KATE GILMORE - Thursday September 16 - 5pm @ Kresge Theater
In her recent video at the 2010 Whitney Biennial, Kate Gilmore punches and kicks through a sculptural structure using sheer muscle power and desperate determination, while wearing high-heels and feminine polka-dot dress. Born in Washington D.C., Gilmore has been the recipient of numerous international awards, including the Rome Prize from the American Academy, Louis Comfort Tiffany Foundation Award, the Franklin Furnace Fund for Performance, The LMCC Workspace Residency, New York Foundation for The Arts Fellowship, and the Marie Walsh Sharpe Space Program. Her work has been shown widely in solo and group exhibitions at the Public Art Fund in New York, the Brooklyn Museum, PS1/MoMA, the Kitchen, the Getty Museum, Haifa Museum of Art, MAK Museum in Vienna, Istanbul Museum of Art, Institute of Contemporary Art in Philadelphia and more. Gilmore’s work has been reviewed in numerous publications including: The New Yorker, The New York Times, New York Magazine, The Guardian, Washington Post, Time Magazine, Wall Street Journal, Flash Art, Village Voice, Chicago Tribune, Art in America, Time Out/NewYork, Art Papers, and Artforum.

RICHARD PELL - Tuesday, September 21 - 5pm @ Kresge Theater
Richard Pell is an artist working at the intersections of science, engineering and culture. He is the founder of the Center for PostNatural History, an outreach center dedicated to the collection and exposition of genetically engineered life-forms. The Center has been awarded a Rockefeller New Media fellowship, a Creative Capital fellowship, a Smithsonian research fellowship and is currently in residence at the STUDIO for Creative Inquiry at Carnegie Mellon. Pell is a founding member of the highly acclaimed art and engineering collective, the Institute for Applied Autonomy. IAA projects have been exhibited in art and engineering contexts such as the ZKM in Karlsruhe, Mass MoCA, Ars Electronica, The Aldrich Museum of Contemporary Art, Hackers On Planet Earth and the International Conference On Robotics And Automation. IAA projects have been presented with an Award of Distinction and two Honorable Mentions at the Prix-Ars Electronica in Linz, Austria and were selected for RES Magazine’s “10 Best New Artists of 2005”. Currently an Assistant Professor of Art at Carnegie Mellon University, Pell graduated with a BFA from CMU in 1999 and received his MFA from Rensselaer Polytechnic Institute in 2003.

DZINE - Thursday, September 30 - 5pm @ McConomy Auditorium
Kraus Visiting Professor of Art (Spring 2011)
Puerto Rican artist Dzine (born Carlos Rolon) creates work that is an ongoing response to popular culture through use of baroque elements, post-conceptual methods, romanticism, craft making, and appropriation. Often dissected and consistently engaging, his work examines culture through a lens of spirituality, beauty, desire, and identity. A mixture of sculpture, painting, and installation, Dzine’s work resides in an kaleidoscopic and meticulous world. Collaborating with select fabricators, he creates ornate bike sculptures that boast a mixture of custom painting, engraving, 24 karat gold plating, video/audio components, and a range of embellishments. Each custom part is carefully selected for its utility as well as its beauty, resulting in a sculptural form that is a rigorous example of technical and artistic ingenuity. Dzine’s final presentations romp within a rich middle ground between the more refined aesthetics of contemporary art and the seediness of street culture. By musing on the sculptural, traditional, and inventive forms employed throughout Chicano Low-rider motorcycles, Dzine’s uses his investigation of kustom kulture as a platform to examine his own identify and relationship with this lifestyle and set of aesthetics.

JER THORP - Tuesday, October 5 - 5pm @ McConomy Auditorium
sponsored by the STUDIO for creative inquiry
Jer Thorp is an artist and educator from Vancouver, Canada. A former geneticist, his digital art practice explores the many-folded boundaries between science and art. Recently, his work has been featured by The New York Times Developer Network, The Guardian, BusinessWeek and the CBC. Thorp’s award-winning software-based work has been exhibited in Europe, Asia, North America, South America, Australia, and all over the web. Thorp is an instructor in Langara College’s Electronic Media Design Program, and a frequent guest lecturer at the University of British Columbia and Emily Carr University. In his previous life as a Flash developer and designer, Thorp produced work for a broad base of clients including Honda, The Canadian Broadcasting Corporation, FOX, and the LA Kings. blprnt.com, Thorp’s unique collection of organic Flash experiments and generative artworks, has won numerous awards and has been featured in many art and design publications, both online and in print. Thorp is a contributing editor for Wired UK and is currently artist-in-residence at Columbia University’s EdLab.

CORNELIA HESSE-HONNEGGER - Tuesday, October 19 - 5pm @ Kresge
Cornelia Hesse-Honegger is a scientific illustrator and artist who has worked as an illustrator for the Natural History Museum at the University of Zurich for over 25 years. Her drawings, an interface between art and science, pay witness to a beautiful but endangered nature. Since the catastrophe of the Ukraine’s Chernobyl nuclear power plant meltdown in 1986, she has collected, studied and painted morphologically disturbed insects that she collects from areas that have been contaminated by nuclear radiation. Her works have been exhibited in art and science museums the world over, including: The Chelsea Museum, The London Science Museum, The Museum of Modern Art in Paris and the Milan Triennale. Her works have also been featured in the April 2010 issue of Wired magazine and have been collected in her extraordinary book “Heteroptera The Beautiful and the Other or Images of a Mutating World.”

JEAN SHIN - Tuesday, October 26 - 5pm @ Kresge
Jeff Pan Visiting Artist
Born in Seoul, South Korea, Jean Shin currently lives and works in New York City. She attended the Skowhegan School of Painting and Sculpture and received a BFA and MS from Pratt Institute. Within the last decade, Shin has become nationally recognized for her monumental installations that transform everyday objects into elegant expressions of identity and community. For each project, she amasses vast collections of a particular object—prescription pill bottles, sports trophies, sweaters—which are often sourced through donations from individuals in a participating community. These objects then become the materials for her conceptually rich sculptures, videos and site-specific installations. Distinguished by her meticulous, labor-intensive process, and her engagement of community, Shin’s arresting installations reflect individuals’ personal lives as well as collective issues that we face as a society. She has received numerous awards including the New York Foundation for the Arts Fellowship in Architecture/Environmental Structures (2008), has widely exhibited her work in major museums, and has been featured in numerous publications, including Frieze Art, Flash Art, Tema Celeste, Art in America, Sculpture Magazine, Artnews, and The New York Times.

