Paloma Barhaugh-Bordas

Paloma Barhaugh-Bordas was a summer Artist in Residence for July 8-12, 2019. During her residency Paloma investigated a number of materials as she engaged in her current bodies of work. She worked with images of mesh/netting scans that she tested with dye-sublimation (dye-sub) transfers onto a number of different fabrics. For permanent and consistent results, the Expanded Media dye-sub transfers need to fused to a polyester ground. After test coating fabrics with polyester, Paloma set forth on projects where the application of polyester coating became foregrounded in the pieces. Projects included painted on fence/mesh like patterns onto Xuan bamboo paper, these prepared papers then went through the dye-sub heat transfer process. The prepared areas will archivally hold the image while the unprepared areas will eventually vanish as a result of UV vulnerability. Paloma used scanner-bed composed high resolution scans of local invasive species for the dye-sub images printed on the Xuan bamboo paper. Another project from this process was painting polyester-base onto very thin Xuan paper. In this project after drying, the paper shrank where polyester was applied turning the paper and the mark made into a sculptural form. Lastly Paloma made a small edition of large format dye-sub prints on polyester mesh, the dense palette of Paloma’s landscape images dialogs with the light and air of the thick mesh.

Paloma Barhaugh-Bordas is an artist living and working in Upstate New York. Originally from Denver, Colorado, she received a BA in liberal arts from Carleton College in Northfield, MN, and an MFA in Printmaking at Rhode Island School of Design in Providence, RI. Paloma’s work adapts and appropriates the vernacular of the many regions she’s called home and traces the self-conscious search for cultural roots as a first-generation American.

Paloma Barhaugh-Bordas painted polyester-base on Xuan paper

Paloma Barhaugh-Bordas scanner-bed composed high resolution scans of local invasive species

Paloma Barhaugh-Bordas large format dye-sublimation prints on polyester mesh pictured with Aodi Liang

Paloma Barhaugh-Bordas detail painted polyester-base dye-sublimtion print on Xuan bamboo paper

Paloma Barhaugh-Bordas painted polyester-base dye-sublimtion print on Xuan bamboo paper

Paloma Barhaugh-Bordas pulling transfer off painted polyester-base dye-sublimtion print on Xuan bamboo paper

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Eiko Otake

The IEA hosted choreographer, dancer and time-based-media artist, Eiko Otake for the two weeks of June 17 through 28. Eiko split her time between concurrent Visual Arts and Electronic Media and Film residencies. Projects for visual arts were printed by Aodi Liang and Joseph Scheer. Print series produced during the residency included digital prints on Huiji Cloud Dragon plus Xuan paper and Photo Gravure prints on Wangji 2ply Xuan Paper. The series printed were Hong Kong 2015, Moths, Mother, Moth Night, Hong Kong, and 200 Inch Scrolls. Eiko used one of scroll prints in performance. This performance was photographed, which then became images in the Mother and Moth Night series.

For the time-based part of her residency, Eiko finished editing “Fukushima” which is a a nearly three hour, four-segment film from the series of photos of Eiko in Fukushima after the disaster taken by photographer John W. John. She also edited a three-channel video A Body with Landscapes (14:34) featuring her performances with the spring waters and deserts of California. The California footage was shot by Alexis Moh. Eiko did a number of performances while at the IEA with video documents shot by Rebekkah Palov. Eiko performed two dance for camera pieces with the three-channel video, A Body with Landscape installed in the the Expanded Media Immersive Gallery. Lastly a memorable event during Eiko’s time at the IEA was an evening into late night series of location performances in the nearby Kanakadea State Forest. Eiko performed with a 200 x 39.25 inch print which featured a photo portraits of Eiko’s mother and a performance with forest moths lit by mercury vapor lamp.

