The Warp Whistle Project was invited to present at this years International Symposium on Electronic Art (ISEA) in Hong Kong. Paul Schuette will be presenting our most recent project Nightly Light from Suns, an installation piece developed during our collaborative residency at the Virginia Center for Creative Arts in 2015.
Nightly Light from Suns merges visual art and technology to explore the notion of Nostalgic Futurism, a yearning for a time when it was possible to imagine a corporeal, tangible technological future, uncomplicated by knowledge of the current moment. The handcrafted materials and antiquated electronic sounds are reminiscent of 1950’s science fiction, reigniting a promising dream of what lies ahead. Visions of the future cannot escape the ideologies of the present moment. Similar to the nature of memory, these projections are romanticized ideations, born from a longing to “be elsewhere.” To facilitate this unhinging from the present, we experiment with the relationship between sonic and visual information by staging various points of intersection. Nightly Light from Suns represents an otherworldly intelligence that implies an unknown and advanced functionality. These unmapped qualities of the work renew a positive sense of longing and wonder about the future that seems to be all but a memory of the past.
Founded in the Netherlands in 1990, ISEA International (formerly Inter-Society for the Electronic Arts) is an international non-profit organisation fostering interdisciplinary academic discourse and exchange among culturally diverse organisations and individuals working with art, science and technology. The main activity of ISEA International is the annual International Symposium on Electronic Art (ISEA). The symposia began in 1988.
CURATED BY JESSE DAVID PENRIDGE
Dates: May 5th - June 11th, 2016
526 W 26th st #807 New York, NY
Opening: May 5th, 6-8pm
Field Projects is pleased to present Signaling to ^ the Cipher ^ towards a Segway, curated by Jesse David Penridge, featuring the work of Austin Ballard, Rory Baron, Sarah E. Brook, Pat Byrne, Abigail Collins, Sean Dustan-Halliday, Carla Edwards, MaDora Frey, Tricia Keightley, Myeongsoo Kim, Alison Kudlow, Mary NaRee Laube, and Jessie Rose Vala.
Somewhere along the line I had a teacher that convinced me that, at their core, science and religion were ultimately the same things. They are systems for making sense of the human condition. They function as narratives; bedtime stories that ease the mind to sleep. They provide framework that give us purpose and keep us confident that we aren’t just hapless passengers, stuck on a rock hurtling through space, that truly, something bigger is at work.
On an individual level, we all write our own smaller narratives. It’s what we choose to wear and how we present ourselves socially to the world. They are where we come from and where we choose to go, how we interpret history, politics and evolution as they relate to us personally. Whether the stories are fact fiction or some blurred reality, they keep us sane and give us a place.
This show is a patchwork of strategies- works the artists are using to look both at the world and their self. They are analyzing systems, mythologies and environments that were presented to us as fact and comparing them to those that we craft ourselves everyday. These tools not only identify the artists’ points of departure from the world around them, but create new realities, new mythologies, new belief systems. --Jesse David Penridge
Located in Southwest Detroit, Whitdel Arts is a members’ based contemporary art gallery run by a volunteer group of artists and creative individuals, serving the community through contemporary art exhibitions, arts-based activities, and professional development. Their main home is in Southwest Detroit’s historic Whitdel building on the corner of Hubbard and Porter.
Whitdel Arts serves artists and the community through its exhibitions and events, professional resources, and educational programs. The purpose of Whitdel Arts is to provide an environment centered around the creative process of the contemporary arts and the interaction and dialogue derived from it. Whitdel Arts is a center where the public can view and learn about the contemporary arts by local and national artists, while providing working artists with the resources needed for their artistic careers and studio practice.
From Los Angeles Contemporary Exhibitions:
Opening Reception: March 9, 2016, 7 – 10pm
Exhibition Dates: March 10 – April 17, 2016
LACE presents a retrospective of all Gallery Tally posters created to date – including over 400 original, artist-designed posters that visualize gender ratios in the contemporary art world. Since 2013, Gallery Tally has collected and visualized data pertaining to the radical underrepresentation of women in all facets of the art world and beyond.
Women are underrepresented in the art world, but how bad is it, really?
Why is there still such an imbalance between the role and support of men and women in the art world? Why is the art of female-identified artists still valued so much less than that by male-identified artists?
Using the power of the community, and the passionate vision of hundreds of artists, Gallery Tally seeks to address these questions and more.
Gallery Tally is a crowd-sourced, social engagement art project in which 2000+ artists from around the world have joined the effort to collect and visualize statistical data regarding ratios of male and female artists in top contemporary art galleries. Artists have been invited to make one poster for each gallery, in whatever style or medium they chose. All posters are 24” x 36”. The project started with galleries in Los Angeles, and is now deep in data, with a collection and visualization of gender statistics from cities around the world.
