimi Postinternet, Its Art and (The) New Aesthetic – A Conceptual Framework for Art Education Department Department of Art Degree programme Master’s program in Art Education Year 2018 Number of pages 83 Language English Abstract As one might expect from terms employing the prefixes ‘post’ or ‘new,’ combined with the words ‘internet,’ ‘art,’ and ‘aesthetic,’ postinternet, postinternet art (PIA), and New Aesthetic ((the) NA) are broad and disputable concepts. I started this study because I noticed that these ambiguous, yet widely- discussed terms were hardly acknowledged in art education. This thesis provides a conceptual framework for postinternet, PIA, and (the) (the) NA through a critical review of the literature. Postinternet and (the) NA are notions and phenomena that signpost an era and a condition of unprecedented pace of computation-driven transformations in the human culture. They continue the list of theoretical neologisms indicating the changes brought about by the post-conditions. This thesis establishes that postinternet, PIA, and (the) NA are characterized through their paradoxical relation to time and temporality at conceptual and thematical levels. Obsessed with novelty, these terms attempt to break off from their “previous,” while, starting from their titles, simultaneously anchoring themselves to the past. Postinternet is a notion that describes the inescapable consequences of the intermixing of the online and offline, the omnipresence of the internet. -
Jason Salavon Born, 1970 Indianapolis Lives and Works in Chicago
Jason Salavon Born, 1970 Indianapolis Lives and works in Chicago, IL Education 1997 Master of Fine Arts, The School of the Art Institute of Chicago 1993 Bachelor of Arts, The University of Texas at Austin Solo Exhibitions 2016 All the Ways, Mark Moore Gallery, Culver City, CA 2014 The Top 100,000,000, Inman Gallery, Houston, TX. Moving Image, Mark Moore Gallery, New York. 2013 New Work, Eight Modern, Santa Fe, NM Control, Ronald Feldman Fine Art, New York, NY 2012 Tony Wright, Chicago, IL Tragedy of the Commons, Mark Moore Gallery, Culver City, CA Gaain Gallery, Seoul, Korea 2011 Freer and Sackler Galleries, Smithsonian Institution, Washington, D.C. Meadows Museum, Southern Methodist University, Dallas, TX 2010 Arrows and Dice, National Portrait Gallery, Washington, D.C. Old Codes, Ronald Feldman Fine Arts, New York, NY Old Codes, Tony Wight Gallery, Chicago, IL 2009 Spigot, Hyde Park Art Center, Chicago, IL 2008 Project Room, Mark Moore Gallery, Santa Monica, CA Currents, Columbus Museum of Art, Columbus, OH 2007 Jason Salavon, Gaain Gallery, Seoul, Korea (catalogue) Inman Gallery, Houston, TX 2006 Portraiture Now, National Portrait Gallery, Washington, D.C. (catalogue) Art Cologne, Galerie Kusseneers, Cologne, Germany 2005 Emblem, Inman Gallery, Houston, TX List Visual Arts Center, Massachusetts Institute of Technology, Cambridge, MA (brochure) Rockford Art Museum, Rockford, IL 2004 everyday coma, The Project, Los Angeles, CA Brainstem Still Life, Earl Lu Gallery, LASALLE-SIA College of the Arts, Singapore. (catalogue) The Late Night Triad, f a projects, London, UK 2003 The Museum of Contemporary Art, Los Angeles, CA. Digital Gallery The Museum of Contemporary Photography, Chicago, IL SoFA Gallery, Indiana University, Bloomington, IN (catalogue) Inman Gallery, Houston, TX Galerie Edward Mitterrand, Geneva, Switzerland Jason Salavon: Part I & Part II, M-PROJECT, Paris, France. -
ART on Themart ANNOUNCES ARTISTS for FIRST ITERATION of the LARGEST PERMANENT DIGITAL ART PROJECTION in the WORLD
Media Contacts: Francesca Kielb/Jenelle Davis Carol Fox and Associates 773.969.5035/ [email protected] 773.327.3830/ [email protected] For Images, Click Here Embargoed For Release: 9:00AM CST / August 23, 2018 ART ON theMART ANNOUNCES ARTISTS FOR FIRST ITERATION OF THE LARGEST PERMANENT DIGITAL ART PROJECTION IN THE WORLD Artists Diana Thater, Zheng Chongbin, Jason Salavon and Jan Tichy Selected for Inaugural Projection Chicago—theMART, with the City of Chicago, today announced the selected artists for Art on theMART, which debuts on September 29, 2018. The first-of-its-kind for Chicago, this curated series of digital artworks will project the work of renowned artists Diana Thater, Zheng Chongbin, Jason Salavon and Jan Tichy across 2.5 acres of theMART’s exterior river-façade, creating the largest permanent digital art projection in the world. “theMART’s gift to the city is a transformative public art platform distinguished by its unparalleled scale and long-term potential,” said Art on theMART Executive Director Cynthia Noble. “The inaugural set of projections, with the high caliber of artists, range of subjects and technological innovation, signals limitless opportunities for artists and cultural organizations to engage audiences from Chicago and around the world.” Art on theMART selected and commissioned the work by Thater and Chongbin, while Salavon and Tichy were commissioned by the Terra Foundation for American Art and confirmed by an esteemed Curatorial Advisory Board comprised of several of the city’s most distinguished arts and culture leaders. In addition to Art on theMART Executive Director Cynthia Noble, Curatorial Advisory Board members include Museum of Contemporary Art Chicago Associate Curator José Esparza Chong Chuy, Art Institute of Chicago Assistant Curator Robyn Farrell, EXPO CHICAGO President/Director Tony Karman, Chicago Department of Cultural Affairs and Special Events Film Office Director Rich Moskal, artist Edra Soto and artist Amanda Williams. -
