iea

The Institute for Electronic Arts is currently accepting applications for one week, New York State artist residencies for Electronic Media and Film projects.

Applications for this opportunity are due by August 19th, 2016.

For more information and to apply please go to our Application page.

Kyle recording with a wearable that would vibrate based on frequency imput

Kyle Marler, a member of the artist collective FLATSITTER out of Buffalo, NY, joined us over the week of June 27th for an artist residency in our time media program. Kyle is the artistic director of FLATSITTER, an interdisciplinary collaboration that incorporates video, software programming, performance and installation. FLATSITTER’s artistic works nurture a perception of society, community and environment as interlocking parts of a creative experience and are exhibited in an array of formats, such as ephemeral web collections, live performances, site-specific installations, and live virtual reality experiences utilizing the Oculus Rift. FLATSITTER has exhibited work in the 2015 and 2016 Ann Arbor Film Festival, the Everson Museum of Art, and Hallwalls Contemporary Art Center, among other venues.

During his time at the IEA, Kyle split his time between recording and processing new sound work and continuing research on Oculus Rift projects. On the sound end of his project, Kyle produced sound pieces with his guitar and amps and the Doupfer and layered these recordings back onto themselves to create deeply layered audio works. With the Oculus Rift, Kyle spent time in the video studio corking with our equipment to process new recordings and offered us a chance to try out a VR meditation piece he brought with him. A piece affecting nearly all of the senses, this meditation tracks the viewer’s head movements and changes the image and sound to reflect what direction the viewer is looking at in the piece.

Below are some images from Kyle’s residency.

Kyle recording with a wearable that would vibrate based on frequency imput

Kyle recording with a wearable that would vibrate based on frequency imput

EIA Grad Jess Earle experiencing one of Kyle's Oculus Rift meditations

EIA Grad Jess Earle experiencing one of Kyle's Oculus Rift meditations

EIA Grad Jess Earle experiencing one of Kyle's Oculus Rift meditations

EIA Grad Jess Earle experiencing one of Kyle's Oculus Rift meditations

Kyle adding a nasal dimension to his Oculus Rift meditation with some smoked sage leaf

Kyle adding a nasal dimension to his Oculus Rift meditation with some smoked sage leaf

Experimenting with layout for prints and books

The IEA welcomed Joan Logue of New York, NY, for a week long residency focused on Video Portrait series. Joan, who essentially created the concept of video portraits in 1971, has traveled worldwide creating video portraits of individuals of all walks of life that have been displayed in installations, what she calls video portrait galleries, nationally and internationally. Joan subjects have included John Cage, Joan Mitchell, Noam Chompsky, Rosa Parks, Cesar Chavez, to name a few.

For her residency, Joan focused on translating her video portraits into printed form. To be displayed along with her video work and for sale as artist prints, Joan selected stills from her video portrait archives and laid them out in a format to show the progression of time in a static form. There are plans in the future to create an artist’s book based off of this print series.

Below are images from Joan’s residency:

Joan Logue (left) conversing with IEA Co-Director Peer Bode

Joan Logue (left) conversing with IEA Co-Director Peer Bode

Selecting images from video portraits

Selecting images from video portraits

Experimenting with layout for prints and books

Experimenting with layout for prints and books

John Cage Video Portrait

John Cage Video Portrait

Nam Jun Paik Video Portrait

Nam Jun Paik Video Portrait

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Roberley Bell, of Batavia, NY, took part in an artist residency at the IEA over the week of June, 13th, 2016. Roberley, a sculptor by trade, has held over twenty single-person exhibitions of her work nationally and internationally and has taken part in just as many fellowships and residencies. Currently reaching at the School of Photography at RIT, Roberley’s work has centered on the production of sculpture and site specific public projects, exploring the natural world both in abstracting from, and in borrowing, to reveal hyper-realized fantastical landscapes.

Roberley’s project at the IEA marked a step out of her comfort zone into the realm of digital print and book making. Still Visible, a project that began with her Fulbright living in Istanbul and revisiting the site in 2015, acts as a continuation of Visible From the Corner of My Eye in which Roberley photographed historical trees throughout Istanbul, small piece of nature in an otherwise very urbanized setting. Still Visible saw Roberley returning to Istanbul to rephotograph these trees in light of the 2013 Gezi park demonstrations, using only her memory, photographs, and help from people on the street to find these locations once more. The locations of these trees were noted and overlayed onto maps of Istanbul along with her annotations of finding these trees again. Several digital prints were made of these journeys on a variety of paper with the assistance of NYSCC professor of printmaking Kathrine Vajda and a book of maps and Roberley’s handwritten overlays was put together for the Wanderlust exhibition taking place at the University of Buffalo Fine Arts Gallery in 2017.

