Christina McPhee
Since the beginning
Works in United States of America

PORTFOLIO (5)
BIO
Christina McPhee http://christinamcphee.net
Discussions (160) Opportunities (2) Events (30) Jobs (0)
DISCUSSION

Opening tomorrow evening in Chelsea


Hi Rhizomers in NY,

I would love to meet you at the opening of some of my large scale digital chromogenic prints on the California seismic landscapes.
The show is a three person show with digitally generative photographic work, together with Lucien Samaha and Ben Graham----
"Persona-Personae"

The opening is tomorrow, Thursday, Jan 19, at Sara Tecchia, 529 West 20th Street, 2nd floor.

http://www.saratecchia.com/

The gallery is opposite Bitforms who are also having an opening at the same time for Manfred Mohr.

Please do come and say hi and enjoy the party.

all the best,

Christina

gallery details here:

OR IMMEDIATE RELEASE:

Exhibition:
PERSONA-PERSONAE:
Ben E Graham, Christina McPhee, Lucien Samaha
Dates:
January 19th -- February 26th, 2006

Reception:
Thursday, January 19th, 2006, 6 to 8pm

Sara Tecchia Roma New York is proud to present PERSONA-PERSONAE, a group show of new work exploring different pathways into both psychological portraiture and the photographic medium.

BEN E GRAHAM's series, People At The Start Of The New Century, seeks to "pull people from their own egos and surroundings back to their neglected being." Using inversed photography and hyper-stylized electronic drawings, Graham captures "not so much vulnerabilities, but the essential connection that humans feel for one another when they feel safe." Most of his portraits portray women who have broken his heart.

Media artist CHRISTINA MCPHEE presents large-scale images from her acclaimed Carrizo-Parkfield Diaries, a meditation on seismic memory along the San Andreas Fault in California. Most visible in the high desert of Carrizo Plain northwest of Los Angeles, the fault cuts through a terrain of abandoned ranch sites and salt marshes; to the northwest at Parkfield, a recent 6.0 quake has produced a wealth of online seismic data. McPhee documents a psychogeographic trace through this seismic landscape, combining photography, video, performance and drawing together with data visualizations. Her architecturally scaled images are a "vertical cinema", layers of time-image, that point to the perpetual risk of our existence--think tsunami, think Katrina--and the cultural amnesia of this state necessary to continue. She recalls Persephone--the goddess who disappears into the ground--as if to suggest a cybernetic link between site, memory and disaster.

This is the first time that a group of digital chromogenic prints from the Diaries will be seen in New York City. A related net artwork, using near-live ground motion data, is archived at Whitney Museum of American Art Artport. Videos from the Diaries project have shown internationally in 2005, in Italy, Sweden, Brazil and California.

Award-winning photographer LUCIEN SAMAHA also presents a new series, From Above, approaching the portrait from quite literally a new angle. Using photos taken from a balcony in Venice, Samaha lifts his subjects from their settings, floating them in a white void free of distraction. He has also recreated his Italian balcony to present an experience pregnant with an angelic voyeurism.

Samaha is also showing a selection of As Promised..., his ongoing e-mail archive project. With well over 4000 entries to date, Samaha records everyday and extraordinary people stating their e-mail addresses. The result is a series of intimate portraits as well as a clever play on the perfect mailing list. The first time shown in the United States, this project originally secured Samaha a nomination for last year's Nam June Paik Award in Germany.

Contemporary to PERSONA-PERSONAE is Good is What Pleases at Frankfurt's Museum Modern Art. Here Samaha's work will be shown alongside that of Wolfgang Tillmans and Hans-Peter Feldman. The show runs from January 15th to February 15th 2006.

SARA TECCHIA ROMA NEW YORK is located at 529 West 20th Street, between Tenth Avenue and Eleventh Avenue. The gallery is on the second floor. Hours are Tuesday through Saturday, 10am to 6pm. For more information, contact 212-741-2900, or visit www.saratecchia.com.

<http://christinamcphee.net>
<http://naxsmash.net>

DISCUSSION

Re: Re: www.pulp.href - +(a)(b)(c)(d)(e)(f) - #########0||E


wow, it's beautiful.

On Jan 9, 2006, at 4:20 PM, M. River wrote:

> jimpunk wrote:
>> http://www.jimpunk.com/www.pulp.href/
>
> Nice. Very very nice. Thx.
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/
> subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/
> 29.php

DISCUSSION

Re: -empyre- in jan06: Computational Poetics


or, that it was really the stone in the soup

http://spanky.triumf.ca/www/fractint/stone_soup.html

cm
On Jan 1, 2006, at 6:05 PM, Dirk Vekemans wrote:

