Day 1 > Devon Johnson

I embrace the indiscriminant decay by that relentless conqueror, time, which lays waste to the physical world, as well as to our memories of places. The harder we try to fight it, the more distorted our memory becomes; we only remember the last time we remembered (something that perhaps never was). I am not saddened by the fabricated nature of memory because every time I look to the past I create a new story in my mind.

I can only hope that this tale will get better with time. Each shard of memory has the potential to bring up countless narratives, yet unknown. Where they begin hardly matters—it is where they can make the mind go. Time is the ultimate leveler, something from which nothing ever escapes. I offer up this vision, a memory of a memory, its origins unknown.

Noms De Pays – TRT 3:34 mins

Devon Johnson (b. 1984) is an artist based in Washington, D.C., working primarily in lens‐based media. His work examines how our understanding of place is altered by the passage of time, the failure of memory, and the influences of external texts. Johnson earned his MFA in photography at George Mason University, and his BFA in photography at Virginia Commonwealth University. In 2012 Johnson’s video work was included in the Vancouver International Film Festival.

Devon Johnson – Washington D.C.

Day 2 > Jeremy Newman

The Persistence of Forgetting is a Surrealist nightmare that relates subjective experience after divorce through voyeuristic shots and archival film clips. I interweave dark visuals representing solitude and archival film sequences to embody a mental state. In this manner, I build on Stan Brakhage’s Anticipation of the Night (1958) that uses experimental first person camerawork to replicate human consciousness.

This video explores the culture of divorce. I combine original digital video footage and archival clips to embody an evolving mental state. Viewers interpret along with the protagonist as his home movies displace actual memory. Ultimately, he has an amnesiac experience, forgetting through remembering. Archival films also reflect his shift from subconscious to conscious awareness, and represent the societal impact of the Hollywood studio system.

The Persistence of Forgetting references Salvador Dalí’s painting The Persistence of Memory in its title. The filmic equivalent of Dalí’s melted watches; this video immerses viewers in nonlinear experiential time. After the opening credits, I include a Carl Jung quotation about truth and time. Dwelling on the past and worrying about the future, my protagonist’s true struggle is with the present moment.

I divide the video into three sections that reference the Jung quotation. “Truths of the Past: Divorce is Nuclear Death” focuses on the family unit as divorce’s victim. “Truths of No Time: Remembering is Forgetting Slowly” explores the inaccuracies of memory that grow over time. “Truths of the Future: His Answer is the Siren’s Call” proposes that happiness is a seducing force, and perhaps an illusion.

Television has replaced the hearth at the center of the home, fostering modern alienation. The flames reappear in an automobile crash that symbolizes the protagonist’s divorce. An announcer dramatically accuses him of committing “a crime of passion.” However, this crime is largely in the protagonist’s mind. Rather than accept the death of his ex-wife’s former self, he keeps her alive by watching home movies while dating other women. He is lost in an electronic wilderness where audiovisual verisimilitude supplants authentic memory and affects his decisions.

The Persistence of Forgetting features clips from six archival films that reflect the protagonist’s subconscious and represent aspects of the Hollywood studio system. Thus, I link his interpersonal conflict and Hollywood’s cultural impact. Gateway to the Mind (classroom film) illustrates the impact of cultural indoctrination on the protagonist. As Hollywood (tourist film) suggests, the motion picture industry is deeply ingrained in the American way of life. The Brain That Wouldn’t Die (B-movie) highlights the emotional violence of the protagonist’s severed union. In Rear Window (film trailer), the filmmaker promises escapism into the fictional lives of others. I also use clips from two animated films. The Story of King Midas suggests that the protagonist gilds memory at his family’s expense. The Story of Little Red Riding Hood implies that his post-divorce attempts to date, while holding onto the past, are wolf-like.

The Persistence of Forgetting – TRT 12:06 mins

Jeremy Newman has directed numerous documentary and experimental videos. His work is frequently shown at film festivals and has also aired on several PBS stations. He is Assistant Professor of Communications at The Richard Stockton College of New Jersey. Newman earned an MFA in Media Arts from The Ohio State University. 