A Critical Analysis of Art in the Post- Internet Era Mark Gens
Art Post Internet A Critical Analysis of Art in the Post- Internet Era Mark Gens Te ability of technology to transform art, artist, and art world is not a new concept. Te impact of digital technology and the Internet is yet another dynamic force. What is taking place is a redefnition of authorship, collaboration, and materiality as well as a need for new theoretical and aesthetic notions of how – and where – art is made, viewed, marketed and collected. Tese factors, the ever-expanding World Wide Web, and the pervasive individual ownership of networked devices by most of the privileged world, have ushered in what some refer to as the Post-Internet era. Rather than focusing on the validity of the highly-debated term “Post-Internet” this paper will focus on the developmental shift to which the term refers. Tis shift is an important marker in the movement of ideas and criticality, culture, and context. It is necessary to consider the digital art predecessors to the Post-Internet era. However, the exhibition Art Post-Internet, held at the Ullens Center for Contemporary Art in Beijing, China in the spring of 2014, is vital for its well-articulated curatorial perspective. Although the signifcance of the Post-Internet era is still being determined and defned at this moment, Art Post-Internet has made great strides in solidifying its look, methods, context and meaning. Post-Internet is not the end of an era, but rather a poignant marker with lasting potential in the continuum of art history. Mark Gens is a multi-media artist, student, and writer in New York City. -
Mediating Internet Art Curatorial Modes in Tangible and Virtual Domains
MEDIATING INTERNET ART CURATORIAL MODES IN TANGIBLE AND VIRTUAL DOMAINS Jonathon Austin Lourenço Pereira Dissertação de Mestrado em Estudos Artísticos apresentada à Faculdade de Belas Artes da Universidade do Porto Orientadora: Profª. Doutora Catarina Carneiro de Sousa Porto, 2018 MEDIATING INTERNET ART CURATORIAL MODES IN TANGIBLE AND VIRTUAL DOMAINS by Jonathon Austin Lourenço Pereira A dissertation submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art Studies at the Faculty of Fine Arts of the University of Porto Supervised by Catarina Carneiro de Sousa Porto, 2018 ABSTRACT This dissertation examines Internet Art and its mediation efforts. As a practice with now more than 20 years of existence, Internet Art is still greatly marginalized from art institutional settings for its inferior status in comparison with tangible auratic artworks. The curatorial field of knowledge has been hardly handling the discussion of how technology has been transforming modes of production and mediation of art. The central aim here is to understand how Internet Art has been and can be mediated in online and tangible settings. The Literature Review has surveyed a broad range of writings about New Media Art and Internet Art in combination with direct engagement with artworks. This had the purpose of gaining insight into what Internet Art consists in, its behaviors and construction. To explore how Internet Art has been exhibited, preserved, and distributed, the research followed a multiple case studies method. It delved into five cases of mediation efforts related to Internet Art in both online and tangible settings. These have been surveyed qualitatively based on direct observation and engagement and secondary sources, such as exhibition reviews, curator statements, and audience input. -
Art As Communication: Y the Impact of Art As a Catalyst for Social Change Cm
