Concourse F, Concourse Level
The ARTspace Media Lounge presents a roster of innovative video programming, with selections made by renowned artists, professors, and curators specializing in new media; they are shown on a continuous loop during the conference, featuring a different hour-long program each day.
An outstanding program is lined up for New York, featuring videos assembled by nine curators, including Boshko Boskovic, Alexander Campos, David Familian, Claudia Hart, Martha Kirszenbaum, Karen Moss, Aily Nash, Debra Riley Parr, and Catherine Sullivan.
The framework for the program can best be described by the title chosen by the organizers, Band of Outsiders, the irresistible title of Jean Luc Godard’s 1964 film, which prompts the notion of a collective challenging of boundaries. The goal is to reflect the independent and adventurous mettle that has always characterized art production in New York City.
Also in the Media Lounge: Times, Interludes, and Action
The first decade of the twenty-first century has given rise to new possibilities, new questions, and new challenges. With continued globalization and technological innovation, new platforms for human interaction and exchange have emerged.
Simultaneously, we have witnessed an increase in terrorism, an energy crisis, and global economic instability. These problems have generated heated political debate about how we should best prepare for the future. Can we continue to employ the same solutions that worked in the past, or must we fundamentally change the way that we understand and approach these issues? How will this decade be remembered in the future?
To commemorate the tenth anniversary of ARTspace and the Centennial of CAA, artists were invited to submit action-based works that respond in some way to the first decade of this new millennium.
CAA Presents Band of Outsiders
Screenings organized by Sabina Ott and Cindy Smith of the CAA Service to Artists Committee.
ARTspace Media Lounge
7:30 AM–5:00 PM, February 10–12, 2011
Concourse F, Concourse Level, Hilton New York, 1335 Avenue of the Americas
New York, NY 10010
Center for Book Arts
February 1–April 2, 2011
Weekdays: 10:00 AM–6:00 PM; Saturdays: 10:00 AM–4:00 PM
Reception on Friday, 6:00–9:00 PM, with a special screening of selections from the Big Screen Project program.
Center for Book Arts, 28 West 27th Street, 3rd Floor, New York, NY 10001
Big Screen Project
Selections from Band of Outsiders
February 9–12, 5:00–9:00 PM
Public Plaza behind the Eventi Hotel, Sixth Avenue between West 29th and 30th Streets, New York, NY
ARTspace Media Lounge
The ARTspace Media Lounge is an interactive space that will serve as an informal, dynamic setting for the Band of Outsiders video works with morning coffee hours, sessions, panels, and other social events during the 99th Annual CAA Conference in New York. With a mission to broaden participation by artists and designers in the organization and in the Annual Conference, the Services to Artists Committee is calling on internationally recognized curators to select five to six artists to showcase video works in the ARTspace Media Lounge at the Hilton New York, Concourse F, Concourse Level, during the upcoming Annual Conference. The works will also be screened at the Center for Book Art and selections from the program will be screened at the Big Screen Project.
Band of Outsiders
We are pleased to present this video program on the occasion of CAA Annual Conference and Centennial Kickoff in New York. By referencing the filmmaker Jean Luc-Godard, our intention is twofold: first to reflect in our program what cultural theorists Constance Penley and Gilles Deleuze point out as Godard’s preference for the preposition “and” rather than “or.” Like Godard’s films where references, influences, and images pile-up more always ends up being best; with that in mind our concept is a sprawling, interdisciplinary collection of programs curated by artists, curators, and many others. Secondly, the irresistible title of Godard’s 1964 film Band of Outsiders prompts the notion of a collective challenging of boundaries, which our program embraces by including curators working independently as well as inside of institutional frameworks, by featuring artists working both inside and outside the academy, and finally by showcasing the programs in both nonart and art venues. Our goal is to reflect the independent and adventurous mettle that has always characterized the best of art production.