DORYUN CHONG - Tuesday November 9 - 5pm @ Kresge
Orville M. Winsand Lecture for Critical Studies in Art
Doryun Chong is the recipient of the first Independent Voice Curatorial Award (2010) from Independent Curators International (ICI), and was recently appointed Associate Curator of Painting and Sculpture at the Museum of Modern Art (MoMA), New York in June 2009. At MoMA, he organized the installation of Ernesto Neto’s early sculpture ‘Navedenga’ (1998) and Bruce Nauman’s recent work, ‘Days’ (2009), both in the Museum collection. He’s currently organizing a solo exhibition of Berlin-based artist Henrik Olesen, which will open in February 2011, as part of MoMA’s Projects series. From 2003-2009, Chong was a curator in the Visual Arts Department at the Walker Art Center and organized a number of exhibitions, including “House of Oracles: A Huang Yong Ping Retrospective” (2005), “Tetsumi Kudo: Garden of Metamorphosis (2008), and Haegue Yang: Integrity of the Insider” (2009) — all of which were the first US retrospectives for these artists. He also organized group exhibitions including “Brave New Worlds” (2007), co-organized “Brinkmanship: Park Chan-Kyong and Sean Snyder” (2010) at REDCAT in Los Angeles, and was a co-curator of the 2006 Busan Biennale in South Korea. He has contributed to publications such as Afterall and ArtAsiaPacific, is a regular columnist for the bilingual Japanese-English web journal Art iT, and also recently contributed to the Fourth Auckland Triennale exhibition catalogue (2010).

NICOLA LOPEZ - Tuesday, November 16 - 5pm @ Kresge
co-sponsored by the University of Pittsburgh
Born in Santa Fe, NM, Nicola López currently lives and works in Brooklyn, NY. Through her work in printmaking, drawing and installation, López describes and reconfigures our contemporary—primarily urban—landscape. Her interest in describing “place” stems both from traveling, studying, and working in other countries, including Mexico, Peru, and Morocco, and from her undergraduate studies as an anthropology major at Columbia University. López attended the Skowhegan School for Painting and Sculpture and received her MFA in visual arts from Columbia University, and an MFA Grant from the Joan Mitchell Foundation. Her work has been exhibited nationally and internationally including exhibitions at Museum of Modern Art, Los Angeles County Museum of Art, Museo Rufino Tamayo in Mexico City, and the Denver Art Museum. Her work has also been the subject of solo shows at galleries throughout the US and was most recently featured in a show called Nicola López: Urban Transformations at both The Chazen Museum of Art in Madison, WI and this past winter at the Mesaros Galleries at West Virginia University.

GUILLERMO GOMEZ PENA - Wednesday, December 1 - 5pm @ Kresge
co-sponsored by the Center for Arts in Society and ArtUp
Guillermo Gómez-Peña is a performance artist/writer and the director of the art collective La Pocha Nostra. He was born in Mexico City, he came to the US in 1978. Since then he has been exploring cross-cultural issues through performance, multilingual poetry, journalism, video, radio, and installation art. His performance work and 8 books have contributed to debates on cultural diversity, identity, and US-Mexico relations. His art work has been presented at over seven hundred venues across the US, Canada, Latin America, Europe, Russia and Australia. A MacArthur Fellow and American Book Award winner, he is a regular contributor to National Public Radio, a writer for newspapers and magazines in the US, Mexico, and Europe and a contributing editor to The Drama Review (NYU-MIT).

“For us, it’s not about being experts in Afghanistan, North Korea or Venezuela. It’s a chance for the public to start thinking,” Jon Rubin, Associate Professor of Art.

“Eating like [and with] the ‘enemy’ at world’s first Conflict Kitchen”, The Independent, UK

“Pa. eatery stirs interest in nations in conflict”, AP

Salon.com

Pars Arts
Iranian Culture and Identity, Abroad

“Conflict Kitchen Project serves the food of adversary nations to bring people together”, Pittsburgh Post-Gazette

Washington Post

Communication Arts

Rebel Art

IMDB News

Public Radio International

—————————————————————
Conflict Kitchen is a project by John Peña (MFA ‘08), Jon Rubin (Associate Professor of Art), and Dawn Weleski (BFA ‘09) and is funded by the Sprout Fund, Waffle Shop, and the Center for the Arts in Society. Graphic design by Brett Yasko. Architectural design by Pablo Garcia of POiNT. Special thanks to Illah Nourbakhsh, Marti Louw, Harrison Apple, Sara Faradji, and Courtney Wittekind, and all of those from the Iranian community who supplied us with their opinions and perceptions.

David Crawford (1970-2009) studied film, video, and new media at the Massachusetts College of Art and completed a BFA in 1997. He received several Turbulence.org Commissions, including Here and Now (1998), National Velvet (2000), and Stop Motion Studies - Tokyo (2003). In 2000, his Light of Speed project was a finalist for the SFMOMA Webby Prize for Excellence in Online Art. In 2003, Crawford’s Stop Motion Studies project received an Artport Gate Page Commission from the Whitney Museum of American Art, an Award of Distinction in the Net Vision category at the Prix Ars Electronica, and became part of the public collection of the Moderna Museet in Stockholm (SMS - Series 6). In 2004, he received an MSc from Chalmers University of Technology and taught at The School of the Art Institute of Chicago. Crawford received his PhD in 2009 from the Faculty of Fine, Applied and Performing Arts at Göteborg University in Sweden. His artwork has been featured by the Guardian and Leonardo. His writing has been published by Princeton Architectural Press and SpringerWienNewYork.

ABSTRACT: Remix and the Rouelles of Media Production explores concepts of remixing not only in content and form, but also in process. The aim of the collaboration is to evaluate how the creative process functions as a type of remix itself in a period when production keeps moving toward a collective approach in all facets of culture. The emphasis on video remixing is the result of a collaborative rewriting activity among the contributors, who each wrote independent paragraphs that went through constant revisions once combined as a single text. Video was selected as the subject of analysis because members have a common interest in time-based media, and also because video remixing is at the forefront of media production. One of the group goals is that the text becomes a statement of what video could be as a reflective form of the networked culture that is developing at the beginning of the twenty-first century. The text is in constant revision and readers are encouraged to join in its writing.

Remix and the Rouelles of Media Production is the result of an ongoing collaboration that started in January 2010, when Owen Gallagher invited Mette Birk, Mark O’ Cúlár, Martin Leduc, and Eduardo Navas to join a Remix Theory and Praxis online seminar. In April, Navas invited Tara Zepell to join the group.

Jack Stenner is an artist who has worked with interactivity, video, and installation since the mid 1990s. He is currently an Assistant Professor of Digital Media Art at the University of Florida. His work revolves around issues related to our socio-culturally constructed “reality” and the ways we create meaning from our environment. He is interested in form, space, place and the ways meaning is embedded, manipulated and transcoded during the process of communication. Combining techniques from information retrieval and visualization, content analysis, motion tracking, video gaming, computer aided design and experimental video, he seeks to create experiences that encourage us to reconsider our relationships with the world around us.

Patrick LeMieux is an artist and media scholar who received his MFA from the University of Florida in 2010 and is currently a PhD student in the Department of Art, Art History, and Visual Studies at Duke University. His artwork, scholarship, teaching, and curatorial activity are centered around networked and programmable media, gallery analytics, and videogames. He has recently exhibited artwork in the Tampa Museum of Art, FSU Museum of Fine Arts, and the Samuel P. Harn Museum of Art.

