For two days in September, SPAN attendees will connect with some of the city’s leading designers, artists, technologists, and researchers—in addition to a few bright folks from Google. Through talks, conversations, workshops, and demos, the conference will explore links across design, technology, and socially engaged creative practice.
Addendum is a browser plugin that replaces advertising images on websites with visual essays by artists. Each visual essay is a collection of 8-10 images produced by the artist or collected in the course of their research. Users will see the ads on the page they are viewing replaced by one image from the visual essay—the rest in a series. On the next page they visit, the ads will be replaced by the second image in the essay… and so on.
An Addendum is a note of omission or correction added to the end of a printed publication. And with the internet these need not be separate documents, published after the fact. Addendum allows web users to make their own corrections, by choice, updated in real time.
OPENING RECEPTION: March 22, 2017 | 7-9PM
ON VIEW THROUGH: MAY 7, 2017
In the late 1960s, visual artists experimenting with the new medium of video saw the potential of public access television to act as an open and uncensored platform for the creation and dissemination of their work. This exhibition will present both key and lesser-known figures who worked in the public-access arena, as well as contemporary artists experimenting with the democratic potential of new media platforms on the Internet. BRIC’s own public access channels will be continuously aired in the gallery space, and a stage in the center of the gallery will act as a set for the production of new programming by BRIC’s community producers.
Historic and recent programming by: Alex Bag, Colab, Jaime Davidovich, Tom Kalin, Glenn O’Brien, Nam June Paik, Paper Tiger Television, Raindance, Doug Hall, Chip Lord, Jody Procter, TVTV, Tony Ramos, and Martha Rosler. Contemporary artist projects by: Natalie Bookchin, E.S.P. TV, Ann Hirsch, Jayson Musson, Jon Rubin, Pilot TV, and URe:AD Press (Shani Peters and Sharita Towne).
Curated by: Jenny Gerow, Assistant Curator at BRIC, in collaboration with freelance curators Reya Sehgal and Lakshmi Padmanabhan.
EXHIBITION TOURS: Offered Wednesday mornings for groups and individuals. Learn more and sign up HERE >>
(From Guggenheim Museum press release)
In their new project A talking parrot, a high school drama class, a Punjabi TV show, the oldest song in the world, a museum artwork, and a congregation’s call to action circle through New York, artists Lenka Clayton and Jon Rubin gather a diverse group of local communities in a complex system of social and material exchange. Following a period of extensive research, the artists identified six very different public sites that lie along an imaginary circle drawn through Harlem, the South Bronx, Queens, and Manhattan’s Upper East Side. These spaces serve as the project’s co-creators and venues. Each venue worked with the artists to select an important aspect of their identity—referenced in the project’s full title— which will rotate among the six locations over a period of six months from March 1st through August 30th.
The exhibition focuses on several socially engaged art initiatives that are performed with members of the public with the explicit intention of existing as video in their final iteration. Thus, the artists use video as a strategy to create social-engaged artworks that place equal value on the public-process and the filmed result.
ARTISTS INCLUDE: Johanna Billing (Pulheim Jam Session and Magical World), Agnes Agnes and Nina Sarnelle (Sisters of the Lattice), Lenka Clayton (People in Order), Harrell Fletcher (Blot Out the Sun), Adelita Husni-Bey (After the Finish Line), Luciana Kaplun (Gilda), Cynthia Marcelle (Automovel), Zach Ostrowski (The MainDew and I Pancakes! Live with Stark Show Choir), Lee Walton (Sitters)
This scarf was commissioned by Kingsford Capital and the THING for the Scottish football club Partick Thistle’s 2015–16 season. Partick Thistle fans are known for being a fiercely independent, non-sectarian (even atheist), underdog counterpoint to the other two Glasgow mega-teams, the Celtic (mostly Catholic fan-base) and Rangers (mostly Protestant fan-base).
While researching this project, I found a remarkable existential chant from an online audio archive. It was attributed to Partick Thistle fans and featured a group yelling loudly and repeatedly, "You Don't Know Who You Are!" The chant is not on the official club roster, and the creators of the archive aren’t really sure where it came from, but I felt that the chant, forceful but anonymous, wonderfully blurred the line between sport and philosophy with an assertion that cuts to a core question we all wrestle with at some time in our lives.
(5,000 scarfs were given away. Other artist commissioned to create editioned works for Partick Thistle that season include: Martin Parr, Barry McGee, David Shrigley, Kota Ezawa, and Jonathan Monk).
1. Hold scarf in the air with text facing the opposing team, or an opponent of your choice.
2. Chant: YOU DON’T KNOW WHO YOU ARE.
3. Consider: Do any of us know who we are?
4. In moments of personal crisis, the scarf can also be turned inward and the same chant applies.
Panelist: Suzanne Lacy and Paul Ramirez Jonas and Jon Rubin
Moderated by Cara Starke, Director, Pulitzer Arts Foundation
The University Art Museum CSULB, Getty Conservation Institute, and Museum of Latin American Art present FAR-SITED: Creating and Conserving Art in Public Places, a three-day conference examining new trends in public art, the use of new materials and technology, and the role of conservation for art in the public realm. Nationally renowned arts professionals will engage in curated panels and presentations for an audience of artists, conservators, arts administrators, scholars, and students.
The Annual Plonsker Family Lecture in Contemporary Art at Williams College Museum of Art
Following popular sitcom vernacular, The Sitcom revolves around one family, which exists in two places simultaneously. One version of the family is located in Tehran, the other version in Los Angeles, and the same domestic production set is constructed in both cities. In each city, the family is performed by local actors speaking their local language. In the finished episodes, the action moves back and forth between the American and Iranian versions of the family, so that the plotlines and jokes that are developed in one are carried forward and furthered in the other. In the end the series will be designed to construct a third space, a place that hovers between two specific cultural conditions, both familiar and destabilizing to each.