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Sholette.CV.WINTER.2010 Copy
Gregory Sholette [email protected] 646-319-6387 Assistant Professor Art Department Queens College: CUNY 65-30 Kissena Boulevard Flushing, NY 11367 EDUCATION The Whitney Museum Independent Studies Program, Helena Rubinstein Fellow in Critical Studies, NYC. 1995. University of California San Diego, Visual Art Department, 1992-1995, Master of Fine Arts, CA, 1995. The Cooper Union for the Advancement of Science & Art, 1977-1979, Bachelor of Fine Arts, NYC, 1979. Bucks County Community College, 1974-1976, Associate Degree (Fine Arts), Newtown, PA, 1976. TEACHING Queens College, Assistant Professor, Department of Art, 2/06/08 to the present. Harvard University, Visiting Professor, Dept. of Visual & Environmental Studies, Visiting Professor, Spring 2011. Geneva University of Art & Design, Seminar Leader, CCC: Critical,Curatorial,Cybermedia Research Program (ongoing Spring). Tromsø, Art Academy, Norway, Seminar Leader and final studio critiques, 5/26/09. Central European University, Budapest, Theory Seminars, Tranzit Free School/Art Theory/Practice. HU, 10/10-11/08. The Cooper Union, NYC, Art Department, Adjunct Professor, multiple semesters: 1997, 99, 07, 08. Malmö Art Academy, Sweden, Seminars, Post-Graduate Critical Studies Program, 4/8-10/07. Parsons School of Design, Adjunct Professor, Dept. of Art & Design Studies, Fall, 2006. New York University, Adjunct Professor, Art & Public Policy;Visual Studies Programs, Spring 2005, 06, 07. Eddin Foundation, Cairo, Egypt, Workshop Seminar for the Contemporary Image Collective (CIC), 12/05. The School of the Art Institute of Chicago, Assistant Professor, Arts Administration & Visual Critical Studies.9/99–5/04. Colgate University, Hamilton, NY, “The Distinguished Batza Family Chair in Art and Art History,” Spring, 2004. -
Jean-Noel Archive.Qxp.Qxp
THE JEAN-NOËL HERLIN ARCHIVE PROJECT Jean-Noël Herlin New York City 2005 Table of Contents Introduction i Individual artists and performers, collaborators, and groups 1 Individual artists and performers, collaborators, and groups. Selections A-D 77 Group events and clippings by title 109 Group events without title / Organizations 129 Periodicals 149 Introduction In the context of my activity as an antiquarian bookseller I began in 1973 to acquire exhibition invitations/announcements and poster/mailers on painting, sculpture, drawing and prints, performance, and video. I was motivated by the quasi-neglect in which these ephemeral primary sources in art history were held by American commercial channels, and the project to create a database towards the bibliographic recording of largely ignored material. Documentary value and thinness were my only criteria of inclusion. Sources of material were random. Material was acquired as funds could be diverted from my bookshop. With the rapid increase in number and diversity of sources, my initial concept evolved from a documentary to a study archive project on international visual and performing arts, reflecting the appearance of new media and art making/producing practices, globalization, the blurring of lines between high and low, and the challenges to originality and quality as authoritative criteria of classification and appreciation. In addition to painting, sculpture, drawing and prints, performance and video, the Jean-Noël Herlin Archive Project includes material on architecture, design, caricature, comics, animation, mail art, music, dance, theater, photography, film, textiles and the arts of fire. It also contains material on galleries, collectors, museums, foundations, alternative spaces, and clubs. -
Mapping the Urban Database Documentary: Authorial Agency in Utopias of Kaleidoscopic Perception and Sensory Estrangement
Mapping the Urban Database Documentary: Authorial Agency in Utopias of Kaleidoscopic Perception and Sensory Estrangement The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Shapins, Jesse Moss. 2012. Mapping the Urban Database Documentary: Authorial Agency in Utopias of Kaleidoscopic Perception and Sensory Estrangement. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:10984871 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Mapping the Urban Database Documentary: Authorial Agency in Utopias of Kaleidoscopic Perception and Sensory Estrangement A dissertation presented By Jesse Shapins To The committee on Architecture, Landscape Architecture, and Urban Planning in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Architecture Harvard University Cambridge, Massachusetts November, 2012 © 2012 – Jesse Shapins All rights reserved Dissertation Advisor: Professor Antoine Picon Jesse Shapins Professor K. Michael Hays Mapping the Urban Database Documentary: Authorial Agency in Utopias of Kaleidoscopic Perception and Sensory Estrangement Abstract This dissertation theorizes the genre of the urban database documentary, a mode of media art practice that uses structural systems to uncover new perspectives on the lived experience of place. While particularly prominent in recent decades, I argue that the genre of the urban database documentary arises at the turn of the 20th century in response to the rise of the metropolis and the widespread adoption of new media technologies such as photography, cinema, and radio. -
