Excerpts from Artist Statements/Proposals:
Eric Ashcraft: untitled, sculpture, paint. A small chair made of plastic or wood and around 3" height, painted shadow on the wall and floor of the space. The corner disrupts the perspective of the shadow and invites a slight formal dissection of the architecture. Not limited to the corner.
Mark Beasley and Isabella Ng: untitled, The instillation is a full wall projection of a gradient sunset. The room is filled with hand made paper grass. A chair, facing the sunset, is placed near the door toward the back of the room. An electronic toy parrot, sitting on a pedestal, sits and squawks programmed phrases. We're interested in possibly hacking the parrot to be constantly triggering itself or glitching out in a deconstructive performance. People may enter and interact however they want - sitting in the chair or creating paths in the grass.
Ryan Dunn: "Free Light Snack", 2009, video, transparencies, projections, cheap white bread. In this course, emergent behavior resulting from the collisions of simple patterns and motivations will fill one with a larger sense of potential agency despite inevitable dilution through the agency of others.
Sam Jaffe: "the last day of magic", Most of the materials that I use are mass-produced and found in popular culture. An important element in the work is the search for a strange, latent possibility in things that are part of the everyday. I complicate this by taking these mundane items and placing them next to things that have been painstakingly handmade. It makes one question what is craft and what is commodity. I want there to be prickly situations where nature and culture come to some sort of outlandish compromise. That which was thought to be animal, or human, or organically sensual in some way morphs into something horribly synthetic and artificial. There is a deliberate layering of materials, like accumulations of parts - a kind of overgrowth or badly mutated evolution.
Scott Jarrett: untitled, found objects, I'm really interested in the spaces between the columns in the main gallery. I've collected a decent amount of wood from the alleys around Millers Lumber (to use as sculptural materials)The materials I work with once had a function, but due to time and overuse that function has disappeared. While I am unable to restore their original function, I can give these objects some significance by changing how they are viewed.
Xavier Jimenez: “RED DOM”, a multi-artist installation. A critical exercise of sense and subjective affect.
Brookhart Jonquil: “Double Negative”, altered walls, This project sees the introduction of mathematics into the rules of language as arising from the same impulse, the desire for precision and efficiency, by which we now seek to negate time and space, to instantaneously dissolve the division of here and elsewhere.
Mik Kastner: untitled, 3D animation
Shirin Mozaffar: “I Inherit My Grandmother's Fear”, video animation.
Holly Murkerson: Constellation of a Studio Practice: Knowledge Building, Failure, and Subjective Mediation, My practice is concerned with how we know what we know and how we build knowledge through individual subjective perspective. My practice serves as a way for me to mediate and attempt to understand the world. For this project, I decided to construct a constellation of objects and ideas that informs my practice and ultimately the work that I produce, however this is not a one to one relationship. My process is a way to make apparent my own subjective mediation; what comes out is sometimes radically different from the initial input.
Nicholas O'Brien: “Normalized Silence”, Sound Loop (6min 23 sec), 17 Color Digital Prints.
In Collaboration with Mechanical Turk workers A2V0P6X26L89RU, A2LQSHHZ9FMTA7, A2YYMF3CGA1DZV, A1N9CPEYXXYA8N, A2JPXAF2MC24F7, A3MWOH5LEMOS98, A3IUYPB7Y9Z98G, AYWRVLTXPY12D, A2E6NGR2E4PV1K , A13CEW9JGDWGX1, A1S7DZ7HMVL3E, A1X79UYZTSCOVI, A36PFG2CC49ILN, and AEROU6ALA4EDE. With the help of Amazon's Mechanical Turk, I asked workers to record 30+ seconds of "silence" from an on-board, or on-hand microphone. After collecting results, I normalized the submitted silence to a zero decibel level which high-lights the minor - normally inaudible - discrepancies between each recording/location/worker. In doing so, Normalized Silence approaches the discourse of anonymity that surrounds network and out-source cultures. Accentuating the normally "silent" voices of anonymous workers within this framework provides a aural gesture of individuality within a realm of digital shadows.
Gary Pennock: untitled, I propose a light based installation that builds upon the existing site by restructuring how the window and light function. This involves the construction of trapezoidal light tubes to attach to some of the many window blocks. The cubist composition of three dimensional light structures direct light at a single light block near the center of the studio. Light focused into this single block, which looks like the light blocks composing the large window, will then disperse unto the walls of the room. It is done to focus the various changing light conditions outside, which are contributed by traffic, store signs, sun, etc, back into a single image. Both day and night situations are under consideration.
It is a play on the nature of the mass produced glass block windows that fracture the scene coming into the studio. I am attempting to create a metaphorical healing of the problems introduced through efficient economic forces that have effected the neighborhood and consequently the lumber building and Around the Coyote.
Ben Shilo Rosenberg: 3 pieces are video projected still images (using a computer and video projector). Excel Series: Portrait of James O. Incandenza, at time of death, April 1st Year of the Trial-Size Dove Bar (2008); Excel Series: Portrait of Seymour Glass, at time of death, 1948 (2009); Excel Series: Portrait of Quentin Compson, at time of death, June 2nd 1910 (2009). The work investigates contemporary issues of American commerce and society, the importance of medium, and art in the changing global economy.
Jonas Sebura: untitled, I am working on a piece that involves using morse code. The piece consists of two chairs that have telephone poles attached to it, with mechanical relays that click out morse code letters randomly.
//benitez_vogl (Markus Vogl and Margarita Benitez): “Mirror Image”, 2007-2009, Live projected video stream. real time video art surveillance installation. The project redefines the use of space and calls into question the constant everyday unnoticed surveillance. Normally public surveillence takes place in a public area, monitored from a very private environment like a control/surveillance room. In Mirror Image the very opposite of that occurs in which the private environment (bathroom area) is surveilled publicly.
Yefeng Wang: “The Eroded 10x10”, slowly processing live performance piece.
When the entire process is completed, the scene of the performance will be maintained as an installation piece including a sculpture called Untitled Machine, a series of canvases with inked China maps, Chinese red ink paste (a traditional Chinese artistic material, made by cinnabar, moxa and plant fiber), Coca-Cola and the artist (myself) as the performer.
Jared Weiss: I’m thinking of doing a photography/painting installation dispersed in a non-traditional manner across the walls of work relating to the sea (many small works). I'd also, if the space allows, like to try and convert the room into a photographic chamber by covering the window and adding a small aperture. The idea of a ghost consists of something that has once existed in entirety and has since partially disappeared, leaving an echo that rings through time. My work deals with this transience and its presence in time.
plus performances by
Max Alexander & Mark Franz
Davy Bisaro
Lauren Carter
Kiwon Choi
Ryann Dunn as Instinct Control
Joe Grimm
Joseph Kramer & Jenny Kramer
Liliya Lifanova in collaboration with Sebastian Alvarez: Fiber artist Liliya Lifanova and performance artist Sebastian Alvarez present the first live public presentation of this performance. This opening sequence, in a series of three parts that comprise a whole, references a dense overlay of contemporary and ancient myths, agonistic games, science, and rituals of devotion, resulting in an outcome that allows the narrative to unfold in the subsequent pieces.
