Lindsay Howard
Works in Brooklyn, New York United States of America

Artist Profile: Heather Phillipson

The latest in a series of interviews with artists who have a significant body of work that makes use of or responds to network culture and digital technologies.

Heather Phillipson, immediately and for a short time balloons weapons too-tight clothing worries of all kinds (2014). Image courtesy the artist and Bunker259.

When I saw your recent solo exhibition, immediately and for a short time balloons weapons too-tight clothing worries of all kinds, at Bunker259, I curled up in an inflatable birthing pool to watch a video suspended from an engine hoist. The video depicted a series of domestic, public, and online spaces, with a voiceover from you. At one point, you leaned over the camera and appeared to give me a facial. I broke down in laughter because it suddenly became clear that I had become a participant. When you show Zero-Point Garbage Matte, you use a similar strategy: the viewer climbs up a ladder and looks down on the monitor to view the video, a position that is reflected in its content. Which idea comes first, the video or the physical participation of the viewer?

The video usually precedes its final sculptural form, but not always. With the video suite I'm working on at the moment, for example, I have a really clear idea of what will be going on around it. Regardless, I produce multiple "versions" of each installation, so the video ends up inhabiting quite different physical structures at different times. It's like a built-in contrariness mechanism—the capacity to change the context, and therefore the work, and my mind. But, in general, the one constant is how the viewer is con/figured in relation to the video. So, with immediately and for a short time balloons weapons too-tight clothing worries of all kinds, as you mention, the viewer is recumbent with the video overhead. The video deploys regular POV shots alongside dispassionate observations, and mixes interior monologue with direct address, so there are these shifting perspectives. You're the eye/I of the camera, or its eye is turned on you…positions get conflated. For me, the physical relationship between body and screen is crucial to this formulation, although the rationale might only be revealed sporadically. It's a bastardised literary device, that semblance of inhabitation and activation—one minute you're in first person then second person or third person, then slapped back into first.

Artist Profile: Michael Manning

Animated GIF via

LH: For as long as I've been familiar with your work—starting on in 2010—you've been incredibly prolific. Back then, you were creating and sharing abstract animated GIFs. I remember you would post hundreds of variations on a single shape. I see that kind of preoccupation, or obsession, come up again and again in your work, with the Phone Arts series, the Microsoft Store Paintings, and most recently, the Sheryl Crow Pandora Paintings. These expansive projects create a sense of repetition, ultimately a smooth rhythm, which appears to be so continuous as to not have a beginning or an end. Can you describe the process for coming up with these projects? How do you distinguish the individual pieces?

MM: I don't like to take any single piece too seriously, I want to work on something without the pressure of it being perfect. I think people discount producing a lot of work because they connect it to feed culture like it's more important to produce massive amounts of content for tumblr or instagram or w/e but that's not really what I'm trying to do. I think it's more interesting to like shit out a bunch of work in a natural way whether it's through a rhythm that you just stumble upon or if you see a jpeg on dump and you're like "loloolllollll pssssssh what in the even fuck ommmmmg" so you have to like rework it 50 times because you're obsessed with it, and then step back after you make this massive body of work and say to yourself "what is all that about dude?", than if you try and distill an idea into one perfect piece you've over thought to death. When you try and make a piece fit a preconceived concept it feels like graphic design, you have the message and the content you're just trying to solve how to effectively communicate that through the work and I don't want to work like that.

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319 Scholes presents Not Spring Not Winter