Jeremy Newman – Galloway New Jersey

Day 3 > Lucinda Luvaas

see video

Lucinda Luvaas’s artwork combines oil painting, acrylic, relief techniques, drawings, using graphite, ink pens, prismacolor pencils and oilbars, video, and photography. She has an insatiable curiosity about materials and always looks for new ways to create a unique visual interpretation of the world. Her technical process produces pictorial effects much like impressions, imprints, fossil left overs from life. Luvaas has no interest in recording exactly what she sees, but rather wants to convey the impressions of what she sees, wanting to craft the mood and feeling of a scene or event.

She has developed a new and innovative technique called: “Imprinting .” This method of working has required many years of experimentation to perfect. It is a meticulous process that is a hybrid between painting, relief techniques and printmaking. It took much trial and error to find the right tools for each step of the process such as: sharp scapels for very intricate, delicate cuts, japanese knives, and italian sputulas of all shapes and sizes. The hard-edged look is painstakingly hard to accomplish…much can go wrong. For instance, there are many grid-like sections that are laid out on the wood panel, and they must be perfectly aligned and seamless. All of the sections must be secure while imprinting, so that the artist can produce a clean, crisp result. This can be very difficult at times, especially when the sections are delicate and fragile. Luvaas continues to experiment and refine her techniques with this new and original approach to fine art.

Meditation 2 – TRT 3:34 mins

Lucinda Luvaas is a multimedia artist working in fine art and video. Her films and fine art have been screened and exhibited both nationally and abroad. Her work is represented by the Walter Wickiser Gallery, NYC, Lois Lambert Gallery, Bergamot Station, Santa Monica and the Sandra Lee Gallery, San Francisco.

Lucinda Luvaas – Los Angeles CA

Day 4 > Tommy Becker

I find great joy in writing poems, recording music and documenting gestures. I especially enjoying putting these elements together in an effort to create a unique visual language that investigates, celebrates and builds upon personal experience. Tape Number One is an incomplete monument, a documentary continuously being built upon through bits of poetry honoring the past. Enjoy.

Instructions for Creating a Snow Angel:
First, find an undisturbed area of snow larger then the size of your body. Second, gently position yourself face-up into that plane of snow. Third, sweep your legs from an open position to a closed position and move your arms up and down creating troughs in the snow. This step should be repeated until you feel the indentations are deep enough to be easily viewable from above. Last, carefully remove yourself from the mark, not to disturb your masterpiece. When finished, your performance should have left the appearance of an angel, the movement of the arms having formed wings, and that of the legs having formed a robe or a gown.

TRACK FIVE: song for movements of a snow angel – TRT 6:38 mins
video & music: written, recorded, performed and edited by T. Becker | 2011 | found film footage from Prelinger Archives

Tommy Becker attended the San Francisco Art Institute as an undergraduate before receiving his MFA in Film, Video, Performance from California College of Arts in 2001. A poet trapped in a camcorder, Becker continues to feed video poems into his never-ending saga, “TAPE NUMBER ONE”. The video work for Tape Number One blends poetics, performance, costuming, found footage, hand made props and home made music. Each track is presented as a song dedication, the videos run song-length, never more then four minutes. Within this duration, musical elements surface as background music or simple tones, but more characteristically within a unique voicing that flirts with elements of melody, repetition, rhythm and sustaining tones in its delivery of the spoken word. Often, Becker’s work is translated into live spoken word/video performances. In 2005, he was awarded an artist in residency at Headlands Center for The Arts and included in Bay Area Now 4 at the Yerba Buena Center for The Arts. His work has been presented at White Columns, New York; Aurora Picture Show, Houston and Hallwalls Contemporary Arts Center, Buffalo, NY as well as numerous experimental film festivals.

Tommy Becker – San Francisco CA

Day 5 > Michael Wyshock

Soul Juice was made while considering consumption and coexistence in situations of conflict and threat. Animated sequences of expressionistic line drawing elaborate on potential danger through juxtapositions of fuels, farming, cars, factories and missiles by putting them in playful subtle contexts. Trees are made of plastic bottles filled with projected light experiments. In my artwork, formal decisions are resolved by allowing shape and line to overlap, as found in water where light refraction organizations question origin and replication with a disturbance in surface. Figurative elements are also introduced as behavioral suggestions regarding moral responsibilities of the consumer.