There are 2 distinct kinds of movement: there is the traversed space, and the act by which the space is traversed. In one case a spatial order is established and in the other case, qualities within a temporal sequence are distinguished. — Henri Bergson

Longing For … is a hybrid performance-installation focusing on translatory movements of choreography and architecture. With respect to the investigative movement as a specific form of experience and construction of space, the experiment of translating and representing actual characteristics of architecture, i.e. spatial quality in conjunction with actions, and so in conjunction with time is carried out by the intercreative team Richard Siegal, choreographer/ dancer, Peter Welz, artist, Alexander Kada, designer, Julie Guibert, Camille Revol, Paula Sanchez and Alessio Silvestrin, dancers, Hubert Machnik, composer, Christine Peters, dramaturg and Jean-Philippe Lambert, interactivity programming.

The first score of Longing For… is analysing the mp09 building by GSarchitects researching possibilities to represent space-time structures, i.e. movement notations in architecture and bringing forward the question how choreography does approach this challenge.

Focusing on choreography as description and design of space Longing For… aims to bring representational conventions into dialogue with one another in order to make clear the complexity of interconnectedness and to demonstrate the tension within this media constellation. The form of choreographic notation serves to remind us that architecture is also about moving bodies in space and gives rise to the question how to integrate movement notations in architectural drawings and thus to expand its perception.

Longing For … further analyses the impact of dance on architecture considering dance as the art of space and as the model of an architecture searching against static concepts for new forms and structures that reflect the contemporary person’s attitude to life and questions dance as an expression of a spatial dynamic tension of forces and of a new feeling for movement.

According to the various requirements of performance and further developments in the Longing For … project, a special stage/exhibition setting will develop. Comparable to all of the points of movement that are components of a dancer’s body, the setting will feature an infinite number of movements and positions through series of “foldings and unfoldings”.

COOPERATION:
La Biennale di Venezia, Steiermark: International, Steirische Gesellschaft für Kulturpolitik und Steirische Kultur Initiative, The Bakery

The Project is supported by:
Land Steiermark Kultur, Stadt Graz Kultur, Ministerium für Unterricht, Kunst und Kultur, Austrian Cultural Forum Milano
STO, Vitra, Granit, LA ROCHE, XAL

In Space Invaders: Art in the Computer Game Environment the Netherlands Media Art Institute brings art and games culture together. In an artistic, playful yet serious manner, ‘Space Invaders’ reveals the influence of games on art and society. This group exhibition with Dutch and international media artists examines the increasing blurring of the boundaries between game worlds and reality. In ‘Space Invaders’ media art works illuminate the migration of the physical world into gaming systems. Conversely, gaming elements are more and more finding their way into physical space. By infiltrating both game environments and real spaces, the artworks clarify the nature and influence of the computer game environments, and provide greater insight into the role that computer games play in contemporary culture.

On the one hand the exhibition looks at the most fundamental environment of the computer game: inside the computer. What sort of connections do the games and artworks make between physical and virtual space in the computer world? For instance, while in early text games an imaginary space was evoked by means of text (Colossal Cave Adventure), there are now the detailed cities of ‘Grand Theft Auto’, and recently the development of ‘augmented reality’ games has come into vogue, games that mix computer images with reality in a plausible manner (LevelHead – Julian Oliver, and new work by Anita Fontaine and Mike Pelletier).

On the other hand the exhibition presents the introduction of game elements into the physical world: from the performance of video games in ‘real life’ (COSplayer – Cao Fei), and the reduction of the urban game ‘Parcours’ to a virtual and digital level (Ready Played – Ludic Society), to works that remove the game data from the screen (What Is It Without the Hand that Wields It – Riley Harmon, First Person Shooter – Aram Bartholl).

Walter Langelaar presents a new installation which was made especially for the exhibition. In it he mixes the physical exhibition space and virtual gaming space by means of a gaming engine over which the visitor can exert influence. The visitor has to relate physically to the dizzying mixture of physical and virtual space. Finally, the duo JODI present their performance-installation sk8Monkey, in which unreadable texts are uploaded to a twitter account by means of ’skating’ on an keyboard, and a connection is made with the skateboard games by Tony Hawk.

In short, ‘Space Invaders’ shows the increasing blurring of the boundaries between the real world and the game world. In this exhibition gaming is more than sitting in front of a screen and playing a game; the relation with the real world is never far away.

Produced and curated in partnership with FACT, Liverpool
Powered by BeamSystems
With thanks to the VSBfonds
The educational program is supported by the Amsterdam Fund for the Arts

Abstract: Incorporating the work of Daniel Rozin, Casey Reas, and Sol LeWitt, Spectral Analogies places the notion of the digital in an expanded field, framing it as a mechanism, a process, and a constructive method that operates well beyond the boundaries of computational technology. Taking as its starting point the hypothesis that “the digital” is a term that most often refers to a technological milieu rather than an aesthetic category, this talk addresses some of the features that identify the sensorially apprehensible, aesthetic characteristics of digitality. It argues that the digital as an aesthetic category can be disaggregated from computational technology, such that digital features are observable in artworks and artifacts that pre-exist the invention of computers by decades or even centuries. Whereas some computationally generated or aided pictures, such as the photographs of Jeff Wall, obscure their digital configuration, this talk will focus on examples of contemporary computational artworks that foreground the aesthetic category of the digital as I have defined it. An artifact whose digital structure is visible on its surface speaks, in a visual language with its own distinct syntax, about the relationship between surface and infrastructure, representation and technology. This talk seeks to open the notion of the digital to renegotiation and renewed interrogation, and to create the possibility of a new conversation between contemporary media arts and art of both the recent and deep past.

[Image: Casey Reas "Process 14" 2006]

Meredith Hoy is Assistant Professor of Contemporary Art in the Department of Art and Art History at the University of Massachusetts, Boston. She received her Ph.D. from the University of California at Berkeley in 2010. Her dissertation, entitled From Point to Pixel: A Genealogy of Digital Aesthetics, traces links between contemporary digital art and modern painting. Drawing on theories of visuality, space and spatial practice, cybernetics and systems theory, phenomenology, and post-structuralism and semiotics, her research focuses on the impact of technology on art and visual culture. She has written on modern and contemporary art and architecture, generative art, information visualization, and the phenomenology of networked space.

Upgrade! Boston is curated by Jo-Anne Green for Turbulence.org. It is one of 34 nodes currently active in Upgrade! International, an emerging network of autonomous nodes united by art, technology, and a commitment to bridging cultural divides. If you would like to present your work or get involved, please email jo at turbulence dot org.

The Pad.ma project is a result of the efforts of oil21.org from Berlin, the Alternative Law Forum from Bangalore, and three organizations from Mumbai: Majlis, Point of View and Chitrakarkhana/CAMP.