Born and raised in Japan and a resident of New York since 1976, Eiko Otake is a movement– based, interdisciplinary artist. She worked first for over forty years with her partner Koma, creating 46 interdisciplinary performance works, two career exhibitions and numerous media works. Always performing their own choreography, Eiko & Koma usually designed and handcrafted all aspects of their works including sets, costumes and sound. They presented their works in theaters, universities, museums, galleries, outdoor sites and festivals worldwide but since 2014 has been performing her own solo project A Body in Places. These activities brought her a special Bessie citation, an Art Matters grant and the Anonymous was a Woman Award. . Eiko & Koma were the first collaborative pair to share a MacArthur Fellowship (1996) and the first Asian choreographers to receive the Samuel H. Scripps American Dance Festival Award (2004) and the Dance Magazine Award (2006). Eiko teaches Delicious Movement in communities, colleges and art schools. Using movement study as a means of inquiry along with readings and media studies, she also teaches interdisciplinary college courses about the atomic bombings and other environmental issues such as mountain top removal coal mining and nuclear power plants. Eiko is a think tank fellow in Wesleyan’s College of the Environment on the theme of “From Disruptions to Disasters: A Lens on the Human Environment Relationship.”

Eiko Otake and 200 Inch Scroll print

Eiko Otake with Professor of Dance Chase Angier and 200 Inch Scroll print

Eiko Otake Photo Gravure print, printed by IEA co-director Joseph Scheer

Eiko Otake Video Still from Kanakadea State Forest performance

Eiko Otake Video Still from Kanakadea State Forest, performance.

Eiko Otake and IEA co-director Joseph Scheer

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Heather Swenson

It was a busy week of June 10 – 14 with Heather Swenson as our AIR for visual arts. Heather came in with an impressive collection of security envelope pattern samples. She had been collecting samples for quite some time and was excited to produce a body of work from this assembly. With the help of Aodi Liang, Heather scanned the samples on our Eversmart scanner. Once she had source files in hand she started on ambitious projects that featured an intimate scale.

Heather started the week with a laser copier saddle-stich zine, “security envelope interiors”. Heather first imagined a book in a box project for the samples and made silk-screens proofs of the pages, but after experiments with the IEA large format digital printer and Xuan roll papers and excitement over our glue binder, she switched to an ambitious 91 page 5.5″ x 4″ artist book edition, “SECURITY TINTS a pocket guide to envelope interiors”. On the last day of her residency Heather made Trompe-l’œil envelopes, laser cut silkscreen on Xuan thee-ply (some with with acetate window).

Heather Swenson is an artist working and living in Rochester, New York. She is currently focusing on silkscreen and collage while exploring new uses of these mediums through building three dimensional structures. Heather has shown work in multiple exhibitions around New York and has had several solo and group shows in Rochester. She teaches silkscreen workshops through the Print Club of Rochester and is the Exhibition Manager of the organization. Heather received her BFA in Interdisciplinary Visual Arts with a concentration in painting and printmaking from Purchase College of Art and Design in 2012.

Heather Swenson cutting and folding digital prints on Xuan paper for “SECURITY TINTS a pocket guide to envelope interiors”

Heather Swenson pages for “SECURITY TINTS a pocket guide to envelope interiors”

Heather Swenson with glue-bound artist books

Heather Swenson with her digital prints on Xuan paper

Heather Swenson with her digital prints on Xuan paper

Heather Swenson organizing her collection of security envelope pattern samples for scanning

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Linda Ryan

Linda Ryan was the IEA Electronic Media and Film resident for June 3-7, 2019. Linda initially started the week working on editing recorded performance content. After experiencing the Expanded Media exhibition galleries Linda made new works for multichannel video. She made a three-channel sync edit of “Triple A” featuring footage shot in Arizona and a two channel edit which included recordings made at the village of Alfred Bandstand. It was great to work with Linda and her robust performance practice and to facilitate expanded approaches to the media-art branch of her practice. One new piece featured Linda performing a dance for camera in the Expanded Media Immersive Gallery. She performed with her three channel “Triple A” piece projected on the walls behind her. The recordings were shot with the new Canon XF705 video camera. The footage was very exciting in terms of the content and image quality. Linda Also recorded practice sessions in the Miller Performing Arts Center thanks to the generous support of Performing Arts, Dance Professor, D. Chase Angier.