Soul Juice – TRT 4:58 mins

Michael Wyshock received a BFA from the University of Delaware in 1998 and a MFA from Florida State University in 2002. His paintings and videos have been presented in over 100 exhibitions. In 2006 his work in painting was recognized with a Pollock-Krasner Award. In the Fall of 2011 his work was included in a few exhibitions in New York City: a theater production in the East Village at the Connelly Theatre, the Big Screen Plaza in midtown Manhattan, and in the Unfold exhibition at Parsons. In December 2011 his work was nominated for an award from Madatac and presented as part of a special exhibition in Madrid, Spain at the Reina Sofia Museum. Also in 2011 his work was included in exhibitions at the Wheeler Arts Community Center in Indiana, the International Environmental Film Festival in Barcelona, Spain and Mexico City, Mexico and at the Grand Isle Community Center in Louisiana.

Michael Wyshock –

Day 6 > Patrick Moser

I used to watch through my window as my neighbor slowly ambled down the road on his afternoon walks. He suffered from terminal cancer and dreamt of returning back to his home in New York. He hated Florida, felt trapped by the hot sun. The mask and this performance was my way of acting out his dream, while simultaneously playfully exercising my own fears of the inevitable.

Leaving Town – TRT 1:00 min

Patrick Moser is an Associate Professor of Art at Flagler College in St Augustine, FL. His paintings and videos have been exhibited nationally and internationally. Recent group and solo shows include the Lightwell Gallery University of Oklahoma School of Fine Arts, Whitdel Arts Contemporary Art Institute of Detroit, and Wynn Bone Gallery in Annapolis, MD. Patrick has an MFA in Painting and Drawing from the University of Florida.

Patrick Moser – St Augustine Florida

Day 7 > Maria Niro

While filming on the Manhattan Hudson River pier one day an older gentleman claiming he was “the real Leo Bloom” insinuated his way into my film. Perhaps like James Joyce who saw Ulysses as his favorite hero my Leo sees himself as Joyce’s Leopold Bloom. A self-possessed character wandering about town on a journey of introspection, like Joyce he is full of puns, allusions and a broad humor. My Leo is in juxtaposition to the cityscape and the politics of space around him -constantly in flux and changing. The radio frequencies of the sound design were influenced by a sense of nostalgia he inspired in me.

The Real Leo Bloom – TRT 2:38 mins
Video/Sound Maria Niro 2012

Maria Niro’s work encompasses video, photography, installation and sound. Her work explores the nuanced relationships between notions of memory, identity, culture, nature, spirituality and materialism in our increasingly artificial environment. Her videos have screened and exhibited in festivals, galleries and performance spaces worldwide. Niro studied film and media studies at The New School University. She is on the Board of Directors at The New American Cinema Group / The Film-makers’ Cooperative in New York City. She lives and works in Manhattan.

Maria Niro – Manhattan

Day 8 > Dawn Roe

My work is concerned with the associations that occur when we encounter sites or scenes that reference our experience of space and place. The poignancy of present moments is fleeting, and the resonance of immediate experience fades quickly. This recognition leads me to question how particular types of imagery prompt sensations from our past and conjure speculation of our futures. Influenced by the phenomenological distinctions between the still and moving image, my recent projects include single and multi-channel video works that slowly reveal the evocative charge of sites that are at once recognizable and foreign.

The two-channel piece, I-55 Back/Forth was created for a site-specific installation at Violet Poe Projects in Bloomington, Illinois. The content references my 3+ year commute between Bloomington-Normal and Chicago, Illinois along Interstate 55. The work’s form is influenced by Michael Snow’s structuralist films Back and Forth and Wavelength.

I-55 Back/Forth (After Michael Snow) – TRT 4:39 mins

Dawn Roe (MFA, Illinois State University, BFA, Marylhurst University) divides her time between Asheville, North Carolina and Winter Park, Florida where she serves as Assistant Professor of Art at Rollins College. Her studio practice involves the singular and combined use of still photographs and digital video and is concerned with themes of perception, time and memory.

Dawn’s recently completed project, Goldfields, was exhibited as a triple-screen installation at Screen Space, Melbourne, VIC, Australia (2012) and will travel to White Box at The University of Oregon, Portland, OR (2013). A multi-media exhibition of this work is scheduled for The Clara M. Eagle Gallery at Murray State University, Murray, KY (2013). Additional solo and two-person exhibitions include This Is Nowhere, Orange Coast College Photography Gallery, Costa Mesa, CA (2011), The Tree Alone, Orlando Museum of Art, Orlando, FL (2010), and Dawn Roe and Catharine Stebbins, Newspace Center for Photography, Portland, OR (2009). Recent group exhibitions include Orison for the Forest, Best Friends Gallery, Arlington Heights, IL, Too Close To Home, Coop Gallery, Asheville, NC, (2012), Darkness on the Edge of Town, Beam Contemporary, Melbourne, VIC, Australia, Transplanted, Launch Projects, Toronto, ON, Canada (2011), and HyperReal World: Landscape as Commodity, Museum of Fine Arts, Florida State University, Tallahassee, FL (2010).

