iea

Sep 122018
anna_scime_2018-09

During her residency Anna Scime generated an impressive (2.81 TB) of moving image content by reprocessing her nature footage and camera footage from her personal and production archives.

Scime used IEA’s electronic media-art studio and investigated integrated video-processing across the multiple systems available at the IEA including the Sandin IP video synthesizer, the Jones MViP, VIZZable for Ableton Max for Live, GRM Tools audio signal processing software, and the ATEM video mixer.

With these tools she was able to manipulate and draw out the material properties of the videos as they played and looped in real-time. Scime plans on using the captures generated during her residency to create a series of short meditations on archival permanence.

The envisioned body of work will focus on the material properties of the videos and their subjects through cycles of creation/destruction, and by removing natural entities and processes from their sources and ecological constraints and ties. During the image-processing, video-signals are singled out, crossed, disrupted and distorted to highlight the instabilities intrinsic to our interactions with the natural world.

Annna Scime – Three channel video still


Annna Scime – Three channel video still


Annna Scime – Video still


Annna Scime – Video still


Annna Scime – Video still


Annna Scime at the iea media studio

Joan Logue

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Jul 292018
Joan Logue is a pioneer in the field of video portraiture. She first learned to use the medium soon after it became available to artists with Sony’s introduction of the video portapac in the late sixties. As a still portrait photographer, Logue immediately recognized the new medium’s potential for expressing more fully the complexity of the sitter. Although Logue’s background was not in film (she studied painting and photography), early on she discovered that video expanded painting and still photography, taking the ‘instant’ out of portraiture to give it a presence in real-time. For this reason, she is recognized as the “originator” of the first video portrait in 1971. There, by using real time and silence to expose the sitter’s presence, she allowed the viewer to observe a person in contemplation and silence.
Joan came back to us to finish the book project she started last year. Working with Research Assistant Jessica Earle she was able to finish the color correction, and layout of her book. While she was here she tested a variety of paper including some of our Xuan paper. The final book with be printed on a very special bamboo Xuan paper that co-director Joseph Scheer will be bring back with him from his recent trip to China.

Brian Murphy

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Jul 232018

Brian Murphy is a media artist working in film, video, and books. He teaches film, video and animation production and lives near Binghamton New York.

Brian’s focus for his residency was to use our Sandin IP along with our Dave Jones modules to process and mix his own video samples for later use. While he was here he was able to finish and exhibit two pieces one in our Snodgrass Gallery, and a second in Videotheque, an open screening and performance organized by Jessica Earle and Laura McGough.

Things to Think About While Staring at the Sun

Things to Think About While Staring at the Sun is the result of sitting in a windowless studio for two rainy days having a conversation with the Sandin image processor while trying to remember what the sun looked like.

Miatta Kawinzi

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Jul 092018

Miatta Kawinzi is a multi-disciplinary artist. She explores the figure, the inner & outer landscape, and culture as sites of re-imagination & possibility. She works with images, objects, sound, space, the body, and language.

She was born in 1987 in Nashville, TN to a Liberian mother and Kenyan father. Based in NYC, she has exhibited and/or performed her work in the US, Mexico, South Africa, France, Switzerland, Trinidad & Tobago, and Liberia, and her work is included in the Art-in-Embassies public collection in Monrovia, Liberia, in an Art Connects NY public collection in Queens, NY, and in private collections.

She received a BA in Interdisciplinary Art & Cultural Theory from Hampshire College in 2010 and an MFA in Studio Art from Hunter College in 2016. She has been awarded artist residencies at the Cité internationale des arts (Paris, France, with Lower Manhattan Cultural Council), the Bag Factory (Johannesburg, South Africa), the Bemis Center for Contemporary Arts (Omaha, NE), Beta-Local (San Juan, Puerto Rico), Greatmore Studios (Cape Town, South Africa), IAAB (Basel, Switzerland), Flux Factory (NYC), and the SOMA Summer program (Mexico City, Mexico). Additional awards include a NY Community Trust Foundation Fellowship, the Kossak Travel Grant, and a Foundation for Contemporary Arts Emergency Grant. Recent exhibition sites of her work include the Studio Museum in Harlem (NY), Aljira Center for Contemporary Art (NJ), and the FNB Joburg Art Fair (SA).