Pad.ma, short for Public Access Digital Media Archive, is an interpretative web-based video archive, which works primarily with footage rather than “finished” films. Pad.ma provides access to material that is easily lost in the editing process as well as in the filmmaking economy, and in changes of scale brought about by digital technology. Unlike YouTube and similar video sites, the focus here is on annotation, cross-linking, downloading and the reuse of video material for research, pedagogy and reference. The entire collection is searchable and viewable online, and is free to download for non- commercial use.

For the past two years, Pad.ma has been operating as an online archive of digital video, in essence creating a folksonomy of “tagged” footage. During this period, the focus has been on gathering materials, annotating densely, and growing the archive. At present, Pad.ma has over 400 hours of footage, in over 600 “events”. Almost all of this material is fully transcribed and is often mapped to physical locations.

What are some ways to begin thinking about retrieving and utilizing material from Pad.ma? From the onset, pad.ma has had an API (documented at http://wiki.pad.ma/wiki/API), a programming interface that allows a user to access videos, perform searches, seek to exact time-codes, fetch transcripts, and obtain map data, all of which can be shared by any given online user. As such, Pad.ma’s General Public License (PGPL, http://pad.ma/license) is designed specifically for the reuse of the material on Pad.ma. Through the experience of running the archive, there have been various imaginations of multiple and layered forms of time-based annotation over video, including: pedagogical tools for learning and discussion; presentation tools that combine text and video in new ways, along with essays and other writing formats enabled by rich and context-specific media.

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Initiated by Studio XX in 1997, and evolving as quickly as technology itself, the HTMlles Festival is an international platform dedicated to the presentation of women’s independent media artworks from all facets of contemporary technological creation, including but not limited to: digital storytelling, cyber art, short film and video art, audio and electronic art, installation, locative media, 3D animation, game art, virtual reality, electronic publishing, design, performance and interdisciplinary practices.

As a meeting place at the crossroads of creativity, technology and a wide spectrum of feminist perspectives, the HTMlles Festival focuses on the public presentation of innovative media artworks, panel discussions and workshops, creating dynamic connections between audiences, artists, cultural practioners, curators, producers, educators, scholars, students and technophiles.

HTMlles 2010:

From IMAX to the Canadarm, to Softimage, MotionBuilder, Maya and the BlackBerry, Canada’s technological innovations have changed the world. Inspired by Studio XX’s 2008 TransCanada Pipeline Tour, and Canada’s central role within a worlwide context in 2010, the 9th edition of HTMlles will focus on the work of Canadian/Quebec-based media artists exploring concepts of . HTMlles maintains an open and international focus.

As we resist - or converge with - a globally interconnected future, is it relevant to define our origins and explore common values? Can we have more than one at any given time, or no at all? Whose rights are recognized in what homelands?

As a nation, how do we imagine new forms of connection to expand our parameters of citizenship, identity, language and our understandings of democracy and interactive communities?

What defines a place of belonging? When and how do we belong? How do we create a secure home and when is it time to leave it?

What role do Open Source methodologies (F/LOSS) and digital technologies play in creating a sustainable future? What do digital technologies reveal about the state of the natural world and our perception of landscape?

HTMlles seeks stellar media works focusing on woman-centered experiences that are shared and distinct within a national context and/or which highlight the development and richness of Canadian/Quebecois media art practices.

HTMlles invites proposals of audience-ready works from emerging, mid-career or senior artists and curators based in Canada or Quebec. Collaborations with international artists or international works about Canada-based artists are also eligible.

Emerging artists may also consider submissions to the HTMlles EMERGENCE Competition.

Submission guidelines

Projects should be submitted by email only and must include the following information in a PDF document:

+ Name of artist (s):
+ Address:
+ Phone number (s):
+ Email address:
+ Biography (ies) (250 words max):

+ Title:
+ Year of Production:
+ City of Production:
+ Project Description (500 words max):
+ Detailed Technical Specifications:
+ A maximum of 5 images included in the PDF: size : 1024 X 768 pixels, 72 dpi
+ A URL for sound and/or audio projects

+ Applications should include this completed form, saved as a PDF document and sent to: festival [at] htmlles.net
+ Subject line: HTMlles Festival submission
+ Deadline for submission is September 13, 2010, 9:00 PM

In exceptional cases dictated by the nature of the work, submissions may be sent by regular post to:

HTMlles 2010, 4001 Berri St., Suite 201, Montréal (QC), H2N 2N4, Canada

Please note that the HTMlles Festival cannot be responsible for returning your submissions if sent in this manner.

Last night I went to 40% off: an art show for the new economy by SF Media Labs in Oakland -- I'd written a column about the Instructables troublemakers who'd created The Joydick (interview: San Francisco Chronicle), but there was a lot of fun stuff to see. I shot some live video as well. The images and videos (including the fun art machine by Benjamin Cowden, below) continue after the jump -- enjoy!

All photos and video shot and instantly uploaded with my Nokia N95-4, 12seconds.com and Qik.

Artist: Benjamin Cowden.

Artist: Benjamin Cowden.

Artist: Benjamin Cowden.

Artist: Unknown.

Artist: Aaron Geman.

Artist: Shelly Cournoyer.

Artist: Shelly Cournoyer.

Artist: Mitch Heinrich.

Artists: Randy Sarafan and Noah Weinstein.

Artists: Randy Sarafan and Noah Weinstein.

This sounds like the machine art event of the year, and while plane fares to London are at an all-time low... the Kinetica Art Fair 2009, the UK's first art fair dedicated to kinetic, robotic, sound, light and time-based art, opens in London on Friday, February 27. More than 25 galleries and organizations specializing in kinetic, electronic and new media art are taking part, and *over 150 artists* will exhibit, operate and even be selling their work. The organizer emailed saying, "The Fair will be like no other with 'living' artwork moving, speaking and performing. The Fair provides unparalleled opportunities for the public and collectors alike to view and buy work from this thriving international movement, and to participate in talks, workshops and performances."

The event opens Friday night with a performance event and the exhibition continues through Monday with more robots, performances, art machines, kinetic installations, computer art hacker meetups and more on the growing schedule. Those incredible pole-dancing robots by Giles Walker I blogged about previously and with much lust will give a couple of performances, and also creepy-cool sounding is the installation by Adrian Baynes: the Wall of Eyes, an interactive public piece, comprising of 225 mannequin eyes which follow the viewer as they walk around.

Also on my list of event highlights at Kinetica Art Fair 2009 -- who I'd most like to see include:

* Laikingland presenting an interactive installation of 50-60 Applause Machines, designed by Martin Smith.

* "Materials Beliefs" -- bringing robots into the domestic environment with a group of household objects (like lamps) powered by dead bugs called "Carnivorous Domestic Entertainment Robots." According to designers and scientists/engineers Aleksandar Zivanovic, James Auger and Jimmy Loizeau, "Materials Beliefs ... will be exploring both the aesthetics and functionality that may elicit a symbiotic coexistence with humans in their homes. They are all based on the technology of biological fuel cells, which generate electricity by the action of micro-organisms on biological matter. The robots trap animal pests in the domestic environment and use the electricity produced by the fuel cells to lead autonomous existences."