Dawn has received funding for her work from The United Arts of Central Florida, The Associated Colleges of the South/Andrew W. Mellon Foundation, The Chicago Department of Cultural Affairs and The Society for Photographic Education. Her work and writing has been featured in many print and on-line publications including SHOTS, Fraction Magazine, Urbanautica and fototazo.

Dawn Roe – Winter Park Florida

Day 9 > Travis Janssen

I seek to distill common events from the human condition through the investigation of perception and reflection within conscious and unconscious viewing experiences. In turn, it is my goal for viewers to develop new perspectives on both body and world. Elements from diverse fields including physics, biology, and anthropology often enter into my work. My artistic explorations are analogous to that of a traditional researcher. The act of investigation functions as both a motive and a process. By exhibiting the results, I share my findings. Through the mediums of printmaking, digital video, and installation I create immersive works that lend themselves to meditative viewing experiences. Rather than playing to passive observers, viewers often become participants, discovering, realizing, and playing. This approach emphasizes active viewing practices and individuals are empowered as visual beings.

Static Rainbows focuses on the pervasive nature of electronic screens within contemporary culture and their relationship to mediation and meditation. Through visual and aural elements such as pattern, movement, distortion, and noise, the piece approaches the concepts of data/memory loss, reconstruction, and generational shifts. Techniques and source material employed vacillate between digital and analog, creating a result that highlights hybridity within common experiences.

Static Rainbows – TRT 5:01 mins

Travis Janssen received an MFA in Printmaking from Arizona State University in 2007 and a BFA from the University of Wisconsin, Madison in 2000. His current creative practice often focuses on bridging the gap between contemporary and historic methods of printmaking as well as forays into video and installation art mediums. Janssen’s interests also extend into the collaborative process and cross-disciplinary investigation, having collaborated with a variety of individuals on a diverse range of projects including prints and documentary videos. Over the last five years he has shown work in over eighty-five exhibitions across the United States and venues in New Zealand, Russia, Sweden, and the United Kingdom. Currently, Janssen’s creative practice is based out of Carbondale, Illinois where he teaches printmaking and 2-D foundations at Southern Illinois University. Prior to moving to Carbondale he taught a variety of courses including printmaking, digital imaging, and foundations at Arizona State University and Phoenix College.

Travis Janssen – Carbondale Illinois

Day 10 > Biying Zhang

The 16th Asian Games will be held in Guangzhou, China in November 2010. Guangzhou will be the second city in China to host the games after Beijing in 1990. This year will be the largest Asian Games ever. The film documents one day activity of a housewife in the city going through different site of the neighbourhood. It explore how the change of Guangzhou city effect its people daily life. The camera goes behind the publicly exposed scenes of this competition, revealing the disruptions and environmental transformations of redevelopment and reconstruction in Guangzhou prior to this important yet short-lived pan-Asian event. The China government value their globe image by their physical appearance of a host city to a very high degree. They want to transform the old city to a modern international Urban city to show their powerful economic status to the world. In fact the world are seeing the humanity issue is getting intense that Chinese local people are not enjoying their lives when they going through physical and mental suffering at their hometown. While the event itself is publicly celebrated as a symbol of harmony within and between the countries of Asia, the spectacle of an esteemed presentation takes propriety over the domain of inhabitants and the security a stable, known urban environment.

Guangzhou 2010 – TRT 4:02 mins

Zhang was born in Guangzhou, China in 1984. She received her BFA from the Central Academy of Fine Arts in Beijing, and her MFA from the School of the Museum of Fine Arts, Boston. Zhang is a painter and also works in film/video, sound art and mixed media. Zhang’s work has been widely exhibited internationally in Amsterdam, Beijing, Berlin, Boston, Brisbane, Caracas, Cologne, Edinburgh, Madrid, New York, Paris, as well as other locations, in galleries, embassy, film festivals and special events. Zhang was the recipient of the Dean’s Discretionary Fund Project Grant at SMFA, Boston and First Prize at the Student Annual Drawing Show at the Central Academy of Fine Arts, Beijing. Zhang lives and works in China and the U.S.