Invited Curators
Boshko Boskovic is the program director at Residency Unlimited, a residency program for artists and curators, located in Carroll Gardens, Brooklyn. Previously he was associate director at Sean Kelly Gallery in New York, where he represented artists such as Los Carpinteros, Ilya and Emilia Kabakov, and Johan Grimonprez. Recently, Boskovic curated the exhibition Power of the Brand at the Museum of Contemporary Art in Banja Luka, Bosnia and Herzegovina. As of late, he contributed essays for the exhibitions of Simonida Rajcevic and is editing a book on the work of the conceptual and performance artist Mladen Milijanovic, titled I Serve Art.
His program, entitled Not So Distant Memory is comprised of an hour-long presentation of video works from the territory of what used to be Yugoslavia. Artists: Danilo Prnjat (Montenegro), Marija Djordjevic (Serbia), Renata Poljak (Croatia), Boris Glamocanin and Sandra Dukic (Bosnia and Herzegovina), Mladen Miljanovic (Bosna and Hercegovina), Borjana Mrdja (Bosna and Hercegovina), Alban Muja (Kosovo), Leban-Kleindienst (Slovenia) and Zoran Poposki (Macedonia).
Alexander Campos has over twenty years experience in the museum field with positions at the Whitney Museum of American Art, the New Museum of Contemporary Art, the Brooklyn Museum, and the Bronx Museum of the Arts, and as executive director of the Center for Book Arts. Campos received his MA in arts administration from New York University and a BA in the history of art from the University of Pennsylvania. He is a member of the American Association of Museums and serves on several panels for the Institute of Museum and Library Services, the New York State Council on the Arts, the Massachusetts Art Council, the Connecticut Council on Art and Tourism, and the New York City Department of Cultural Affairs. He is a trustee of the Bronx Council on the Arts and the Morris-Jumel Mansion Museum. Campos has also organized several exhibitions, including Mutilated/Cultivated Environment, (un)Contained Vessels, I will cut thrU, Racism: An American Family Value, and the upcoming exhibition Random Thoughts or NOT, as well as the Center for Book Arts’ Featured Artist Projects.
His program, Moving Words, features six videos that present text/script in motion, issues on writing, and/or words that are emotionally moving to discuss loss and memory within the context of archiving, Artists: Amber Hares, Leor Grady, Sarah Nicholls, Neil Goldberg, Paul Clay, and Andersen M Studios.
David Familian began working at the Beall Center for Art and Technology in 2005 and was appointed as associate director in April 2006 and artistic director in 2010. An artist and educator, he received his BFA from California Institute of the Arts in 1979 and his MFA from the University of California, Los Angeles, in 1986. For the past twenty years he taught studio art and critical theory in art schools and universities, including Otis College of Art and Design, Minneapolis College of Art and Design, Santa Clara University, San Francisco Art Institute, and the University of California, Irvine. Although Familian began his career as photographer, since 1990 new media has become integral to his own artistic practice and his work as a web producer and technical advisor for individual artists, museums, and universities such as the Walker Art Center, the University of Minnesota, and the Orange County Museum of Art.
Surrealistic Pillow highlights eight artists who construct imaginary worlds using various forms of optical and digital effects in their videos. Combining photography, sound, computer mods, and hand-drawn animation, some use these tools seamlessly to create “high” quality, more aesthetic images, while others use them in a raw, self-conscious manner to purposely underscores the artificially of the media. Artists: Nao Bustamante, Pearl Hsiung, Jeremiah Johnson, Laura Kim, Chris Morales, Tim Sullivan, Marina Zurkow, and David Familian.