* The Shadow Robot Company: a decade-old organization that have recently been collaborating with performing arts students at Leeds University to build a giant, ceiling suspended spider crab, which dancers are able to interact with.

* American artist Jack Pavlik (below: video of 6 Bands), with 2 works from Jack's prolific collection for ArtBots 2008; The Storm and 6 Bands which link stillness and motion, sight and sound and science with art to generate compelling machine-based performance pieces.

The Kinetica Art Fair 2009 opens on Friday, February 27 and runs until Monday, March 2. It features many well known kinetic artists from across the world including Daniel Chadwick, Sam Buxton, Jason Bruges, Martin Richman and Tim Lewis. A weekend pass is only £20 and prices go down from there (£5 for a day pass). It will be at P3 -- 35 Marylebone Road. London. NW1 5LS.

The haunting of the theatrical avant-garde by its written texts makes contemporary art's reliance on the archive look incidental by comparison.There is good reason for this. Since performance combines so many different registers of representation at once, and all their attendant problematics, it requires that many more conceptual frameworks to support it. Few theatrical auteurs have seen fit to provide this documentation, and the most famous one, Artaud, provided only that, so far superior was The Theater and Its Double to any of his relevant theatrical practice. Richard Foreman, however, is a welcome exception to this tendency, making freely available his many notebooks and written works in relation to his more famous productions. Now, No-Body Zone, is taking one of these texts as impetus for creating an 'Exploding Audiobook' this Tuesday at Studio X. The performance attempts to grapple with the question "Can a media city-structure be built out of (Foreman's book No-Body) ?" The performance starts at 7, seating is limited and reservations are required.

Artist Warren Neidich has organized a day-long panel discussion taking place tomorrow afternoon at The Drawing Center. Present will be a diverse group of artists and writers including Keller Easterling, Boris Groys, David Joselit, Jonatan Habib Engqvist and others. The topic at the center for the convergence will be art and power, or, to risk begging the same question the event's title suggests, the power of art. It's something of a perennial concern for culture workers in a country where contemporary art -- and the liminal conversations that recede from its limits into neighboring disciplines -- remains steadfastly excluded from the national discourse. In a cultural field as comparatively cash rich, media enabled and internationally dispersed, it's no small wonder why it remains sequestered from the more fluid stream of popular culture. To creatively illustrate the point we may cite a myriad of quotidian metrics, from relatively low museum attendance rates in relation to other Western countries, to the phantom readership of the ever expanding realm of arts journalism, as deftly outlined by James Elkins in his 2003 book What Happened to Art Criticism?. But power, of course, as living thinkers from Rancière to Groys remind us, does not necessarily equate visibility or even the consolidation of bodies and wills in time and space -- even though the popular imaginings of its resistance remain fixed on these models. With a gentle insistence, then, our editors suggest tomorrow's panel to readers interested in these questions.

Shane Hope whose solo show, Your Mom is Open Source opened recently at Ed Winkleman, answered some questions via email about his work -

ArtCat: One thing that immediately jumps out to me about your work is its relationship to multiple regimes or paradigms of representation: linguistic and visual at bottom, conceptual, scientific, and mathematical in effect or by invocation. Can you talk about what takes place in the movement between these fields? To what extent does your practice, considered in sum, rehearse the sort of being-across-substrates detailed in the concept of transhumanism?

Shane Hope: My Mol Mods are plans for playground ball pits of pure operationality, all about ackles as atomic access-privs pictures, looking like line-art after lines of code, solving for sundry imaging inversions and a new fantastical-fodder faux naïve. The modeling files I design or manipulate to build drawings anticipate their own actualization via nanofacture, for the files are also plans for later manifestation of material objects. Precision placement of atoms is poised to become the new pen, so I participate in picturing projected possible puny places for us people. I've conscientiously chosen to work in customized versions of user-sponsored open-source molecular visualization systems as necessitated by way of analogy: we are artificially selecting for the hardware environments upon which we ourselves will run. My hand-drawn lines become vectors become atomic coordinates become novel carbon-based building blocks bootstrapping the next layer of life.

Shane Hope, Junk DNA Sculptural Ontogenesis, 2009 Archival pigment print winkleman.com

ArtCat: There is a fascinating tension at work between your choice of media and the vocabulary deployed around it. To what extent do you consider your work figurative? Abstract? What is the relationship between the sort of progressive futurism of your keywords and the somewhat traditional method employed in rendering them - insofar as you are working in drawing and not in installation or some other baroque proclivity?

Shane Hope: I draft dot-to-dot descriptions with lines (of code) like runaway run-on sentences that will write the rest. The model is the message after all, and when infoviz meets infomorphs, images become recursively self-improving infovors. We are our own maps exceeding ourselves... I tangle lines and lines of code in esoteric yet key software platforms to better delineate operative scale-subjective distinctions between organic / inorganic and building / growing. Nanofacture will problematize fetishization of assemblage and collage. Making molecularly modeled hence particle-punny geeky-goofy drawings of sorts simply seems to me a more viable self-reflexive way to picture possible far-futures. First of all, the future is all of the above

In art making, materials and media are the intermediaries between private ideas, thoughts and feelings, and their external manifestation in a tangible, sensual form. Thus, materials provide the core components of the exchange that occurs between art therapists and clients. This book focuses on the…

ISBN: 9780415993135

Published Mar 15, 2010 by Routledge

Presented by VIVO and Front Magazine, So Warm is a dance party surrounded and permeated by a one-night installation and performance: the Cruz Brothers will attempt to construct a phantasmagorical and remembered space using light, sculpture, video and performance. Music will be provided by DJ’s Natalie Purschwitz, DJ DAD, and Ian Wyatt. Cover is free, there will be good drinks. Beerbrats will be selling sausages outside.

The Cruz Brothers are Francis Cruz and Patrick Cruz. Both have a background in Canadian Clowning, Theatre and Visual Arts. Their pieces often interrogate positions of hierarchy and cultural displacement through the subversive means of humor. Both are both born and raised in Manila, Philippines – a country that averages 32 degrees Celsius.

A full list of Swarm events is here . Swarm is a project of the Pacific Association of Artist Run Centres, of which Front Magazine is a member.

(September 1-26) SCULPTING PRESENCE

Simultaneous Presence is an exhibit about contrasts coexisting. It’s a sculpture exhibit at Baltimore’s Evergreen House, it connects the local history of that place to global narratives and the conflicting meanings that evokes. The works are made of all kinds of media: clay, lace, metal, light, even vegetables. On view through September 26th.

(September 1) GREEK GUINNESS And Northwest Washington’s Avalon Theatre spends the first Wednesday of each month screening the best of Greek cinema. Tonight, it’s 2009’s Guinness, in which a charming gambler on the lam ends up at a remote tavern where he attracts the attention of the owner’s unhappy wife.