Biying Zhang – Boston Massachusetts

Day 11 > Jeremy Speed Schwartz

The work of Jeremy Speed Schwartz spans animation, performance and interactive art, while finding innovative ways of utilizing and abstracting the human body as a visual and kinetic experience.

Butterfly – TRT :50 mins

A graduate of the Experimental Animation program at the California Institute of the Arts, Speed Schwartz’s film work utilizes alternative approaches to stop motion, including lightpainting and pixiliation, as an attempt to re-examine animation as a means for the aesthetics of the uncanny. His visual music work (most notably the Ornament series) seeks to create kinetic synesthetic experiences, based on the performance of music rather than merely the listening to it.

Speed Schwartz (under his alias Professor William T. Madmann) is a founding member of The League of Imaginary Scientists, an interactive art collective dedicated to art/science hybrids. Influenced by the art movement known as Pataphysics, the work of the League seeks to bring new perspective and inject whimsy into the worlds of art and science. Jeremy’s focus within the League is large-scale interactive software and animation.

Nothing else.

Jeremy Speed Schwartz – Alfred NY

Day 12 > Ulf Kristiansen

A chilling poetic tale about obsession, horror and death.

I Feel You – TRT 5:18 mins
Music arranged and performed by Michael Chang.

Ulf Kristiansen (b. 1969-11-03, Norway) is a painter and video-artist. Ulf Kristiansen is currently living at Nesodden, a peninsula outside of Oslo, Norway. While starting out as a figurative painter, Ulf is now mainly focusing on 3d animation and machinima. His films have partaken in numerous international video festivals and exhibitions.

Ulf Kristiansen – Nesodden Oslo Norway

Day 13 > Jennifer Steensma Hoag

Separation is a video loop that compares, contrasts and conflates: death and slumber, Victorian memento mori and contemporary video, fact and fiction, imagination and memory, love and loss.

In Victorian times, child mortality rates were very high and it was customary to take photographs of recently deceased loved ones posed in peaceful slumber. Frequently this was the only visual image one would have of a child. The photograph would be reminiscent of time spent watching the little one sleep – physically present, but consciously somewhere else. The photograph, while serving as a document of the child’s appearance and prompting memories, also consoled because Victorians believed their loved ones continued on in spirit and they would be reunited with them in heaven. Separation uses the historical custom of the memento mori to simultaneously address our death-fearing and death-denying culture and our obsession with the photographic snapshot.

A child born today will have countless images made of their likeness, documenting each milestone and event. Our photographs are our memory. We photograph to preserve moments and prove to ourselves events happened. All these images, however, put us no closer to stopping time or holding on to those we love. Unless we see the images as what they are – delightful artifacts of our temporal journey – they only remind us how quickly time passes and how much we have lost.

Separation – TRT 1:55 mins

Jennifer Steensma Hoag is a conceptual artist that works primarily in photography and video. Steensma Hoag received an MFA in Imaging Arts (concentration in Museum Studies) from Rochester Institute of Technology and she has lectured on the history of photography at Rochester Institute of Technology, the Dryden Theater at the International Museum of Photography at George Eastman House, and the New York Public Library. Awards for her artwork include an artist in residence with The Center for Land Use Interpretation, a Calvin Research Fellowship, and a Community Giving Program Grant from the Target Corporation. Hoag’s artwork has been exhibited nationally in group and solo shows including Rehearse, Rewind, Repeat: Photography, Video and Performance juried by Kelli Connell for Ohio University Art Gallery, You and Yours: Artists’ Images of Family curated by Patricia Briggs for the Tweed Museum of Art, and Transient at Gallery 31 at the Corcoran Gallery of Art/College of Art & Design. Hoag’s photography series, The Nature of Invasion was featured in exposure and online in Drain – Journal of Contemporary Art & Culture. She is Professor of Imaging in the Department of Art & Art History at Calvin College in Grand Rapids, Michigan where she has taught for the past seventeen years.

