Lincoln Schatz
Since the beginning
Works in Chicago, Illinois United States of America

PORTFOLIO (7)
BIO
Since 2000, Lincoln Schatz has focused on the experience of place and the meanings produced by the collisions of nonlinear sections of time.

Through his custom software, Schatz selectively records and displays video images culled from specific environments to create generative portraits.

Most recently Schatz has created video works that collect, store and display more than eight years of video memory. From its start date, each piece collects video from its environment daily, amassing thin slices of video/time. On-screen those slices overlap and juxtapose with images from current time. Like the human mind, past and present events wash over one another resulting in new possibilities and impossibilities.

His latest project, CUBE, was featured as a special project at PULSE Miami 2007, concurrent with Art Basel Miami Beach. CUBE, a 10’ x 10’ translucent architectural structure, extends from the artist’s formal background as a sculptor and draws on his more recent practice in generative video. CUBE is designed with 24 video cameras mounted at varying heights within the structure. During a one-hour sitting, digital capture from each video camera is streamed to a computer that houses the artist’s specially designed software. The resulting portrait is compiled from thousands of randomly selected video files; these infinitely reconfiguring images are presented on a plasma screen powered by a computer. Through this process, 24 cameras generate a 24-hour rendering that extends beyond the historical notions of portraiture as a static image and creates a lasting record that is wholly dynamic in its ability to reconfigure images and reorder time.

Recent public art and commissions include:

• One Arts Plaza, Dallas, Texas. The Billingsley Company. Two large-scale video walls each retain a separate memory of the same place over time. From Here

• 600 Fairbanks, Chicago, Illinois. A portrait of the Helmut Jahn high-rise under construction. Video was collected from cameras mounted at various points on the tower crane and the adjacent building, and from a handheld video camera. Recording commenced while the construction site was still a surface parking lot and continued through the building’s completion. A preview of the 600 Fairbanks Project was shown at bitforms gallery nyc in January of 2007 and also featuring End of Boom, a single-channel video portrait captured from the camera at the end of the horizontal boom of the tower crane.

• Spertus Institute of Jewish Studies, Chicago, Illinois. Across Time: Two cameras, one records people as they enter the museum, the other records the construction of their recently completed museum, designed by Krueck and Sexton. Video is combined on screens in the lobby of the new museum.

• McCormick Place Convention Center, Chicago, Illinois. A three-display triptych at the entrance to the new McCormick Place West Expansion keep a record of visitors.

• Private residence, Lake George, New York: Architect Peter L. Gluck and Partners. Video from inside a new building will mix with video collected from multiple cameras around the property, merging the interior living space with the exterior’s natural surroundings.

Commissions for Qualcomm (San Diego, California) and Blackstone Hotel (Chicago, Illinois) are in progress.

Schatz has recently exhibited at Sundance Film Festival (January 2007), Palo Alto Art Center, Palo Alto, California (September-December 2007), the inaugural exhibition at Catharine Clark Gallery’s new location, San Francisco, California (June-July 2007), a solo show at bitforms gallery nyc (January-February 2007) and bitforms Seoul, Korea (June-July 2007), the annual Digital Transitions group show at Gallery Simon, Seoul, Korea (May 2007), and a group show at Quint Contemporary Art, La Jolla, California (November 2006), Museum of Contemporary Art, San Diego (Spring 2006). Schatz’s work was also shown at PULSE Miami, NYC, and London and at ARCO Madrid this season..

His work has been featured in many international publications, including: Art & Auction, El Pais, Washington Post, Surface Magazine, The San Francisco Chronicle, San Jose Mercury News, Crain's Chicago, Crain's New York, WIRED; and is held in numerous public and private collections, including: Cafritz Collection, Washington DC; Fundación Privada Sorigué, Lleida, Spain; Runnnymede Sculpture Farm, Woodside, California; Pearl Lam, Hong Kong; Ernesto Ventos Omedes, Barcelona, Spain; Fidelity Investment, Boston, Massachusetts; and W Hotel, Seoul, Korea. Lincoln Schatz received his BA from Bennington College in 1986 and was the recipient of a CORE fellowship to the Glassell School of Art at the Museum of Fine Arts in Houston. He lives and works in Chicago.