Claudia Hart graduated in 1978 from New York University with a BA cum laude in art history and went on to receive her MS at Columbia University’s Graduate School of Architecture. As a critic of art and architecture, she worked as associate editor of ID: The Magazine of International Design (formally Industrial Design Magazine) and reviews editor of Artforum until 1988. Her critical writings have been published and presented for CAA, the National Women’s Studies Conference, Media-N, Bad Papers, the New Media Caucus Journal, and more. She has exhibited at P.S.1 in New York and the Borosan Collection in Istanbul and currently has a fellowship at the Ellen Stone Belic Institute for the Study of Women and Gender in the Media and Arts at Columbia College Chicago. Currently she is working on a site-specific architectural performance and installation for the Black and White Project Space in Williamsburg, Brooklyn, and a personal exhibition for bitforms Gallery in Chelsea, both fall 2011. Hart is an associate professor in the Department of Film, Video, New Media, and Animation at the School of the Art Institute of Chicago.
The works in The Digital Any-Place-Whatever are defined by deformations of things and of spatial perspective, and by photographic distortions possible only with a virtual camera interface that controls the framing of an artificial view. All the work uses “high-end” procedural simulation that in some way transgresses the norm of the real world to manipulate time, or real world dynamic forces such as gravity or optics or light. Artists: Sheldon Brown and the Experimental Game Lab, Claudia Hart, Zeitguised, Kurt Hentschlager, Luke Dubois, Lián Amaris Sifuentes and WIKA, Gina Czarnecki, Michael Rees, Michael Joaquin Grey, and Jon Raffman
Martha Kirszenbaum was born and raised in France from Polish parents. She graduated from Sciences-Po in Paris and Columbia University in New York. After interning at the Department of Media at the Museum of Modern Art in New York and the Center for Contemporary Art in Warsaw (Poland), she assisted the chief curator of the Photography Department at Centre Georges Pompidou in Paris. She is currently a research assistant at the New Museum in New York, where she has worked on the exhibitions The Generational: Younger Than Jesus, Jeremy Deller’s Conversations About Iraq, Emory Douglas: Black Panther, and Brion Gysin: The Dreamachine. As an independant curator, Kirszenbaum has organized numerous exhibitions in New York, at the Austrian Cultural Forum, Envoy Enterprises, and the International Studio and Curatorial Practice (ISCP). She has also served as a guest critic for artists in residency at ISCP and has lectured on contemporary Polish art at Apexart in New York. She was the 2010 curator-in-residence for New York’s Residency Unlimited, and completed a curatorial residency at the Center for Contemporary Art in Warsaw in the fall of 2010. She is a regular contributor to City Arts, L’Officiel, and Voxpop.
Her program, Janitors of Lunacy, features five American and European artists dealing with the notion of material strangeness: Shana Moulton, Agnieszka Polska, Isabelle Cornaro, Wojciech Bakowski, and Amy Granat.
Karen Moss is an art historian and curator who has worked in museum and academic positions since 1980. Moss has a BA in studio art and art history from the University of California, Santa Cruz, and did her graduate work in art history at the University of California, Berkeley, and University of Southern California. Affiliated with the Orange County Museum of Art (OCMA) since 2005, she is currently an adjunct curator there working on State of Mind: New Art from California c. 1970, a major exhibition and publication of conceptual art, video, and performance, part of the Getty Foundation’s Pacific Standard Time initiative. As former curator and deputy director of exhibitions at OCMA, Moss curated exhibitions, including 15 Minutes of Fame: Portraits from Ansel Adams to Andy Warhol; Chris Burden: Tale of Two Cities; Disorderly Conduct: Recent Art in Tumultuous Times; and Art Since the 1960s: California Experiments. She was cocurator for the 2006 California Biennial. Prior to this she held senior curatorial and education positions at the San Francisco Art Institute, the Walker Art Center, and the Santa Monica Museum of Art, organizing more than 150 international artists’ residencies, exhibitions, and public programs. Earlier in her career she was an assistant curator at the Museum of Contemporary Art, Los Angeles, and attended the Whitney Independent Study Program in art history and curatorial studies. Moss teaches art history, critical theory, and curatorial/public practice at Otis College of Art and Design and the University of Southern California’s Roski School of Fine Arts.