(September 2 - January 2011) A REAL RENAISSANCE MAN Andrea Palladio may be the most influential renaissance artist you've never heard of. He reinterpreted ancient Greek and Roman architecture into a contemporary form, so our classical buildings and monuments owe him a lot. You can connect with this link between civilizations through some of his 500-year-old sketches and writings at Washington’s National Building Museum. Palladio and His Legacy is on tomorrow through January

(background music: “In Space” by Royksopp)

Bronstein’s varied artistic practice takes shape through the production of books, drawings, paintings, performances and videos. Throughout these medias, Bronstein uses the formal vocabularies of dance and architecture to create his own space for the two disciplines to co-exist, fuse and act as a critical language for each other.

Pablo Bronstein (b. 1977 in Buenos Aires, lives and works in London) Recent solo exhibitions have taken place at the Metropolitan Museum of Art, New York and Galleria Franco Noero, Turin. Bronstein has previously staged performances at Chissenhale Gallery, London, Tate Britain, London and Performa 07, New York.

Hours are Tuesday to Saturday 12-5pm. Come in to the Western Front and ask the front desk or gallery attendant for the key.

Kunstmuseum Basel 5 September 2010 – 23 January 2011 In the early 1960s, after a successful career as a commercial artist, Andy Warhol decided to devote himself to the fine arts. Even so, consumerism and the media-oriented nature of mass production continued to be the main thrust of his work. The exhibition highlights the artist's seminal years from 1961 to 1964.

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Romanian Cultural Institute of Stockholm Open until 24 September 2010 In connection with the exhibition The Realism Question – Epilogue to Bucharest Biennale 4, the Romanian Cultural Institute of Stockholm is organizing two parallel events, and will launch a publication documenting the show.

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This exhibition showcases oil paintings, nihonga paintings, prints, photographs, sculptures and other works that shed light on the elementary creative processes related to each of these genres and media. In addition, specific working processes particular to each of these media are analyzed using drafts, sketches and preparatory models. [Image: François Pompon "Brown bear"(1918-26), Bronze, 9.2×15.8×7.0cm]

This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition.

The 4th Rochester Biennial is sponsored by the Elaine P. and Richard U. Wilson Foundation, with additional support from ESL Federal Credit Union, Edward and Marilynn McDonald, and the Rubens Family Foundation.

Pictured: yoU woulD crY toO (2009) by Ted Aub.

This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition.

The 4th Rochester Biennial is sponsored by the Elaine P. and Richard U. Wilson Foundation, with additional support from ESL Federal Credit Union, Edward and Marilynn McDonald, and the Rubens Family Foundation.

Pictured: yoU woulD crY toO (2009) by Ted Aub.

This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition.

The 4th Rochester Biennial is sponsored by the Elaine P. and Richard U. Wilson Foundation, with additional support from ESL Federal Credit Union, Edward and Marilynn McDonald, and the Rubens Family Foundation.

Pictured: yoU woulD crY toO (2009) by Ted Aub.

This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition.

The 4th Rochester Biennial is sponsored by the Elaine P. and Richard U. Wilson Foundation, with additional support from ESL Federal Credit Union, Edward and Marilynn McDonald, and the Rubens Family Foundation.

Pictured: yoU woulD crY toO (2009) by Ted Aub.

This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition.

The 4th Rochester Biennial is sponsored by the Elaine P. and Richard U. Wilson Foundation, with additional support from ESL Federal Credit Union, Edward and Marilynn McDonald, and the Rubens Family Foundation.

Pictured: yoU woulD crY toO (2009) by Ted Aub.

This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition.

The 4th Rochester Biennial is sponsored by the Elaine P. and Richard U. Wilson Foundation, with additional support from ESL Federal Credit Union, Edward and Marilynn McDonald, and the Rubens Family Foundation.

Pictured: yoU woulD crY toO (2009) by Ted Aub.

This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition.

The 4th Rochester Biennial is sponsored by the Elaine P. and Richard U. Wilson Foundation, with additional support from ESL Federal Credit Union, Edward and Marilynn McDonald, and the Rubens Family Foundation.

Pictured: yoU woulD crY toO (2009) by Ted Aub.

This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition.

The 4th Rochester Biennial is sponsored by the Elaine P. and Richard U. Wilson Foundation, with additional support from ESL Federal Credit Union, Edward and Marilynn McDonald, and the Rubens Family Foundation.

Pictured: yoU woulD crY toO (2009) by Ted Aub.

This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition.

The 4th Rochester Biennial is sponsored by the Elaine P. and Richard U. Wilson Foundation, with additional support from ESL Federal Credit Union, Edward and Marilynn McDonald, and the Rubens Family Foundation.

Pictured: yoU woulD crY toO (2009) by Ted Aub.

This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition.

The 4th Rochester Biennial is sponsored by the Elaine P. and Richard U. Wilson Foundation, with additional support from ESL Federal Credit Union, Edward and Marilynn McDonald, and the Rubens Family Foundation.

Pictured: yoU woulD crY toO (2009) by Ted Aub.

This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition.

The 4th Rochester Biennial is sponsored by the Elaine P. and Richard U. Wilson Foundation, with additional support from ESL Federal Credit Union, Edward and Marilynn McDonald, and the Rubens Family Foundation.

Pictured: yoU woulD crY toO (2009) by Ted Aub.

This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition.

The 4th Rochester Biennial is sponsored by the Elaine P. and Richard U. Wilson Foundation, with additional support from ESL Federal Credit Union, Edward and Marilynn McDonald, and the Rubens Family Foundation.

Pictured: yoU woulD crY toO (2009) by Ted Aub.

This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition.

The 4th Rochester Biennial is sponsored by the Elaine P. and Richard U. Wilson Foundation, with additional support from ESL Federal Credit Union, Edward and Marilynn McDonald, and the Rubens Family Foundation.

Pictured: yoU woulD crY toO (2009) by Ted Aub.

This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition.

The 4th Rochester Biennial is sponsored by the Elaine P. and Richard U. Wilson Foundation, with additional support from ESL Federal Credit Union, Edward and Marilynn McDonald, and the Rubens Family Foundation.

Pictured: yoU woulD crY toO (2009) by Ted Aub.

This biennial invitational showcases recent work by six regional artists--A. E. Ted Aub of Geneva (sculpture), Anne Havens of Rochester (multiple media), Rick Hock of Rochester (digital imaging), Alberto Rey of Fredonia (painting and video), Lawrence M. "Judd" Williams of Spencerport (sculpture) and Julianna Furlong Williams of Spencerport (painting). They were selected by MAG director Grant Holcomb, director of exhibitions Marie Via and curator of education Marlene Hamann-Whitmore. In keeping with recent tradition, Havens was chosen on the strength of her entry in last summer's Rochester-Finger Lakes Exhibition.

The 4th Rochester Biennial is sponsored by the Elaine P. and Richard U. Wilson Foundation, with additional support from ESL Federal Credit Union, Edward and Marilynn McDonald, and the Rubens Family Foundation.