Linda Ryan is a dancer, choreographer, and technology performance artist. She works with movement and time‐based media to confront the simultaneously familiar and odd systems that govern the way we interface with the world around us. She has created choreography with velcro suits, heat‐sensitive floors, and GoPro action cameras. Linda holds a BA in dance from the GWU Corcoran School of the Arts & Design. Her previous performances include work by The Maida Withers Dance Construction Company, Vladimir Conde Reche, and I‐Fen Tung. She was a recent artist‐in‐residence at PlySpace in Muncie, Indiana ‐‐ where she taught at Cornerstone Center for the Arts and Ball State University‐‐ and is a cohort member with the 2019 Makers Space Experience at the Keshet Dance Center for the Arts in Albuquerque, New Mexico. While in residence at the Institute for Electronic Arts, Linda will be creating a short dance film derived from her GoPro action camera choreography.

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Linda Ryan with her two-channel video WIP in the TSI/Harland Snodgrass Gallery.

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Linda Ryan preparing performance for camera with her three-channel video in the Expanded Media Immersive Gallery.

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Linda Ryan practice sessions in the Miller Performing Arts Center.

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Linda Ryan practice sessions in the Miller Performing Arts Center.

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Linda Ryan practice sessions in the Miller Performing Arts Center.

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Linda Ryan in the IEA Time Based Media Studio.

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Siew-Wai Kok

Siew-Wai Kok was the IEA’s first Schein Joseph Endowment International Artist in Residence. Siew-Wai is an artist and curator from Kuala Lumpur, Malaysia. It was an important residency for the IEA as Siew-Wai shared with the local community and the School of Art & Design, (NYSCC Alfred University) many of the different facets of her practice.

Siew-Wai first had a day of studio visits with Electronic Integrated Arts MFA students and Expanded Media BFA students. As a co-founder and director of the KLEX independent, grassroots international festival of experimental film, video art and music, her feedback enlivened students as they headed into end of academic year projects. Siew-Wai then gave an artist talk plus screening “Gazing Into Infinity: Selections from The Kuala Lumpur Experimental Film, Video & Music Festival (KLEX)” in Holmes Auditorium which was open to the public. A second public event was “Siew-Wai Kok in performance: Sound-image collaboration with Alfred community”. The event was held in the lobby of Holmes Auditorium and featured undergraduate students, graduate students, faculty and IEA staff. It was a great event that brought together the Expanded Media program for a memorable audio video extravaganza. The evenings performers were Paloma Kopp, Siew-Wai Kok, Rebekkah Palov, Carrier Band (Andrew Deutsch, Peer Bode, Rebekkah Palov), Carly Moldow, Emma Hildebrandt, Joyce Miyake, Sam Schultheis and Leslie Rollins. Also during her residency Siew-Wai did audio field recordings and studio recordings for upcoming projects, and produced an intro bumper for a KLEX program to be screened at the Festival Accès Asie in Montreal.

From Kuala Lumpur, Malaysia, KOK Siew-Wai started out as a video artist, and now an improvised vocalist and artist-organizer. She received her B.A. in Media Study at University at Buffalo, and M.F.A. in Electronic Integrated Arts at Alfred University (USA). She has shown her works, curatorial video programs and performed in Asia, Europe, Canada and USA, including allEars Improvised Music Festival (Norway), CTM Festival (Germany), Asian Meeting Festival (Japan), International Film Festival Rotterdam (Netherlands), Les Rencontres Internationales (France), Singapore International Film Festival and many more. Siew-Wai has a deep passion for the experimental and improvisational arts. She is the co-founder and director of the Kuala Lumpur Experimental Film, Video & Music Festival (KLEX) since 2010.