Perry Bard Education Perry Bard B.A
PERRY BARD www.perrybard.net EDUCATION PERRY BARD B.A. McGill University 1966 MFA Sculpture. San Francisco Art Institute 1981 WORKS 2014-15. OUT MY WINDOW DOWN THE ALLEY AROUND THE CORNER AND UP THE BLOCK. Multichannel video installation with 3D printed objects based on gentrification of Tribeca NY. Presented in solo exhibition at Joyce Yahouda Gallery Montreal, in Documentary Fortnight 2015 at MoMA New York, at Fischer Landau Center fro Contemporary Art, L.I.C. 2014.HOTEL.Commissioned for First International Biennial Cartagena Colombia. Collaboration with local dance troupe interpreting gestures of hotel workers presented as live performance at opening and two channel video installation. at Museo de la Presentacion. 2014-2007.ongoing. MAN WITH A MOVIE CAMERA : THE GLOBAL REMAKE. A Bigger Picture Commission Arts (Council of England, BBC, Cornerhouse Manchester). Database cinema. 67’ Through a website developed for this project at http://dziga.perrybard.net people around the world upload shots to remake Vertov’s 1929 classic film. Software designed for the site delivers a new film daily incorporating uploads to the project. Screenings: 2013: Parer Place Urban Screen Brisbane Australia, Paintbrush Factory Cluj Romania, 2012: Moscow Film Festival, Cinema: Voorkamer Lier Belgium, Museum of Contemporary Art Zagreb, Videopool/AceArt Winnipeg,MashRome Film festival, 2011:Google’s list of 106 most creative uses of the web, Agora-Porto Alegre Brazil, Museum of Contemporary Art Bucharest Romania, Studio10 Gallery,Brooklyn NY, Santander Cultural Brazil, Transitio_MX Mexico City, Speedshow Brussels,. 2010: Guggenheim Museum’s Top 25 Youtube Play Biennial of Creative Video,Toronto International Film Festival, Share Festival Turin Italy, City of WomenFestival Ljubljana Slovenia, Remixed Arts Festival, NYC, Wikitopia VideoTage Hong Kong, Update III. -
Su Friedrich
SU FRIEDRICH 106 Van Buren Street Brooklyn, New York 11221 (718) 599-7601 land, (917) 620-6765 cell [email protected] www.sufriedrich.com ═════════════════════════════════════════════════════════════ FILMOGRAPHY and VIDEOGRAPHY: I Cannot Tell You How I Feel 2016 42 min. video color sound Queen Takes Pawn 2013 6.5 min. video color sound Gut Renovation 2012 81min. video color sound Practice Makes Perfect 2012 11min. video color sound Funkytown 2011 1 min. video color sound Conservation 101 2010 6 min. video color sound From the Ground Up 2008 54 min. video color sound Seeing Red 2005 27 min. video color sound The Head of a Pin 2004 21 min. video color sound The Odds of Recovery 2002 65 min. 16mm color sound Being Cecilia 1999 3 min. video color sound Hide and Seek 1996 65 min. 16mm b&w sound Rules of the Road 1993 31 min. 16mm color sound Lesbian Avengers Eat Fire, Too 1994 60 min. video color sound First Comes Love 1991 22 min. 16mm b&w sound Sink or Swim 1990 48 min. 16mm b&w sound Damned If You Don’t 1987 42 min. 16mm b&w sound The Ties That Bind 1984 55 min. 16mm b&w sound But No One 1982 9 min. 16mm b&w silent Gently Down the Stream 1981 14 min. 16mm b&w silent I Suggest Mine 1980 6 min. 16mm bw&col silent Scar Tissue 1979 6 min. 16mm b&w silent Cool Hands, Warm Heart 1979 16 min. 16mm b&w silent Hot Water 1978 12 min. s-8 b&w sound GRANTS AND AWARDS: 2015 Sink or Swim was one of the 25 films chosen by the Library of Congress to be included in the National Film Registry 2012 Princeton University Committee on Research in the Humanities -
Video Vortex Reader II: Moving Images Beyond Youtube
Video Vortex Reader II MOVING IMAGES BEYOND YOUTUBE 2 Video Vortex Reader II MOVING ImAGES BEYOND YOUTUBE MOVING ImAGES BEYOND YOUTUBE 3 Video Vortex Reader II: moving images beyond YouTube Editors: Geert Lovink and Rachel Somers Miles Copy Editor: Nicole Heber Design: Katja van Stiphout Cover Image: Team Thursday, Rotterdam Printer: Ten Klei, Amsterdam Video Publisher: Institute of Network Cultures, Amsterdam 2011 ISBN: 978-90-78146-12-4 Vortex Contact Reader II Institute of Network Cultures phone: +3120 5951866 MOVING fax: +3120 5951840 email: [email protected] IMAGES web: http://www.networkcultures.org BEYOND Order a copy of this book by sending an email to: [email protected] YOUTUBE EDITED BY A PDF of this publication can be downloaded freely at: GEERT LOviNK AND http://www.networkcultures.org/publications/inc-readers RACHEL SOMERS MilES Join the Video Vortex mailing list at: http://www.listcultures.org INC READER #6 Supported by: the School for Communication and Design at the Amsterdam University of Applied Sciences (Hogeschool van Amsterdam DMCI). The Video Vortex Reader is produced as part of the Culture Vortex research program, which is supported by Foundation Innovation Alliance (SIA - Stichting Innovatie Alliantie). Thanks to Andreas Treske, Dan Oki, Bram Crevits and the Video Vortex Steering Committee for their valuable input and editorial support. Thanks to our Culture Vortex partners: MediaLAB Amsterdam, Netherlands Institute for Sound and Vision, Netherlands Media Art Institute, Virtueel Platform, VPRO, Amsterdam City Archives, Museum Boijmans van Beuningen, IDFA, and the Urban Screens Association. (http://networkcultures.org/culturevortex/) Special thanks to all the authors for their contributions, and to Nicole Heber for her copy editing.