Jennifer Steensma Hoag – Grand Rapids Michigan

Day 14 > Andrew Ellis Johnson & Susanne Slavick

PACE inverts and superimposes massive structures representative of two countries and their precarious bond. Egypt’s Great Pyramid of Giza and the United States’ Washington Monument swing back and forth like an upside-down metronome, in tense relationship to one another and unstable in their power. The escalating and diminishing meter of their rhythm, alternating with the sound of an oscillating fan, echoes the fluctuating pace of change — of regimes, institutions and mindsets. The balance has not been struck.

The metronome in Man Ray’s sculpture resembles both an obelisk and a pyramid. A photograph of an eye is attached to the pendulum. Originally titled Object to be Destroyed (1923), Man Ray altered the sculpture in 1932 to add an image of his lover’s eye. Either eye can beat insistently and infinitely — like human desire — for personal pleasure or political reform. At an exhibition in 1957, a group of protesting students enacted Man Ray’s title and destroyed the work it; the artist eventually reconstructed and renamed the work Indestructible Object. In either form, the work is uncanny.

The omnipotent eye is discussed in Freud’s essay The Uncanny where it is associated with anxiety and fear of an external power that we rarely regard as benign. An Eye of Providence crowns a pyramid in the Great Seal of the United States and is printed on the U.S. dollar bill; its source can be traced to the Egyptian Eye of Horus, a symbol of protection, royal power and good health.

This recurrence of pyramidal forms and all-seeing eyes informs PACE. Before the 2011 Revolution, Egypt was second largest recipient of U.S. aid after Israel, so connections between the two countries are more than symbolic. The current limbo of Egypt resembles the shifts in Man Ray’s titles: was the tyranny of Mubarek’s regime an Object to be Destroyed or, in a sense, an Indestructible Object? Will the old tyranny persist, be replaced by another or dissolve altogether? Is the people’s will (in any country) to be destroyed or is it indestructible?

PACE – TRT 2:25 mins

Together, Andrew Ellis Johnson and Susanne Slavick address topics ranging from the luxury of memory to the disasters of war, exhibiting individual and collaborative works in museums, galleries, electronic arts and video festivals, public collaborations, conferences, books and journals in the Americas, Europe, Asia and the Middle East.

Andrew Ellis Johnson’s exhibition topics have ranged from the apocalypse to animal nature and the disasters of war to the culture of class. Venues for his work have included museums, galleries, electronic arts and video festivals, public collaborations, conferences, books and journals in North and South America, Europe, Asia and the Middle East. He is co-founder of PED, a socially engaged collective that has performed in Buffalo, Belfast, Chongqing, Rio de Janeiro, St. John’s and Tonawanda. Johnson received his BFA at the School of the Art Institute of Chicago and his MFA at Carnegie Mellon where he is Associate Professor of Art. He has also held teaching residencies at Korean National University of the Arts in Seoul and University of the Arts London at Camberwell. In 2011, he participated in a residency exchange project at Fayoum International Art Center in Egypt.

Susanne Slavick is Andrew W. Professor of Art at Carnegie Mellon University in Pittsburgh. She graduated from Yale, studied at Jagiellonian University in Krakow, and earned her MFA at Tyler School of Art in Rome and Philadelphia. Her work has been exhibited in museums and galleries across the country and internationally, and have been recognized through fellowships from the National Endowment for the Arts and the Pennsylvania Council on the Arts. She has been an artist-in-residence at The MacDowell Colony, Mt. Desert Island through the Four Seals Foundation, The Skoki Castle through the Academy of Fine Arts in Poznan, and the Blue Mountain Center in New York. In 2008, she premiered “R&R(…&R)” at the Pittsburgh Center for the Arts, a series of works on paper that subsequently traveled to the Warhol Museum, Rutgers University, Bradley University and to solo shows at the Chicago Cultural Center and the McDonough Museum of Art. She is a co-founder of 10 Years + Counting, an online resource developed to commemorate a decade of senseless war, expose its costs and promote a shift in our national priorities toward peace through the arts. Out of Rubble (Charta: 2011) is her recent anthology of works by international artists who respond to the aftermath of war and a curatorial project that premiered in 2011 at SPACE Gallery in Pittsburgh and will travel through 2014, concluding at University of Colorado Art Museum in Boulder. She is also curating Cutting Losses for the Allcott Gallery at University of North Carolina, Chapel Hill and has written visual essays and articles for print and online for Cultural Heritage and Arts Review (forthcoming 2012), Frontiers: A Journal of Women’s Studies (University of Nebraska Press, 2011), Guernica: A Magazine of Art & Politics (2009 and 2011), and AlterNet (2011).