Pictured: yoU woulD crY toO (2009) by Ted Aub.

Mr. Crespi has no Supreme Court press credentials, and artists who work at the court regularly say they never see him. It has been years, they say, since he sat in the alcove reserved for artists near the justices and advocates, the only place in the courtroom where art materials are allowed.

“Todd does not come to the court,” said William J. Hennessy Jr., a freelance artist whose work appears on several television networks. “I have not seen him at the court for at least five years.”

Another artist, Dana Verkouteren, agreed. “He’s never in the courtroom,” she said. Instead, she said, Mr. Crespi works from a standard background, adding images of the advocates based on photographs.

But Art Lien, an artist who works for NBC, said he was “not very critical of Todd.”

“If they know what they’re getting,” he said of Mr. Crespi’s clients, “why not? Artists have been doing that forever.”

Ms. Verkouteren, another colleague, said of Mr. Crespi: “He might be a genius. He might be a wacky genius.”

In the absence of a specific media assignment, I attend the session (like any citizen willing to queue at 6 a.m.), then produce meticulously rendered paintings based on many years of experience as a court artist and portrait specialist.

Crespi’s film work in FUGAZI’S INSTRUMENT has been seen around the world at such venues as The Boston Museum of Fine Arts, Kennedy Center, and the Whitney.

A group representing Ansel Adams sued a California man for selling prints and posters under the name of the famed nature photographer, the latest salvo in a dispute over glass negatives bought at a garage sale and purported to be Adams' lost work.

The lawsuit, filed Monday in federal district court in San Francisco by The Ansel Adams Publishing Rights Trust, seeks to stop Rick Norsigian and consulting firm PRS Media Partners from using Adams' name, likeness and trademark in their efforts to sell prints and posters not authorized or endorsed by the trust.

[Image: Masaki Asakawa, "Colors Complex in Tokyo" (2010) mixed media on wood panel, 100cm×100cm]

This exhibition showcases oil paintings, nihonga paintings, prints, photographs, sculptures and other works that shed light on the elementary creative processes related to each of these genres and media. In addition, specific working processes particular to each of these media are analyzed using drafts, sketches and preparatory models. [Image: François Pompon "Brown bear"(1918-26), Bronze, 9.2×15.8×7.0cm]

Group exhibition by young artists working in various media.

The Nezu Museum’s collection largely centers on a core of tea ceremony utensils, Buddhist art works, and ancient Chinese bronzes collected by Nezu Kaichirō Sr. (1860-1940). In subsequent years various generous donors have donated or bequeathed art works to the museum, ranging across all media and periods, including Muromachi ink paintings, Heian-Kamakura period calligraphy, Korean ceramics, Japanese Hizen porcelains, and pre-modern Japanese decorative arts. These works have added to both the breadth and depth of the museum’s holdings, making the collection all the more fascinating, all the more complete. The collection includes 7 works designated by the Japanese government as National Treasures, 87 works designated Important Cultural Properties and 96 works designated Important Art Objects. More than 1,800 works have been donated or bequeathed to the museum; this is a rare accomplishment for a Japanese private museum and stands as a measure of the great trust placed in the institution.

With the influence of existing media such as magazines in sharp decline, consumers now explore and obtain information with their own initiative. This group exhibition of 12 young artists represents a form of expression that spurns existing values and shuns the need to be involved in a certain "scene". Their attitudes towards personal exploration and the following of one's own desires are perhaps representative of the values of this new age.

Open Space includes a gallery, a library, a mini-theater, and a lounge. All are open to the public, free of charge, throughout the year. In line with the philosophy behind all ICC activities, we not only offer exhibitions that introduce ever more people to leading-edge artistic expression and the possibilities of a communication-rich culture, but also make available a wide variety of materials from past activities, including a video archive. A new “Kids’ Lounge” for children has also been created, adding to the exhibits of media art works by prominent Japanese and overseas artists that explain in an easy-to-understand manner the relationship between “media technology and artistic culture,” as well as a corner introducing emerging artists. The theme exhibition attempts to structure displays in such a way as to lead to a broader, deeper understanding of the works as sources by introducing them from multifaceted perspectives together with related information about their social and ideological backgrounds.

The permanent exhibition "Information Science Technology and Society" focuses on work that encourages active first-hand participation while learning more about information technology. For this exhibition, this floor of about 150 square meters has been renovated in order to create the "Media Lab," a flexible space capable of accommodating various exhibition configurations. In the ever-changing field of information technology, the content of permanent exhibitions on the topic frequently faced difficulties in keeping pace with what they attempted to showcase. Instead of changing exhibitions frequently, the same space of the exhibition venue is remolded each time in a manner befitting the exhibition contents, flexibly. The "Media Lab", unlike existing conceptions of permanent exhibitions, is distinguished by a space made up of several modular, flexible "media walls" for display purposes, which are themselves not limited to that one use. In order for it to become a space that is continually made and remade, endlessly, the actual structure of the space is simple and terse, allowing a flexible response to viewer needs and the requirements of the exhibition materials. From April 24th (Thu) to August 31st (Sun), a special exhibition entitled "Expressive Researchers" will be held, taking its inspiration from the intersection and fusion of art, technology and science, showcasing the "device art" mechanisms that will challenge future frameworks through which art will be created.

BC Scene will feature dozens of established and emerging visual and media artists who will present their work in exhibitions and events at galleries throughout Ottawa-Gatineau.

The National Gallery of Canada will present Nomads, a thematic exhibition featuring works by Gareth Moore, Geoffrey Farmer, Myfanwy MacLeod, Hadley & Maxwell, and Althea Thauberger.

The Canadian Museum of Contemporary Photography will mount a solo exhibition of works by photographer Scott McFarland.

BC Scene and the City of Ottawa will co-present Centre A’s multi-disciplinary exhibition A Little Distillery in Nowgong at the Karsh-Masson Gallery featuring the work of Ashok Mathur, Brendan Tang and Diyan Achadi.

Work by Sonny Assu,  Samuel Roy-Bois, Brendan Tang, and Rhonda Weppler/Trevor Mahovsky will be on display at the contemporary galleries of the Ottawa Art Gallery, while the Firestone Galleries will feature Western Canadian Painters of the 50s and 60s, including  Peter Aspell, B.C. Binning, Lawren S. Harris, Don Jarvis, Toni Onley, Jack Shadbolt, Gordon Smith and  Takao Tanabe.

Victoria artist Sandra Meigs will be featured in a solo exhibition at the Carleton University Art Gallery.

Beat Nation: Hip Hop as an Indigenous Culture, organized by Vancouver’s grunt gallery, will be presented at SAW Gallery.

And the Pacific Association of Artist Run Centres (PAARC) will also bring SWARM, Vancouver’s highly-successful gallery tour and party, to the national capital’s art galleries and artist-run centres for what promises to be an unforgettable night.   

www.displacedak.com

He is currently working with the Odyssey art simulator and taking solice in his laser paintings. He is available for lectures and mall openings.

