Under Pressure 2018

iea Co-director Joseph Scheer

Under Pressure 2018
Rochester, NY
October 5, 2018 -November 17, 2018

Opening Reception: October 5, 6–9pm

Artists: Pamela Drix, Bob Erickson, Kathryn Polk, Joseph Scheer

Under Pressure: Redefining the Multiple returns for the third year as a collaboration between Rochester Contemporary Art Center and The Print Club of Rochester. Under Pressure 2018 includes national, regional, and international artists and reflects a paradigm shift in how prints are considered; and the expansion of the definition of print media.

© Joseph Scheer, 2018, Caochangdi Boy, on Chupi

© Joseph Scheer, 2018, Hats, on Red Star

© Joseph Scheer, 2018, Yantai Scallop Farm, on Durer Etching

© Joseph Scheer, 2018, Xi’an Tricycle, on German Etching

© Joseph Scheer, 2018, Tofu Restaurant, on Red Star

© Joseph Scheer, 2018, Mattresses, on Goli

© Joseph Scheer, 2018, Old Man – Changchun, on Turtle Shell

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Katherine Liberovskya

The week of September 24 – 29, Katherine Liberovskya was the IEA Electronic Media and Film artist in residence. Katherine was particularly interested in the painterly palette of our Sandin IP. She re-scanned monitors and used feedback, fabrics and fans as well as a masterful coaxing of the Sandin and is electric-fields to produce quite beautiful footage! She made a significant number of recordings, including recording on DV tape which she uses in her live performances. Katherine also generously gave an artist presentation, in Holmes Auditorium to Expanded Media students and EIA (Electronic Integrated Arts) graduate students. Katherine’s rich practice in performing video collaboratively with composers, media-installation works as well as her work in long duration, was significant and very beneficial for the EM students. A truly wonderful week.

Katherine Liberovskaya is a video and media artist based in Montreal, Canada, and New York City. She has been working predominantly in experimental video since the late eighties. Over the years, she has produced many single-channel videos, video installation works and video performances which have been presented at a wide variety of artistic venues and events around the world. In recent years her work – in single-channel and installation video as well as performance – mainly revolves around collaborations with new music composers/sound artists and live improvisation video-mixing with numerous live new music/audio artists including, Phil Niblock, Al Margolis/If,Bwana, Hitoshi Kojo, Zanana, Anne Wellmer, David First, David Watson, Margarida Garcia, Barry Weisblat, o.blaat, murmer, André Gonçalves, Monique Buzzarté, Anthony Coleman, Shelley Hirsch, Giuseppe Ielasi, Renato Rinaldi, Audrey Chen, plus others.

Katherine has also programed and organized diverse media art events, with Studio XX in Montreal, Espace Vidéographe, Montreal and Experimental Intermedia, NY as well as the OptoSonic Tea series with Ursula Scherrer at Diapason in NYC and in various locations in Europe and elsewhere with OptoSonic Tea On the Road.

Katherine Liberovskya working with Sandin IP

Katherine Liberovskya in Holmes Auditorium

Katherine Liberovskya working with Sandin IP

Katherine Liberovskya in the IEA Studio

Katherine Liberovskya re-scanning video

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Sung-Ah Jun

Our September 17-21, IEA Visual Arts, artist in residence was Sung-Ah Jun.  It was a very productive week for Sung as she expanded her material approaches, and gained new learning useful to her print practice. She started off the week by using our Panasonic 4k camera, Canon EOS 5d Mark III and she tried out the VR Mirage Camera with Daydream. She photographed and shot video around the Harder Hall and on campus. After her first day recording, she settled into output, printing many images, including a portrait series on Xuan rice paper. The very warm tones of the paper met with the cool precision of digital photo-based images creating a striking tension within the images. Sung-ah Jun was especially pleased with her prints made on our Xuan papers. Pivoting from her prints on Xuan natural rice and bamboo, Sung also printed large-format contact sheet based images on Photo-Tex, an adhesive, repositionable‎ fabric paper. As well she made prints on traditional cotton-rag etching paper. During her checking on the prints, Sung at the same time rescanned the new prints with a handheld-scanner, generated and new images/imaging, concurrently creating a  series of new manipulated prints.  Lastly Sung-ah Jun used our laser engraver to engrave on both clear glass and mirror.