Andrew Ellis Johnson & Susanne Slavick – Pittsburgh Pennsylvania

Andrew Ellis Johnson website
Susanne Slavick website

Day 15 > Keaton Fox

We played a game once where everyone had to write down a word to describe someone else in the room. After everyone wrote down their word, they were all put into a hat and everyone guessed which person matched which word. The unanimous word that was chosen to define me was ‘sunshine’.

The majority of my life has been a daze of happiness, carelessness, and optimism. There were some days when I would realize this, but I mainly thought that was just how things were meant to be. It was just recently that I started to question the immense joy that seemed to lead my, and only my, existence.

I had never known anyone to die, I had a close and healthy family, and I had the greatest friends one could hope for. But that all changed. As everything eventually does.

That change is what I have and continue to struggle with, and is the focal point for most of my work. Change in general, but more specifically, the change between childhood and the rest of one’s life. With themes surrounding the loss of main aspects like innocence, relationships, and simplicity- my work seeks to explore the meaning behind these losses and to document the process of moving on from them.

A Robin’s Nest – TRT 2:00 mins

My name is Keaton Fox. I am twenty years old. I am a video artist. A Robin’s Nest is Editor’s Pick on, has screened at the “Video Now” exhibition at the Everson Museum in Syracuse, NY, “Tendencies of Existence” exhibition (curated by Brittany Cardamone) at SEFF Binghamton in Binghamton, NY and is currently being broadcasted through O Art Television based in Paris, France.

Keaton Fox – Syracuse New York

Day 16 > Cynthia Greig

see video

Exploiting the camera’s monocular point of view, I draw with charcoal directly onto the surfaces of whitewashed objects and then photograph them to create hybrid images that merge drawn representation with actual objects as a way to examine the illusory nature of photographic truth and perceived reality. Using this same method with a digital camera, the video loop Still Life with Peaches animates a series of photographs taken over a 3-month span to create a fictional cycle of decay and regeneration, meditating on the nature of art and life, and the capacity of time and perception to both conceal and reveal.

Still Life with Peaches (from the Nature Morte series) – TRT 1:51 mins

Cynthia Greig’s work explores issues of identity and representation, and the unique power of the photographic image to persuade and negotiate what we believe to be real or true. She received her MFA from the University of Michigan in 1995, as well as an MA in art history with additional studies in filmmaking from the University of Iowa, and a BFA in printmaking from Washington University in St. Louis, MO. Her photographs and videos have been exhibited both nationally and abroad, and are held in the public collections of the Museum of Fine Arts Boston, George Eastman House, International Museum of Photography and Film, Light Work Collection, Museum of Fine Arts Houston, Museum of Contemporary Photography, Chicago, Samuel Dorsky Museum of Art, and Smith College Museum of Art among others.

Cynthia Greig – Detroit Michigan

Day 17 > Katrazyna Randall & Dawn Nye

This is a true story told from memory and visually investigated through the lens of one very far removed. Looking through the idyllic frame of the rural American landscape, the narrator leads tells the story of a culture where death is the mundane thread of daily existence and comfort food marks the limited boundaries of hope.
Throughout the centuries the landscape has been imbued with the hope, fear, honor, righteousness, delicacy, power and the faith of man. This video investigates that history through a contemporary lens and seeks to find a relationship between the romantic, the tragic and the everyday.

American Love Story: A Landscape in Sequence – TRT 10:34 mins

Katrazyna Randall and Dawn Nye have been making collaborative works since 2001. They have been in exhibits and festivals across the United States, most recently at Receiverfest in Charlotte North Carolina. They both currently live and work in Maine, U.S.A.

Ms. Randall has shown all over the United States, as well as in Micronesia. She is a combined media artist who uses traditional media as well as new media to explore her subjects. Her work is influenced by philosophy, social criticism, design, politics and the history of art.

Ms. Nye has worked as a graphic designer but has maintained a studio art practice for the last 20 years. In her work she is most concerned with telling stories of conflicting human desires, best intentions, beauty and futility. She uses humor, pathos and the history of image to connect to ideas that cannot be accurately described with words. She is influenced by graphic design, film, animation, music, literature and the history of art–but also by the people she meets, the neighborhoods she has lived in and the headlines she reads.

Katrazyna Randall & Dawn Nye – Temple Maine