Siew-Wai Kok performing, with Emma Hildebrandt (dance), Rebekkah Palov (electronics)

Siew-Wai Kok performing, Carly Moldow and Emma Hildebrandt (dance)

Emma Hildebrandt and Carly Moldow (dance), Rebekkah Palov (electronics) performing with Siew-Wai Kok

Siew-Wai Kok with Joyce Miyake after studio visit

Peer Bode introducing Siew-Wai Kok for “Gazing Into Infinity: Selections from The Kuala Lumpur Experimental Film, Video & Music Festival (KLEX)” artist talk and screening

Siew-Wai Kok consulting with Andrew Deutsch before the show, with Peer Bode and Paloma Kopp

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Nathan Meltz

The IEA welcomed its first AIR for 2019, Nathan Meltz for a visual arts residency. Nathan was at the IEA for the week of February 18 – 22 where he worked in a number of print media and completed two print editions. Nathan also hosted a traveling studio visit for Expanded Media students in the Introduction to Print-Media class. Nathan had generously brought a catalog of his award winning screenprints for an open presentation and Q & A luncheon with students.

Working with Expanded Media Lecturer, Myles Calvert, Nathan experimented with screened sugar-lift, zinc plate etching, as well Myles assisted Nathan in the production an edition of laser cut woodblock multi-ink prints on our Xuan Cloud Dragon Paper. During his productive week at the IEA, Nathan completed a second edition of large-format digital prints on Hahnemuhle Museum Etching paper with hand laid screenprint puff-binder overlay. Aodi Liang assisted Nathan with this second edition. Both editions feature Nathan’s image “Saving Seeds”.

Nathan Meltz uses collage, printmaking, animation, and performance to comment on the infiltration of technology into every facet of life, from politics and food, to family and war. His solo exhibitions include Southern Illinois University’s Vergette Gallery, GRIDSPACE (NYC), the University of Florida – Jacksonville’s Andrew Brest Gallery, and Noise Gallery (OH). His international exhibitions include the International Print Center New York, the Trois-Rivières International Printmaking Biennial, Canada, the Museum of Modern Art in Rio De Janiero, Brazil, and more. His recent series “Strangling the Fascist Viper” has received juror awards from the Louisiana International Printmaking Exhibition and the Political Impressions exhibition at the Rochester Institute of Technology, the Printworks Award from Artists Image Resource, Pittsburgh PA, and the Prix de Print award from Art in Print Magazine. Meltz is a Lecturer in the Department of the Arts at the Rensselaer Polytechnic Institute in Troy, New York, and is the founder and curator of the East Coast Screenprint Biennial.

Nathan Meltz on Offset Press

Nathan Meltz woodblock print

Nathan Meltz digital print with screenprint puff-binder overlay

Nathan Meltz applying screenprint puff-binder overlay on digital print

Nathan Meltz

Nathan Meltz traveling studio visit with Expanded Media students

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Nancy Blum

Our final artist in residence for 2018 was Nancy Blum. Nancy was at the IEA for two week residency and it was a delightful end to the 2018 experimental projects residency program. Nancy arrived with an ambitious program for experiments that might help in shaping her next major bodies of work. The residency started with Nancy working with her assistant Amanda Nedham on digitally assembling and altering some of her drawings. Another highlight from the first week was IEA co-director Joseph Scheer, giving Nancy and Amanda a tour of his printshop and review of the IEA Xuan papers/project. Nancy expressed an interest in seeing her drawings at different scale, the IEA composited and scaled up one of Nancy’s WIP drawings and projected it wall scale, with Nancy then developing the form with the assist of the video projection. The IEA had numerous visits from John Gill (Professor Ceramics) where he and Nancy discussed this work in progress. At the end the first week the IEA hosted a great artist talk & luncheon with Nancy Blum and grad-students from the Electronic Integrated Arts (EIA) and Ceramics MFA programs, – Thank you Nancy for your generous and memorable presentation.