The need for a clear and open dialogue about the underrepresentation and undervaluing of women in the art world was the initial impetus for Gallery Tally. The project has also been inspired by social media and ubiquitous trends in collecting and visualizing Big Data; by the histories of punk, propaganda and politics that the poster format has; and by the activism and social practice of artists such as the Guerrilla Girls, Suzanne Lacy, Judy Chicago, and Andrea Bowers.
Started by Micol Hebron in 2013, Gallery Tally is designed to examine and question the ongoing gender imbalance in the art world.
Building upon the role of Gallery Tally to promote dialogue and consciousness-raising about contemporary gender issues in the artworld, LACE will be hosting several events during the exhibition that will help build community and conversation.
Tuesday March 15, 7-8pm – Teenage Feminist Boys
Students from Hollywood High discuss their experiences and ideas regarding feminism, what feminism is, and why it’s important for boys to be feminists too. An unprecedented conversation from the mouths and minds of the youth who hold the future of gender equity in their hands. Featuring a special live performance of an original feminist rock anthem, as well as short video documentaries about feminism and the ERA, created by Hollywood High students. We encourage all members of the community to attend and participate in this discussion, and would be especially happy to hear from other teenagers, parents, and teachers.
March 18, 2016, 6-9pm – Feminist Friday
Feminist Friday is a drop-in gathering for all ages, genders and species. It provides a fun, safe, and thought-provoking space to be feminist, meet other feminists, and talk about contemporary feminist issues. It is Consciousness-Raising-meets-Happy-Hour! Topics are offered as suggested talking points, but usually conversation evolves organically, according to attendees’ needs and interests. Drinks and snacks will be provided, but additional contributions are always welcome.
March 20, 4-6pm – Cixous Reading Group
Cixous Reading Group began in January 2013 as part of Alexandra Grant’s Forêt Intérieure / Interior Forest. The monthly meeting is a kind of pop-up seminar investigating feminism and female narratives from historic and contemporary writers. Meetings are 4-6pm one Sunday afternoon a month and new members are always welcome. https://cixousreadinggroup.wordpress.com
Thursday March 24, 8pm – Transfeminist Discussion
This event considers how many feminists are unaware of the long history of vicious extremism carried out by Trans Exclusive Radical Feminists (TERFs) against trans women under the banner of feminism. From armed militias threatening to kill trans women to stalking, harassing and releasing personal information of trans women online, TERFs have relentlessly and successfully fought to keep trans women out of feminist spaces. This conversation will focus on how the feminist movement continues to harbor this type of hatred and what can be done about it. This event is organized by Addie Tinnell, who also organizes a twice-monthly transfeminist potluck at Women’s Center for Creative Work (WCCW).
March 24–April 17 – Femmes’ Video Art Festival 2
A series of video artworks from around the world will be featured in an ongoing screening from May 24–April 17. Each video is created by a female-identified maker, and was produced within the last 3 years. Providing a survey of contemporary female perspectives and approaches from around the world, FVAF2 is curated by Micol Hebron.
September 01, 2015 - October 10, 2015
2015 UTC Department of Art Faculty Exhibition. Opening Public Reception Tuesday September 01, 5:30pm – 7:30pm. A Film Screening in conjunction with the exhibition will precede the opening from 5:00pm – 5:30pm, and again on Tuesday, October 6, 5:00pm – 5:30pm, Room 356, Fine Arts Center.
Join us for a public reception at the Cress as the UTC Department of Art Faculty open their exhibition Tuesday, September 1, 5:30pm – 7:30 pm. Featuring a select sampling of the visual manifestation of research by the Department’s artist academicians, this exhibition explores a wide range of media and materials, and includes painting, sculpture, drawing, photography, printmaking, graphic design, video, and conceptual work. Evidence of process and innovative working strategies characterize this year’s lively edition inviting visitors to the Gallery into an open dialogue about contemporary practice in the visual arts as it relates to broader topics and issues of today.
The exhibition in the Cress includes both the Department’s longstanding members and its newest faces (in alphabetical order): Jordan Amirkhani, Ron Buffington, Mark Bradley-Shoup, Jennifer Danos, Matt Greenwell, Katie Hargrave, Mary Laube, Andrew O’Brien, Lauren Ruth, Aggie Toppins, Gavin Townsend, and Christina Renfer Vogel, and the Department’s contributing Adjunct Faculty, Carolann Haggard, Jennifer “Baggs” McKelvey, and Ken Page.
Click the button below to read Kapsula Magazine's February issue: LONGING 2/3, where my essay, Museum Misalignments (page 17) was published this month.