Below are images from Roberley’s residency:

Roberley (right) and Kathrine Vajda printing out transparent overlays for Roberley's writings

Roberley (right) and Kathrine Vajda printing out transparent overlays for Roberley's writings

Discussing layout

Discussing layout

Cropping book covers

Cropping book covers

Istanbul Tree print

Istanbul Tree print

Istanbul Tree print

Istanbul Tree print

Istanbul Tree print

Istanbul Tree print

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Brooklyn, NY, artist Eto Otitigbe took part as an artist in residence over the week of June 2th, 2016. Eto, polymedia artist whose practice includes sculpture, performance, and installation, seeks to investigate issues of race, technology, politics, and human interaction. Earning an MFA in Creative Practice from the Transart Institute (2012) and participating in the Bronx Museum’s AIM Residency program and biennial in 2013, Eto’s art can be experienced as type of a creative protest, a cultural artifact, or a radical sculptural environment.

Over the course of his residency Eto explored many different printing techniques available in our studios. Eto primarily focused on a set of etched aluminum plates he prepared ahead of his residency to print with on our presses, inking them as one would a steel plate and printing these on a variety of papers. Polymer plates produced with our platemaker were also made from photos taken of a series of photo taken and edited in the studio during his week. Add to these a series of 60″ digital prints to sum up a very productive week spanning all levels of our facilities.

Below are images from Eto’s time at the IEA:

Preparing Aluminum Plate for printing

Preparing Aluminum Plate for printing

Inking up a Polymer Plate

Inking up a Polymer Plate

Eto (right) discussing printing techniques with NYSCC print tech Tim Pauszek

Eto (right) discussing printing techniques with NYSCC print tech Tim Pauszek

Multicolor Aluminum Plate Print

Multicolor Aluminum Plate Print

Multicolor Aluminum Plate Print

Multicolor Aluminum Plate Print

Digital Print

Digital Print

Screen Shot 2016-06-02 at 4.30.01 PM

Jeremy ‘Mores’ McWreath joined us from Brooklyn, NY, for an artist residency across the week of May 23rd. Mores, a graduate of the University of Southern California who currently serves an adjunct professor at Cooper Union, sees his work as building self-contained worlds that both offer up a mirror to our contemporary society and present potential alternatives. Using drawing, sculpture, sound-design and poetry to create worlds where photography, performance, and video can take place, Mores creates scripts using found and invented text that he manipulate using techniques drawn from literature. This practice channels an ardent burning desire to critically examine the world by filtering new technologies through his mind and body and out into his art.

During his time at the IEA, Mores sought to utilize the analog facilities to record and process new video and audio material for current and future projects. Mores used the green screen and Panisonic HD mixer to put a lot of himself into his work, layering himself into a crowd of previous recordings. Mores also visited the New York State College of Ceramics’ Scholes Library to research the origins of our historical equipment and of the toolmakers and artists to further add to his recordings. Along with work on the Doupfer to generate sound, Mores both produced polished pieces and plenty of material for future edits.

Below are some images of Mores at work:

Mores generating audio with the Doupfer

Mores generating audio with the Doupfer

Green screen work

Green screen work

Processing and editing multiples

Processing and editing multiples

Mores working in the studio

Mores working in the studio

Drawing_02_Digital

Joseph Hildreth, of Potsdam, NY, visited the IEA for an artist residency over the week of May 16. Receiving his MFA from Pratt Institute in printmaking and painting, Joseph has has a storied career including distinguished professor of SUNY Postdam and the art curator of the SUNY system at the galleries of the State University in Albany. Joseph is best known for his intaglio prints with a career that spans decades.

Joseph focused on bridging his work, which has by and large existed in the traditional realm, across the digital realm by translating his drawings into polymer plates, woodblocks, and digital prints. Focusing primarily on polymer prints, our new plate maker was put through its paces experimenting with different exposure times to maximize the range of blacks from his charcoal drawings. Additionally, Joseph made use of the Epilog laser cutter to produce a wood block for printing at his studio in Potsdam and a small series of Iris prints.

Below are a selection of photos and prints from Joseph’s residency.

Joseph (left) and Tim Pauszek, a technical specialist within the Division of Expanded Media who worked with Joseph extensively to produce and print his polymer plates

Joseph (left) and Tim Pauszek, a technical specialist within the Division of Expanded Media who worked with Joseph extensively to produce and print his polymer plates

Joseph and Tim evaluating tests of different polymer plate exposures

Joseph and Tim evaluating tests of different polymer plate exposures

Drawing for polymer print by Joseph Hildreth

Drawing for polymer print by Joseph Hildreth

Drawing for polymer print by Joseph Hildreth

Drawing for polymer print by Joseph Hildreth

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The IEA welcomed Chris Kaczmarek of New York, NY for an artist residency over the week of April 18th. Receiving his MFA in Sculpture and New Media from SUNY Purchase, where he now teaches, Chris approaches his work as an opportunity to “provide seeds of thought and discourse.” His recent work draws from his knowledge of how materials communicate and explores the interactions of people with their physical and cerebral environments. Through a combination of video, sound, and interactive elements that both derive their source material from and react to visitors experiencing the work, Chris seeks to create conditions where others question the internal and external structure of their worlds.