Then the second week was spent in preparation for large scale mono-prints and investigation of foregrounded shape and color as a possible pivot in Nancy’s practice. Nancy cut large rough forms out of cardboard to use in the mono-prints. Blum’s final Thursday of the residency was spent in the Expanded Media Printshop for a wonderful day of printing. Matt Metz, Linda Sikora, Isabel Metz, Aodi Liang, Joseph Scheer, Rebekkah Palov and John Gill all had a special day assisting and pulling new experimental Nancy Blum mono-prints.

Brooklyn-based artist Nancy Blum is well known for her public art commissions. For the new San Francisco General Hospital, she recently completed an installation of monumental glass windows that feature her robust botanical imagery. Previous projects include 50 hatch covers designed for the streets of Seattle and a sculptural installation for the city’s airport; a 40‐foot freestanding sculpture in Philadelphia; large-scale mosaics for New York City’s MTA Arts in Transit program; and artwork and architectural components for three light-rail stations in Minneapolis/St. Paul. Blum’s drawings and sculptures have been represented in numerous exhibitions at galleries and other venues across the US such as the Weatherspoon Art Museum, UNC Greensboro; the International Print Center, New York; and the Brooklyn Botanic Gardens. Her most recent solo show, Wonderland, appeared at the Ricco Maresca Gallery in New York last year. Blum’s work is held in two dozen private and public collections, including the World Ceramic Exposition Foundation in Icheon, South Korea; the Scottsdale Museum of Contemporary Art; and the Boise Art Museum. Also among these project is a permanent installation at the residence of the American Ambassador to Belgium.

Nancy Blum inking a mono-print

Nancy Blum drawing with projection – video still

Joseph Scheer gave Nancy Blum and Amanda Nedham a tour of his printshop and review of the IEA Xuan papers

Nancy Blum mono-print with Joseph Scheer and John Gill

Nancy Blum artist talk & luncheon with grad-students from the Electronic Integrated Arts (EIA) and Ceramics MFA programs

Nancy Blum consulting with IEA Co-director Joseph Scheer

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Liberovskaya/Niblock Live A/V Improvisation and Phill Niblock Intermedia Concert in Holmes Auditorium

The IEA and Expanded Media had the great pleasure of hosting an on-campus visit and performance with Phill Niblock & Katherine Liberovskaya. The November 20th performance in Holmes Auditorium included a first set, Liberovskaya/Niblock Live A/V Improvisation followed by a second set, Phill Niblock Intermedia Concert with Music and Images by Phill Niblock featuring Video from the “Movement of People Working” series:
China 88, China 87, China 86. Don Metz (Burchfield Penney) also performed on one of Phill’s compositions. A Wonderful event!!

Poster by Andrew Deutsch

Phill Niblock & Katherine Liberovskaya in Holmes Auditorium

Katherine Liberovskaya still from Live Video Improvisation in Holmes Auditorium

Phill Niblock video-still from “Movement of People Working” series: China 88, China 87, China 86 in Holmes Auditorium

Phill Niblock, Katherine Liberovskaya and Aodi Liang (IEA Research Specialist) at the IEA

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Dave Jones

The IEA welcomed Dave Jones back for a two week print residency November 5 – 15. Dave designed and built much of the legacy and specialized video equipment for Expanded Media’s historically significant Video Arts program. Video Arts at Alfred was founded by Harland Snodgrass with 1972 marking the start of video-art classes at Alfred. Dave helped build the Alfred Sandin IP, designed (with support from Video Arts Professor Peer Bode) and built the Jones FB1 frame buffer and Jones video output AMP and the new Jones Core plus Digital Oscillators that are currently available in the IEA studio for our Electronic Media / Film artists in residence and Electronic Integrated Arts MFAs.