Sat Mar 05, 2011 13:00 - Sun Feb 06, 2011

Brooklyn, New York
United States of America

As part of SITE Fest 2011 [], 319 Scholes is pleased to present Not Spring Not Winter, an annual exhibition of installation + performance by emerging artists from the Interactive Telecommunications Program (ITP) of NYU’s Tisch School of the Arts. ⁔,,. ‿◞⁀ )
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ITP is a community of technologists, theorists, engineers, designers and artists uniquely dedicated to pushing the boundaries of interactivity through experimentation. Not Spring Not Winter highlights the convergence of new media technologies with other disciplines through a selection of student work. The installations and performances range from intimate interactions, to new methods of musical expression.
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Installations and interactive work by Andrea Wolf, Igal Nassima, Matt Ganucheau, Marko Manriquez, Sofy Yuditskya, Toby Schachman, Matt Swenson, Patrick Proctor, and Luis Violante. 
Live performances by Michelle Temple, Aiwen Wang-Huddleston, Ted Hayes, Mike Cohen, Eric Mika, Joshua Clayton, Andy Jordan, and Sofy Yuditskya.
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▁▆▇Curated by Nahana Schelling & Igal Nassima▇▆▁
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Live performances:
March 5, 7pm-11:00pm
Gallery hours:
March 5, 1:00pm-12:00am
March 6, 1:00pm-07:00pm
For more information/press images, contact


Call for proposals from artists and curators: 2011-2012

Tue Mar 01, 2011 00:00

Brooklyn, New York
United States of America

319 Scholes is currently accepting proposals from artists and curators for group exhibitions scheduled for November 2011 onward.  319 Scholes is a 3,000 sq. ft renovated warehouse located in the heart of Bushwick, Brooklyn.  The space is two floors and three rooms, one with a skylight.  Please submit a brief concept (no more than 300 words) outlining the proposed exhibition or event.  Optional: CV, artist list with links.
We are particularly interested in proposals that uniquely engage technology and consider these topics/mediums:  human and computer interaction, sound, new media and internet art, dance, education, workshops, site-specific and community-based projects.  
Please review our website to get an idea of previous shows, and view our Facebook page for additional images of the space.  
Deadline:  March 1st
Notification by March 15th
Applications can be sent to



Fri Oct 22, 2010 00:00 - Fri Oct 08, 2010

United States of America

Curated by Lindsay Howard

319 Scholes Street
Brooklyn, NY 11206

October 22-October 30, 2010 is an image-based chat room for real-time communication. Founded in November 2009 by Ryder Ripps in collaboration with Scott Ostler (of MIT Exhibit) and Tim Baker (of Delicious), serves as a platform for artists who use its technology to foster community and creativity. IRL brings together users from all over the world (many of whom will be meeting "In Real Life" for the first time) to offer an alternative to the traditional 1:1 experience by translating the liveness of into a visual confectionery through collaborative participation in the physical realm. Look for caves animated by psychedelic GIFs, web-based performances with interactive webcams, architectural renderings of virtual property, and audio-visual recompositions that return images to the social networks and digital systems from which they emerge.

October 22, 7:00pm-1:00am

Participating artists include: Francoise Gamma, Jeanette Hayes, Felix Lee, Tom Moody, Stefan Moore, Scott Ostler, Arran Ridley, Ryder Ripps, Erik Stinson, Duncan Alexander, Michael Francis, Agathe de Trémontels, Sterling Crispin, Justin Strawhand, Tim Baker, Joel Cook, Lucy Chinen, Jude MC, Andrej Ujhazy, Dylan Fisher, Jamie Rockaway and Matt Torti, Jeana Tung, Chris Shier


October 23 - October 28, public hours: 1:00-8:00pm

The residency aims to highlight and support the sense of community and group discovery already present on the site. The public is welcome to attend from 1:00pm-8:00pm to check out the group exhibition and works in progress, cruise the net and post live with users directly to the fullscreen. All projects will be documented and presented the following week on



October 30, 10:00pm-??? [$15]

Halloween parties in Mexico City and Brooklyn will be connected through

Visuals by Thunderhorse // Performances by Anamanaguchi, Nullsleep, Gatekeeper, Brenmar, Physical Therapy, Jon Lynn (Unsolved Mysteries), Laurel Halo, Magick Mountain, DJ Brother Ladypantz, Oscouro, Flash Porno


319 Scholes is a new media gallery and event space located off the Montrose L in Bushwick, Brooklyn. The gallery is open to the public every day from 1:00pm-8:00pm.