During his residency Chris worked on a project, Re://Route, that would ultimately culminate in a small opening for the piece. Chris assemble two Max patches for the installation. One would select videos at random from a bank supplied by visitors who were asked to record a video of their journey to the piece by what ever means they had available on hand. These were processed in Max live and projected onto three of the walls in the room. Simultaneously a separate patch was set to randomly sample audio from the space to generate a bank of ever refreshing short recordings that were then processed and broadcast, also randomly, back into the space from one of five speakers. Visitors to the work provided the content by coming to and merely being in the space as Chris’s software took everything in and sent it back out in a distorted, yet still recognizable form.

Below are some images of taken during Chris’s residency:

Re://Route opening

Re://Route opening

Re://Route opening

Re://Route opening

Re://Route

Re://Route

Re://Route in motion

Re://Route in motion

Etched Zinc Plate

Johanna Tiedtke and Bernd Klug participated as a team for an artist residency across two weeks from April 4th to April 15th. Originally from Germany and Austria, respectively, and now living in Brooklyn, NY, Tiedtke and Klug started their collaboration on an ongoing project titled BEARING, an evolving installation which started at the Galerie Freihausgasse in Villach, Austria, in the Spring of 2015 and was furthered at the Austrian Cultural Forum in New York. BEARING featured a metal frame hung on strings aligned to the geographic and geometric relationship of the Galerie Freihausgasse to the Austrian Cultural Forum in New York. With vibrating metal plates the artists aim to catch traces from the visitors, which after the exhibition were scanned and transferred into painting on translucent paper. Piano-wire, piezo discs, transducers, microphones and speakers were used to trace the real time acoustic properties of the gallery space and its visitors.

In New York, the publicly accessible, interactive environment extended over three floors and used the architectural and institutional structures of the building to create different zones and layers of engagement. Visitors played an integral role: subtle feedback traces their movements as they walk through the installation, thus altering the soundscape. The traces from the exhibition in Austria were scanned to UV-prints on translucent paper, mounted on piano strings, which were activated by transducers and played back like vinyl records.

During their residency, Tiedtke and Klug sought to translate the marks of time from these zinc records into a printed form using the discs themselves. These prints are to play a role in an upcoming release of an album composed by Klug featuring samples from the sounds from the exhibitions and the zinc records themselves. Collaborating with Gill Arno to design the record sleeves, Tiedtke and Klug hope to release this new work as a limited edition release within the year.

Below are photos from Tiedtke and Klug’s residency:

(clockwise from left) Bernd Klug, Johanna Tiedtke, Gill Arno, and Expanded Media Print Professor Myles Calvert discussing strategies to print the zinc records

(clockwise from left) Bernd Klug, Johanna Tiedtke, Gill Arno, and Expanded Media Print Professor Myles Calvert discussing strategies to print the zinc records

(counter-clockwise from right) Bernd Klug, Johanna Tiedtke, Gill Arno, and Expanded Media Print Professor Myles Calvert discussing strategies to print the zinc records

(counter-clockwise from right) Bernd Klug, Johanna Tiedtke, Gill Arno, and Expanded Media Print Professor Myles Calvert discussing strategies to print the zinc records

(clockwise from left) IEA Co-Director Joseph Scheer working with Bernd, Johanna, and Expanded Media Print Technician Tim Pauszek on using etching techniques for printing plates

(clockwise from left) IEA Co-Director Joseph Scheer working with Bernd, Johanna, and Expanded Media Print Technician Tim Pauszek on using etching techniques for printing plates

Bernd, Johanna, and Gill discussing latest edit of the future album

Bernd, Johanna, and Gill discussing latest edit of the future album

Presentation displaying prints made from the original plated. Bernd is holding up a print from an eighth plate which was broken and lost after the first showing in Austria

Presentation displaying prints made from the original plated. Bernd is holding up a print from an eighth plate which was broken and lost after the first showing in Austria

Etched Zinc Plate

Etched Zinc Plate

Girl

Brian Murphy of Binghamton, NY, joined us for an artist residency over the week of March 21st. Brian teaches various classes at Broome Community College and Binghamton University, as well as assisting Dave Jones with research and production of Dave’s video image processing tools.

Brian’s focus for his residency was to use our array of video processing tools to process and mix his own video samples for later use. Mixing in prepared videos, some live camera work, the MVIP and other signal processing tools, and software such as Max, Brian transformed his videos into new forms barely recognizable from his source material. This newly processed footage is to be used for work to be shown at the Bret Llewellyn Gallery of Alfred State College in the Fall of 2016.

Brian mixing and processing video samples

Brian mixing and processing video samples

Brian and NYSCC technical specialist Mark Klingensmith conversing in the studio

Brian and NYSCC technical specialist Mark Klingensmith conversing in the studio

MVIP processed video by Brian Murphy

MVIP processed video by Brian Murphy

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