Miatta joined us for a two week residency where she explored and learned Ableton Live and our Doepfer system. The wound work created here ended up being used for a performance at BRIC House Gallery (see description below). At the end of her residency Miatta started to test out our 180 stereoscopic camera, and our Research Assistant Jessica Earle took Miatta to a local State Forest where they both collected sound and video. The proximity to nature has become a real asset to this residency and allows urban based artists to collect samples that they might otherwise be able to collect.

Breathwork was performed in conjunction with the Alchemyexhibition at BRIC House Gallery on 25 July, 2018. The development of the accompanying soundscape was supported by my artist residency at Alfred University’s Institute for Electronic Arts in July 2018.

This performance utilizes language, movement, and live/recorded sound to explore different kinds of power. Here I am exploring dualities of entanglement and release, and I approach sound as a force within space to alchemize hardness into softness, giving particular resonance to this transformation in this moment of ongoing societal discord.

Jiajun Liu

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Jun 202018

Jiajun Liu an emerging artist from Brooklyn. Born in Xianyang China he started out at a very young age doing traditional Chinese painting. He has been working with digital processes for the past five years. He is with us this week to explore printing his digital composite images on our Xuan paper, the same papers he painted on in his youth. Jiajun uses a Structure Sensor IO to scan his environment and brings them together in Cinema 4D; creating dynamic artificial urban landscapes. The imagery he combines come from factories, The Met, and various stores in New York City. Jiajun sees these prints more as paintings, and uses the colorful artifacts created by the Structure Sensor as brush strokes. Along with printing and working with co-director Joseph Scheer to refine his files, he has enjoyed several IEA dinners, and went on a special strawberry picking event with IEA associates Aodi Liang, Jiayi Wang, Jessica Earle.

Bio

Jiajun Liu is a visual artist currently living in New York. He received his BFA from Central Academy of Fine Arts(Beijing, China) and MFA from Pratt Institute(New York, US). He creates images and virtually rendered scenes that are extracted and reconstructed from reality through photography and digital imaging.
He mines the possibilities of technologies that are widely used and accessible to people, such as digital photography, scanning, and computer 3D modeling. His work reflects the distortions that occur during the conversions between machine-generated representations and the physical world.

Statement

In an era characterized by the proliferation of techniques that are able to record our physical world, I employ some of these techniques to create points of integration and oppositions by collecting images, scanning and photographing their representations.
In my practice, I take advantage of the capacities of the machine and turn them against each other. My work uses machine-processed digital images as well as 3D objects generated by machines to create dramatic and metaphorically virtual spaces that reconstruct the distortions, glitches, and errors that occur during digital capturing and machine representation of the physical world. It also contrasts the attributes of the scanned objects and their virtual textures in order to respond to the “truth claim” of the machine’s digital capacity possibility.

May 292018

Today we are joined by our last NEA resident for the year Gary Hill.

Gary Hill (b. 1951, Santa Monica, CA) has worked with a broad range of media – including sculpture, sound, video, installation and performance – since the early 1970’s. His longtime work with intermedia continues to explore an array of issues ranging from the physicality of language, synesthesia and perceptual conundrums to ontological space and viewer interactivity.  Exhibitions of his work have been presented at museums and institutions worldwide, including solo exhibitions at the Fondation Cartier pour l’art contemporain, Paris; San Francisco Museum of Modern Art; Centre Georges Pompidou, Paris; Guggenheim Museum SoHo, New York; Museum für Gegenwartskunst, Basel; Museu d’Art Contemporani, Barcelona; and Kunstmuseum Wolfsburg, among others.  Commissioned projects include works for the Science Museum in London and the Seattle Central Public Library in Seattle, Washington, and an installation and performance work for the Coliseum and Temple of Venus and Rome in Italy.  Hill has received fellowships from the National Endowment for the Arts and the Rockefeller and Guggenheim Foundations, and has been the recipient of numerous awards and honors, most notably the Leone d’Oro Prize for Sculpture at the Venice Biennale (1995), a John D. and Catherine T. MacArthur Foundation Fellowship Award (1998), the Kurt-Schwitters-Preis (2000), and honorary doctorates from The Academy of Fine Arts Poznan, Poland (2005) and Cornish College of the Arts, Seattle, WA (2011)