During his residency Dave made editioned prints of high-resolution scans of his design, development and digital-drawings that he created in the 1980s. These included drawings made with his original design, “fine-print” software and drawings made with an early 1980s HP (felt-tip) pen plotter that Dave wrote original software to produce the visual 3D effects. Another print-series featured Dave’s original hand drawn circuit boards on graph paper and assembly diagrams on vellum. Also a series of prints came from Dave’s catalog of 3D photos. The printed images included stereograph photos from his trip to Japan and others that he shot in the 1990s.

Dave Jones is the head of Dave Jones Design, a small company that builds audio and video devices for musicians, video artists, museums, and others involved in the media arts. They specialize in making unique products that are primarily visually oriented, and are used in art installations, performances, and both music and video studios around the world. Dave Jones has been designing and building this type of equipment since the early 1970s, individually, as part of the Experimental Television Center, and under the company names Designlab and Dave Jones Design.

Dave Jones with his mountain prints

Dave Jones with circuit diagram prints

Dave Jones with 3d anaglyph glasses and IEA Research Specialist Aodi Liang

Dave Jones multiple print series

Dave Jones original assembly diagram on vellum.

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Alison Nguyen

During her Electronic Media / Film residency (Oct 29 – Nov 2) Alison Nguyen worked on two projects. First she worked on developing ‘every dog has its day’ a single-channel video which explores the notions of iconicity, immortality, and terror in consumer-produced media. Drawing from home movies, social media, soft pornography, and videos created by religious cults/extremists, the appropriative work explores the porous visual relationships between domestic intimacy, terror and technology. Initially conceived as a triple-channel installation, Alison’s experimentation at IEA in the Snodgrass Gallery resulted in a parsed down single-channel piece. For her second residency project, Alison worked on ‘Dessert-Disaster’ – A double-channel found footage video work which compares the parallel cinematic language of dessert commercials with that of ‘disaster porn’ found in the news and on the Internet. The sound, pulled from pedestrian-produced videos of demolitions, disasters, and storms, expresses the conditions of the contemporary crowd; its insatiable appetite for destruction and arousal; its inattention, its inability to look away; its anxiety and its ecstasy. At IEA Alison worked with Rebekkah Palov to create a new quadraphonic sound piece for the installation version of this work, which expanded the creative possibilities of the movement of sound in the Immersive Gallery’s installation space.

Alison Nguyen is a New York-based artist working in video and installation. She received her B.A from Brown University, Providence, RI. Nguyen’s work has been screened at  Ann Arbor Film Festival, Crossroads presented by SF MoMA/SF Cinemateque, True/False Film Festival, San Diego Underground Film Festival, Unseen Film Festival, Microscope Gallery, Tai Kwun Contemporary, Leeds International Film Festival, L’Alternativa, Marfa Film Festival, San Francisco Art Book Fair at Minnesota Street Projects, Traverse Vidéo, Palace Film Festival, Outpost Artists, and Zumzeig Cine. Her work has been exhibited at Centre Des Arts Actuels Skol, The University of Oklahoma, BOSI Contemporary, and Satellite Art Show, Miami. She has participated in group performances at The Whitney Museum of Art: Dreamlands Expanded, The Parrish Museum, and Mana Contemporary (in collaboration with Optipus). 

Nguyen has received residencies and fellowships from the International Studio and Curatorial Program, BRIC, Squeaky Wheel Film and Media Art Center, Signal Culture, and Vermont Studio Center. She has been awarded grants from NYSCA and The New York Community Trust.

Alison Nguyen working in the IEA studio

Alison Nguyen “Dessert-Disaster” installation in the Expanded Media Immersive Gallery

Alison Nguyen video-still from ‘every dog has its day’

Alison Nguyen video-still from early work in process ‘every dog has its day’

Alison Nguyen with “Dessert-Disaster” installation in the Expanded Media Immersive Gallery

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