> I think komninos meant to say he put the soup through a sieve, started
> counting the vegetables, lost his count at carrot nr 8 or so and
> now he
> wants us to put the whole thing back in the kettle and start
> cooking again.
> From his references i gather he's about to reverse engineer the
> process and
> do away with the need for soup altogether, claiming the count doesn't
> matter, the big secret was in the water all the time along.
> dv
>
>> -----Oorspronkelijk bericht-----
>> Van: owner-list@rhizome.org [mailto:owner-list@rhizome.org]
>> Namens Rob Myers
>> Verzonden: maandag 2 januari 2006 0:34
>> Aan: Rhizome Raw list
>> Onderwerp: Re: RHIZOME_RAW: -empyre- in jan06: Computational Poetics
>>
>> On 1 Jan 2006, at 23:23, Komninos Zervos wrote:
>>
>>> a few terms requiring further definition
>>
>> I'm sorry, I didn't understand a word of that sentence.
>>
>> - Rob.
>> +
>> -> post: list@rhizome.org
>> -> questions: info@rhizome.org
>> -> subscribe/unsubscribe:
>> http://rhizome.org/preferences/subscribe.rhiz
>> -> give: http://rhizome.org/support
>> +
>> Subscribers to Rhizome are subject to the terms set out in
>> the Membership Agreement available online at
>> http://rhizome.org/info/29.php
>>
>
>
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/
> subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/
> 29.php

EVENT

November on -empyre- soft-skinned space : Whispering in the Dark


Dates:
Wed Nov 02, 2005 00:00 - Tue Nov 01, 2005

November on -empyre-: Whispering in the Dark with the collective
Journal of Aesthetics and Protest (US)

Whispering in the Dark,

-- conspiratorial incantations. Theory making sense of the place
you


DISCUSSION

Re: postmoooooooodernist romanticism


It's a pretty straightforward thing in my world. If I were to hire a
programmer (which I haven't done so far, actually) that person
(paid) will get a credit on the release as a contributing assistant
designer and will not be listed as an author. If the programmer
feels like it, and I feel like it, and we agree to work with me
collaboratively, then it's for no pay all around, and it's a
relationship between peers/ equal: in this instance, it follows that
the programmer gets listed as a collaborative artist just like
everybody else in the collaboration. For example, the live seismic
data project <http://carrizoparkfielddiaries.net> is conceptually
originated by me, and is part of my larger multimedia offline project
CarrizoParkfield Diaries: nevertheless, all three of us --- fiction
and new media writer Jeremy Hight and linguist/ programmer Sindee
Nakatani -- developed the design program and addressed the conceptual
problems and functional solutions of this live data online project;
thus Sindee and Jeremy are listed as collaborators with me here, and
on the Whitney site, see <http://artport.whitney.org/gatepages/
artists/mcphee/>

I think it's important to acknowledge publicly, that in a
collaboration, everybody contributes in a shared design problem and
solution, and shares in the risks as well as the satisfaction of
achievement. On the other hand, if a programmer hires an artist, or
an artist hires a programmer, then the relationship is unequal
because of the introduction of hierarchy and power through capital.
The person who is getting the grants and paying the bills gets to
decide what the attributions will be. The nice thing for the person
being hired is they get paid and they don't have to deal with the
risks associated with production (financial and otherwise).
Sometimes that can be worth the trouble, and besides, even if you're
paid, you do get listed in the credits as an assistant. That's not
so bad if the project is cool.

It seems kinda sad to be fighting over validation regarding who or in
what way does programming happen and who does whatever else it is
that artists do otherwise --- work with sound, work with visuality,
work with time -- aren't we all in this together? There's no line
between code and art... is, for example, Casey Reas not a visual
artist and only a software artist, or can we dispense with these
absurd distinctions?
LIke most realities, it's a mix like everything to do with layers of
language. In an era when international leadership attempts to
control language so that dissent is muffiled or otherwise
commodified, it is incumbent upon those of us in communication arts
to hang with one another instead of against. The imperative here is,
in a time that requires resistance against monotony and anodynes, to
deal with the practical realities of how are you going to create new
work -- work that matters to somebody besides yourself.

Christina

On Sep 20, 2005, at 6:40 PM, Komninos os wrote:

>
> eduardo kac employed biotechnicians to breed a transgenic glowing
> bunny(in
> the dark under uv light), but claims it as his art.
>
> i know many new media artists who use programmers but don't credit
> them as
> authors.
>
> i suppose it is the difference between collaboration and a model
> akin to
> director of a movie.
>
> komninos
>
> komninos zervos
> lecturer, CyberStudies major
> School of Arts
> Griffith University
> Room 3.25 Multimedia Building G23
> Gold Coast Campus
> Parkwood
> PMB 50 Gold Coast Mail Centre
> Queensland 9726
> Australia
> Phone 07 5552 8872 Fax 07 5552 8141
> http://www.gu.edu.au/ppages/k_zervos
> http://users.bigpond.net.au/mangolegs
> http://spokenword.blog-city.com
> "Our Workplace Rights are NOT for sale."
>
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/
> subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/
> 29.php
>