Museums have varying degrees of visual and conceptual accuracy, which is rooted in the impossibility to present a complete and accurate version of history (Shafernich 1993, 45). In some cases this inaccuracy is visual, resulting in a crude or even grotesque appearance. In other examples it is the actual story being told that seems grossly incorrect. I will describe three American museums that demonstrate the beauty in imprecision and in some cases, the deeply disturbing (and even problematic) vulnerabilities of representation: the House on the Rock in rural Wisconsin, the Thorne Miniature Rooms at the Art Institute of Chicago, and Thomas Jefferson’s Monticello in Virginia. In each example, I describe instances of unintentional slippage. My intention is not to critique, necessarily, but to confirm the impossibility of achieving perfection and how representational errors are reverberations of our ever-present longing to remember.
Taking the democratized, dispersed nature of the Internet as its basis, KAPSULA offers a venue for texts that may be unsuited to more conventional publications due to unusual or critical stances, formats, or subjects. By promoting strong writing that is critical, but not cruel, KAPSULA champions art criticism relevant to readers outside the limited audience of art critics themselves.
Despite maintaining contemporary relevance in all issues, the publication is not limited by time-period. KAPSULA places a special emphasis on exploratory art writing and alternative formats such as ficto-criticism, interviews, or illustrated texts.
KAPSULA is a capsule collection of sorts—
an accessible compendium of exciting and experimental art criticism.
In January I had the pleasure of traveling to Doha as the Fanoon Visiting Artist at Virginia Commonwealth University Qatar. Throughout the week, I made screen prints with the help of Assistant Professor, Zach Stenson and his painting and printmaking students.
Reverb: Recent Abstraction in Painting is a traveling group exhibition curated by Kenneth Hall, Assistant Professor at the University of Northern Iowa. In 2013 I had the honor of exhibiting my work alongside Scott Anderson, Jimmy Baker, Christie Blizard, Angelina Gualdoni, Dana Saulnier, and Deborah Zlotsky. This exhibition also included paintings by the late Megan Dirks (1985-2010) whom I had the great pleasure of getting to know in graduate school over many studio dates and cups of coffee.
The following are images from the exhibition held at Bowling Green State University in September 2014:
And finally, here are images of my installation process from the first exhibition at the University of Northern Iowa in 2013.
"On June 22, 2011, the Souris River ravaged Minot, North Dakota. Forcing its way through homes, it seized thousands of precious items; then, like a greedy burglar grabbing more than it could carry, was required to jettison its plunder in retreat. Snatched away, thousands of objects drifted to a new resting place, displayed in public as a sad and surreal pastiche of the American material existence..."Read More
The human mind has the remarkable ability to perceive convincing patterns in puddles of chaos and banality. We are especially adept at making visual associations between diverse subjects. As children we become lost in the wonderment of clouds that transform into animals and the moon that wears the face of a man. In the collages of Sue Hettmansperger, disparate materials collide, generating new forms with traces of familiarity. Pieces of dried leaves and plastic pop rings are identifiable, carrying the weight of their own history. At the same time photographs and subtle marks of paint make these objects more difficult to place. The work channels both compatibility of forms and a growing tension between boundaries...Read More
Children picking up our bones
Will never know that these were once
As quick as foxes on the hill...
"The paintings of Gyan Shrosbree, not only recall the short-pants-feeling of Watteau’s Gilles, they remind us that the dignity of humanness is often found in the beauty of awkwardness, the truth of frailty, and the acceptance of process as the end which is always becoming. Whether in the poised paws of a checkered cat, or the tilt of a white Kangol newsy, these works offer the possibility of a connection through the delicacy and strength of individual experience..."Read More
In the book, What Painting Is, James Elkins defines painting as a combination of two ingredients: water (medium) and stone (pigment). The action of painting is a process of negotiating the two. Water and Stone presents two artists whose work necessitates material functions...Read More
Storytelling is a fundamental source of knowledge and agency. To tell a story is to remember, contemplate, question, interpret, and ultimately voice a particular history. When I was Your Age is a collaborative project that uses storytelling to explore the relationship between artists and their elders...Read More
Consider the experience of an archaeologist: the sensation of being immersed in earthen substances and the ceaseless curiosity that keeps one searching. Imagine clay and grime under your fingernails, the damp smell of a cavernous hole in the ground, and the inexplicable wonder upon discovering a hidden mystery preserved in the earth. In addition to the associations we have with the physical acts of archaeological digging, think of what it means to be doing archaeology: to investigate and search for evidence of the past in order to learn more about ourselves in the present...Read More
Trees, clouds, and empty roads populate the landscapes of Robert Fifield and Ben Cohan in the exhibition, “Anywhere.” The exhibition tells of a place that is both near and far; a landscape that keeps its distance while remaining close to home. While both bodies of work hold an apparent individuality, both artists are drawing from familiar landscape iconography. Fifield’s work explores the representation of landscape through the reduction and augmentation of cartographic languages. Cohan’s work uses the romantic possibilities of paint to confront places that are often overlooked. At first glance, the sites may be from anywhere, yet they embody a certain peculiarity that leaves one with a satisfying curiosity...Read More