Anything that can be made, can be made black.

www.saragevurtz.com

DC Spensley

Presently a graduate student at San Jose’s CADRE Laboratory for New Media and alumni of the San Francisco Art Institute, DC Spensley has lived and worked in Northern California since 1986. Spensley wears the hat of writer, director, cinematographer, composer, performance artist and most recently has achieved critical notoriety incorporating conceptual performance and situated technology in the virtual reality simulation of Second Life. While most people jealously guard their pseudonymity inside this alternate reality, Spensley attempts parity in both worlds and has exhibited this work internationally at the ZeroOne Biennial/ISEA conference in 2006, the Dutch Electronic Arts Festival 2006, Ars Electronica 2007, and Jack the Pelican Presents Gallery in Brooklyn New York 2008. A 2008 Rockefeller Foundation nominee, Spensley’s work has appeared in the New York Times Sunday Magazine i(2009) and has been profiled on PBS’s Art21 (2010) and appeared in numerous publications both in print and electronic media.

AN INTERNATIONAL EXHIBITION

Can’t make it to downtown San Jose? Join us virtually at SWITCH.SJSU.EDU. We will have LIVE Streaming of the opening! Watch First Friday Live starting around 8 on Friday August 7 at http://www.ustream.tv/channel/works-live.

For live First Fridays go to : http://www.southfirstfridays.com/live-stream featured live streams will be from Anno Domini, KALEID Gallery, San Jose Institute of Contemporary Art and WORKS/ San Jose. There will also be a lightly moderated chat available to talk to other art patrons and perhaps even some on site.

Global climate change has far reaching ramifications, and as a result the world as we know it will not be the world of 100 or perhaps even 10 years. Armed with an awareness of how our actions impact the environment, how will this affect our ideas about who we are? This was the question posed by CADRE New Media Lab at San Jose State University in an open call to artists earlier this summer.

From entries all over the world, six finalists were chosen. Leading artist Andrea Polli, seen at 01SJ 2008, will be exhibiting her work Sonic Antarctica We are also excited to feature the work Markers and 100,000-year journey by Xavier Cortada. Other works exploring the poles include Jerome Gueneau and Catherine Rannou, Phil Boissonnet, Andrea Juan, and Erika Blumenfeld. The jurors for the exhibit include surveillance artist Hasan Elahi, new media artist Robin Lasser and writer/curator Annick Bureaud.

SPONSORS: Zero1.org, SWITCH.sjsu.edu, CADRE New Media Lab, WORKS San Jose.

Exhibition details:

OPENING:
August 7, 2009, during South First Friday Art Walk
7pm-11pm.
Location: WORKS/SJ 451 S. First St. , San Jose, CA 95113
www.workssanjose.org
live http://www.southfirstfridays.com/live-stream

ARTIST CHAT: with French artist Phil Boissonnet  and see his work CP Toms.

AUGUST 9TH: POLAR IDENTITY Family day. Bring your family in for an art workshop on Polar Identity. See SWITCH.SJSU.EDU or workssanjose.org

ONGOING: All art POLAR IDENITITY will also be exhibited virtually at SWITCH.SJSU.EDU

SEPTEMBER: Panel on Polar Identity and Global Warming. If you are interested in being on the panel please contact us at switch.sjsu.edu

CLOSING:
September 11, 2009, 7pm
WORKS/San Jose
451 S. 1st St., San Jose, CA 95113

Further questions please contact:

Danielle Siembieda
dsiembieda@wildmail.com

Annick Bureaud is a new media art critic and researcher. She  works and lives in Paris, France. She is the director of Leonardo/Olats, the French branch of  Leonardo/Isast (www.olats.org). As an art critic she contributes to the French contemporary  art magazine Art Press. She teaches at the Art School Eesi in Poitiers and has been  guest lecturer at the School of the Art Institute  Chicago/SAIC in 1999 and at the University of Quebec in
Montreal (UQAM) in 2001. In 2002, she co-edited the book “Connexions : art, réseaux,
media” published by the Press of Ensba ; she co-organized  the International Symposium “Artmedia VIII: From the  Aesthetics of Communication to Net art”, in Paris and edited
the online proceedings published by Leonardo/Olats. In 2003,  she organised the Symposium “Visibility – Legibility of  Space Art. Art and Zero G.: the Experience of Parabolic  Flight” within the @rts Outsider Festival in Paris (proceedings on the Leonardo/Olats web site). In 2004, she published “Les Basiques : art ‘multimédia’”, an online course on multimedia art on the Leonardo/Olats web site.
She is the co-curator of the 2009 @rt Outsiders Festival: “(Un)Inhabitable? Art and Extreme Environments” (September  9th – October 11th 2009, http://www.art-outsiders.com).

Robin Lasser

Robin Lasser is a Professor of Art at San Jose State University. Lasser produces photographs, video, site-specific installations and public art working with socially and culturally significant imagery and themes. Her most extensive project, Eating Disorders in a Disordered Culture, has been published in numerous books, catalogs, newspapers and journals and has been funded by dozens of public organizations in communities across the United States and abroad. Lasser often works in a collaborative mode with other artists, writers, students, public agencies, community organizations, and international coalitions (such as her work in Egypt as a Fulbright Scholar) to produce art and promote public dialogue.

She has exhibited nationally and internationally at museums such as: The Fine Arts Museum in Neuquen, Argentina, Parsons School of Design in New York City, LA County Museum of Art, Triton Museum in Santa Clara, the De Young Museum in San Francisco, the Osaka World Trade Center Museum in Japan, Horace Gallery in Cairo, Egypt, and the Academy of Film in Prague, Czech Republic. Her work has been published in numerous periodicals including: The New York Times, Time Out New York, Los Angeles Times, Afterimage, Artpapers and Artweek. Her work can be viewed at www.robinlasser.com

Hasan Elahi

Hasan Elahi is an interdisciplinary artist whose work examines issues of surveillance, simulated time, transport systems, borders and frontiers. His work has been presented in numerous exhibitions at venues such as the Centre Georges Pompidou, Sundance Film Festival, Kassel Kulturbahnhof, The Hermitage, and at the Venice Biennale. Elahi recently was invited to speak about his work at the Tate Modern, Einstein Forum, and at the American Association of Artificial Intelligence. His awards include grants from the Creative Capital Foundation, a Ford Foundation/Phillip Morris National Fellowship, and an artist grant from the Asociacion Artetik Berrikuntzara in Donostia-San Sebastian, Spain. His work is frequently in the media and has been covered by The New York Times, Forbes, Wired, CNN, ABC, CBS, NPR, Al Jazeera, and has appeared on The Colbert Report. He is an assistant professor at San Jose State University. He is also 2009 Resident Faculty and Nancy G. MacGrath Endowed Chair at Skowhegan School of Painting and Sculpture.

http://elahi.sjsu.edu/