capa e contra capa.pdf 1 03/06/2019 10:57:34 POLYTECHNIC INSTITUTE OF LISBON . PORTUGAL C M ART AS COMMUNICATION: Y THE IMPACT OF ART AS A CATALYST FOR SOCIAL CHANGE CM MY CY CMY K Fifteenth International Conference on The Arts in Society Against the Grain: Arts and the Crisis of Democracy NUI Galway Galway, Ireland 24–26 June 2020 Call for Papers We invite proposals for paper presentations, workshops/interactive sessions, posters/exhibits, colloquia, creative practice showcases, virtual posters, or virtual lightning talks. Returning Member Registration We are pleased to oer a Returning Member Registration Discount to delegates who have attended The Arts in Society Conference in the past. Returning research network members receive a discount o the full conference registration rate. ArtsInSociety.com/2020-Conference Conference Partner Fourteenth International Conference on The Arts in Society “Art as Communication: The Impact of Art as a Catalyst for Social Change” 19–21 June 2019 | Polytechnic Institute of Lisbon | Lisbon, Portugal www.artsinsociety.com www.facebook.com/ArtsInSociety @artsinsociety | #ICAIS19 Fourteenth International Conference on the Arts in Society www.artsinsociety.com First published in 2019 in Champaign, Illinois, USA by Common Ground Research Networks, NFP www.cgnetworks.org © 2019 Common Ground Research Networks All rights reserved. Apart from fair dealing for the purpose of study, research, criticism or review as permitted under the applicable copyright legislation, no part of this work may be reproduced by any process without written permission from the publisher. For permissions and other inquiries, please visit the CGScholar Knowledge Base (https://cgscholar.com/cg_support/en). -
Laughing at Our Inadequacies: Contemporary Cartoonish Painting, Internet Culture and the Tragicomic Character
Laughing at Our Inadequacies: Contemporary Cartoonish Painting, Internet Culture and the Tragicomic Character Amber Boardman A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy School of Art and Design Faculty of Art and Design October 2018 Thesis/Dissertation Sheet Surname Boardman Given Name Amber Degree PhD Faculty Art and Design School Art and Design Thesis Title Laughing at Our Inadequacies: Contemporary Cartoonish Painting, Internet Culture and the Tragicomic Character Abstract This practice-based project examines ‘cartoonish painting’, an emerging trend of contemporary figurative painting which draws on links between cartoons, humour, narrative, character and bodily transformation. In my practice, cartoonish painting depicts and comments on the endless desire to transform body and self as promoted by Internet culture and social media. This thesis argues that the social media driven desire for self-improvement—bodily alteration and transformations of the self—creates a tragicomic effect that unfolds through the devices of narrative and character. I examine the still influential, Romantic theory of character developed by William James. James articulated well-rounded characters evolve over time through a series of identifications with external others. This thesis proposes that James’s formulations about character retain currency, as people identify with depictions of idealised bodies, high-performing and socially sanctioned selves disseminated through the Internet. This thesis argues, however, that this aspirational selfhood and identifying with idealised others creates feelings of inadequacy. The ideology of a striving, perfected self in search of the ‘American Dream’ will be analysed through Henri Bergson’s theory of the comic. Bergson argued that the failure of machine-like pursuits uncontrolled by consciousness can be manifested through comic depictions of the human body. -
New Media Art and Institutional Critique: Networks Vs
New Media Art and Institutional Critique: Networks vs. Institutions Christiane Paul New media art has inspired a variety of dreams about our technological future, among them the dream of a more or less radical reconfiguration of museums and art institutions. As a process-oriented art form that is inherently collaborative, participatory, networked and variable, new media practice tends to challenge the structures and logic of museums and art galleries and reorients the concept and arena of the exhibition. New media art seems to call for a "ubiquitous museum" or "museum without walls," a parallel, distributed, living information space open to artistic interference—a space for exchange, collaborative creation, and presentation that is transparent and flexible. This notion of an "open museum" reaches further than the concept of a postmodern museum without walls outlined by Rosalind Krauss, (1) according to which architectural structures create a visually and physically decentring movement by opening relational spaces in a referential process that continuously questions formal order. By virtue of its highly contextual and often networked nature, new media art both extends beyond the walls and structures of the museum and, at times, undermines the museum's very logic of exhibition and collection. The fact that new media art has its roots in the military-industrial-academic complex and is closely linked to "entertainment systems" adds further contexts. While all art forms and the movements that sustain them are embedded in a larger cultural context, new media can never be understood from a strictly art historical perspective: the history of technology and media sciences plays an equally important role in the formation and reception of new media art practices.