Alicia Candiani

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May 252018

Current International Randall Chair, Alicia Candiani is an Argentine visual artist who works in expanded print/digital media and architectural interventions. She is the founder and director of Proyecto’ace,an artist in residence international program focused on expanded eld printmaking practices and its interfaces with photography, design and digital media, which is located in her home city, and the president of Fundacion’ace para el Arte Contemporaneo. Candiani is a graduate of the National University of Cordoba (UNC), Argentina, where she received a Master of Fine Art and a superior degree in Architecture and Urbanism. She did postgraduate studies on Latin American Art and Art Criticism at the University of Buenos Aires and digital imagining at Iowa State University in the United States. Alicia has been invited as a guest professor, visiting artist, member of the international jury, curator and lecturer at numerous institutions over the world including the Library of Congress, Washington DC, UNESCO and many universities in the United States as well
as prestigious art institutions in Spain; Egypt, Czech Republic, Germany, Sweden, Peru, Mexico, Ecuador, Cuba, Puerto Rico, Brazil, United Kingdom, Poland, China, Bulgaria, Canada, Portugal and Argentina. Candiani’ s work involves embodied responses to historical and geo-political constraints endorsing issues relate with Latin America history and culture – such as the territory’s conquest by the Spanish Crown, the Catholic norms and the military dictatorships bloody traces in society – as well as global concerns about migrations, identity and memory. For her presentation at Alfred University, she will talk about the strategies that she uses in her practice, which includes the production of the work, critical discourse, and collaborative art projects encompassing artists, students and communities around the world

Litho Stones

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May 252018

The IEA recently acquired over 160 lithographic stones from Lake Editions of Syracuse University. The majority of the stones are of the highest quality with approximately 75% ranging from “light grey” to the most desired “blue grey” grade densities. The Stones are part of an enormous collection of approximately 2000 that were being stored at a warehouse for many decades. The stones were originally part of the lithographic stones used by Syracuse China to produce decals for their fine porcelain dinnerware. Most of the stones still have images on both sides that still can be printed.

Print Media Faculty Myles Calvert, Print Media Technician Sam Sloan-Wiechert and summer Expanded Media helper Andrew Wiechert along with Co-Director Joseph Scheer, retrieved the stones on May 23rd. Syracuse China has a long History with the New York State College of Ceramics at Alfred University starting in 1928 with its financial support of presenting a new kiln to the college. [3]

Special thanks to Associate Professor of Print Media Dusty Herbig at Syracuse University for help making this happen.

The addition of this many stones will allow for Alfred students and IEA artists to extensively explore color-printing techniques. Professors Myles Calvert and Kathryn Vajda are already planning to introduce this into this falls Sophomore Intro to Print Media courses.

From Wikapedia:

“Later in 1896, the company installed the industry’s first in-house lithographic shop for the “printing of decals.”[2] This made it easy for the decorating department to make inexpensive lithography of hotel and restaurant labels feasible which helped “further the company’s market penetration of the institutional markets.”[1]

  1. “Syracuse and Onondaga China Information and History”. Collectives, 2010. Retrieved 2010-08-20.
  2. “The History of Syracuse China”. Syracuse Then and Now, 2010. Retrieved 2010-08-15.
  3. “Report on the New York State School of Clayworking and Ceramics” (PDF). Alfred University Yearbook 1927- 28: 155–56. 1928. Retrieved 23 November 2014.

More research will need to be done on what technique was used to create the decals.  As can be seen in the images, color separations of up to 10 colors can be seen on single stones and quite close to each other. This means they must have been printed with a vehicle that the color pigments would have been applied to after printing and then assembled before applying to the dinnerware???  Aodi Liang, IEA’s archive and research support staff will record each stones images before they are ground and used. Some of the stones with special images we will preserve and not use.

Sondra Perry

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May 222018

Sondra Perry is back with us this week to finish out her NEA residency. She brought the catalogue for her show Typhoon Coming On at the Serpentine Gallery in London, where the video she worked on in her last residency was debuted. For this residency she is working on generating some new sounds, and trouble shooting some new tools.

Adele Henderson

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Apr 232018

This year we are able to offer a few artists two week residencies, and Adele Henderson is our first to have this experience. Adele is a printmaker and educator from Buffalo, who in her stay will us was able to make 11 editions and over 95 prints for two of her series Things To Do After I am Dead and Red List. She worked with both laser woodblocks and photo polymer plates, and used a variety of paper including paper from our Xuan paper project.

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