Sung-Ah Jun’s work carries various forms of art such as photography, film/video, painting, installation, sculpture, and digital arts. She believes that experimenting the unlimited potential is an augmentation. Sung-ah Jun received her BFA in Photography and MFA in Digital Arts from Pratt Institute. She has participated in solo and group exhibitions and art fairs at Sungbuk Young Art Center, Seoul, Korea, Con Artist Collective, New York, NY and the The Other Art Fair, London, UK. Jun’s current artist residency takes place at Trestle Art Space, NY. Her work has been featured inThe Creators Projects, Art F City, The Other Art Fair, and NewHive. She lives and works in New York City.

Sung-ah Jun at the IEA with print on Xuan three-ply paper

Sung-ah Jun at the Epilog 36EXT Laser cutter, cutting on mirror

Sung-ah Jun with print on Xuan bamboo paper

Sung-ah Jun with print on Museum Etching

Sung-ah Jun working imaging in the Expanded Media computer lab

Sung-ah Jun with large-format print on Photo-Tex in the Expanded Media print lab

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Allen Riley

For the week of September 3-7, the IEA had the great pleasure of welcoming EIA MFA alumnus, artist/educator Allen Riley. During his residency, Riley studied and made recordings using the Sandin Image Processor, Jones Video Synth, ATEM Mixer/Keyer, and live cameras. Riley made a new three-channel video and installed it in the Snodgrass TSI gallery and tested the piece in the Expanded Media Immersive Gallery and put-up residency WIP footage on the McGee EM studios’ flat-screen monitor. Riley also began work on and generating content for a new multi-channel work incorporating archival footage from the history of computers, cybernetics and information science. For part of this content he visited the holdings of the NYSCC Scholes Library for research and books to use in this developing project.

It was great to have Allen’s energy and generosity back at Alfred. He helped in the IEA studio development by pushing the capacities of our system, resulting in additional inputs and new understanding of the Jones Synths. Riley also engaged with students, he visited and presented work related to his VIDEOFREAK video art arcade game to Barbara Lattanzi’s Generative and Interactive Animation class and visited the EIA grads in their Work and Analysis class with Will Contino.

Allen Riley is a video artist, educator and game developer. His work is focused on creating contact points between people and the physicality of electronic and digital systems, with an emphasis on waveforms and patterns that occur in nature. Riley’s aim is to provide visitors with tactile entry points into self-reflection and dialogue regarding their own practices of media production and consumption.

Alan Riley on the Jones Video Synth

Alan Riley video on ATEM mixer

Alan Riley in Expanded Media Immersive Gallery

Alan Riley at Sandin IP

Alan Riley with EIA graduate students

Alan Riley presenting to the Generative and Interactive Animation class

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Anna Scime

During her Aug 21-31, 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.

Anna Scime is an internationally exhibited media artist, whose recent solo and group screenings and exhibitions include: Burchfield Penney Art Center (Buffalo), Berlin International Directors Lounge (Berlin), Centro Cultural Borges (Buenos Aires), Detroit Independent Film Festival (Detroit), FLORA ars+natura (Bogotá), Kuala Lumpur Experimental Film, Video & Music Festival (Kuala Lumpur) and PS1 MoMA (NYC). Her documentary work has been broadcast nationally and published throughout the web on Free Speech TV, PhillyCAM and ArtGrease. She was Squeaky Wheel’s (Buffalo, NY) interim Executive Director from late 2015 through 2016, and continues to contribute to the cultural ecosystem in Buffalo through her work with community arts nonprofits, like the Buffalo International Film Festival. She is also Lumiflux Media’s Executive Director, and since 2013 has worked to ensure that the organization sustainably stewards a dynamic roster of media productions.

Anna Scime – Three channel video still

Anna Scime – Three channel video still

Anna Scime – Video still

Anna Scime – Video still

Anna Scime – Video still

Anna Scime at the iea media studio

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Joan Logue

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.

Joan Logue in the iea

Joan Logue Video Portraits mock-up for artist-book on Xuan bamboo paper

Joan Logue Video Portraits prints

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Brian Murphy

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.

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Miatta Kawinzi

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.

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Jiajun Liu

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.


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.


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.

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Gary Hill

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)

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