Moss’s program, Poetics of Narcissism, features six artists who perform portraits of themselves and/or other artists as they reference their own position within the context of contemporary art history. Featuring: Nao Bustamante, Eileen Cowin, Dorit Cypis, Jennifer Locke, Micol Hebron, and Joel Tauber.
Aily Nash is a film curator, writer, and filmmaker. She received her BA at Bard College where she studied film and literature and was the editor of the Bard Journal of Moving Image. Nash was an archival researcher at Joseph Kosuth Studio, has worked on various film production projects, was an editorial intern at Film Comment, and wrote for the FilmLinc blog covering the New York Film Festival and New Directors/New Films. She was the short film programmer for the Brooklyn International Film Festival and the film program assistant at Japan Society, organizing the Japan Cuts Film Festival. Nash also participated in the Berlinale Talent Press. She is a contributing film writer for the Brooklyn Rail and works for the arts organization Time and Space Limited. She lives and works in Hudson and Brooklyn, New York.
Nash’s program description: “The theme of this program grew out of an exquisite corpse method, relying on the relationships that develop between the works as one transitions into the next, sequentially unfolding converging meanings. The pieces act as words that, when strung together, alchemize and reveal varied explorations of the virtual.” Artists: Peggy Ahwesh, Mirak Jamal, Alex Kalman, and Cyril Amon Schaublin.
Debra Riley Parr received her PhD from Boston University. Parr is currently associate dean and associate professor of art history at Columbia College Chicago. Her current research concerns the impact of design practices in youth cultures—from hip-hop to skateboarding. Other projects include investigation into the intersection of design and art, especially focusing on how the history, assumptions, and prevalence of design assist both designers and artists in articulating meaning during the moments of cultural transformation and crisis. Parr’s critical writings and reviews have been published in the New Art Examiner, Art News, Photophile, Art and Auction, TenBYTen, and Merge. She has curated several exhibitions, including a solo show of works by Fiona MacDonald, and has contributed essays to numerous exhibitions, including the recent show at KVG Gallery in Chicago, Indestructible Youth.
Design Capacity brings together the diverse video work of designers and artists from Canada, the Netherlands, Australia, and the United States. All exhibit a predilection for data, for information culled and abstracted from daily occurrences such as the sun setting on the suburban landscape of a Target parking lot, the piling up of the Canadian national debt, the celestial phenomena of the Texas desert, a bit of choreography prompted by an encounter with a simple, but heart-rending sentence or a conceptually difficult question. Artists: Alyson Beaton, Fiona McDonald, Christopher Moore, Melle Hammer, and Emily Luce.
Catherine Sullivan earned a BFA from the California Institute of Arts, Valencia (1992) and an MFA from the Art Center College of Design, Pasadena, California (1997). Her anxiety-inducing films and live performances reveal the degree to which everyday gestures and emotional states are scripted and performed, probing the border between innate and learned behavior. Sullivan has received a Louis Comfort Tiffany Foundation, award Etants Donnèes, the CalArts Alpert Award in the Arts (2004) and a DAAD Fellowship (2004–5). She has had major exhibitions at the Walker Art Center, Minneapolis, Minnesota (2007); Tate Modern, London (2005); Vienna Secession, Austria (2005); Kunsthalle Zurich, Switzerland (2005); Wadsworth Atheneum Museum of Art, Hartford, Connecticut (2003); Armand Hammer Museum, University of California, Los Angeles (2002); and the Renaissance Society at the University of Chicago (2002). She has participated in the Prague Biennial (2005), the Whitney Biennial (2004), and La Biennale d’art contemporain de Lyon, France (2003). Sullivan lives and works in Chicago, Illinois, and is a professor of art at the University of Chicago.
Sullivan’s program description: “Although the works in this selection are immersed in their own respective personal, aesthetic, conceptual, and political contexts, and much more could be written about them, they have been brought together in this program because they manifest particular dynamics between ‘authors’ and performers or subjects.” Featured artists: Marilyn Volkman, Danielle Paz, Casey Smallwood, Emily Jones, and Pier Paolo Pasolini.
