Lindsay Howard
lindsayahoward@gmail.com
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 dump.fm

LH: For as long as I've been familiar with your work—starting on dump.fm 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.



Discussions (3) Opportunities (3) Events (12) Jobs (0)
DISCUSSION

Klaus Gallery Builds a "New Wall" for Online Art


I was also impressed by the way Malashock's selling the work, particularly with the history he provides of "Public Online Ownership".  It must be reassuring for collectors to be working with someone so knowledgeable.  I'm interested to see the solutions they come up with as new exhibitions are revealed.

EVENT

Ecologías Correlativas curated by chimera+


Dates:
Thu Oct 13, 2011 17:00 - Thu Oct 27, 2011

Location:
Brooklyn, New York
United States of America

In "The Three Ecologies," Félix Guattari proposes strategies for an eco-logic and ethico-aesthetic. In grammar, 'correlative' implies a (non-adjacent) reciprocal or complimentary relationship. Affixing the two, Ecologías Correlativas presents projects and research from a trans-disciplinary group of artists, architects and scientists navigating interrelated environmental/socio-political ecologies. Many of the participants privilege an open source ethos and think tank mentality, effectively democratizing prototypes and distribution models. From harvesting energy to mobilizing individuals, the works on display ask us to reconsider the roles of technology and subjectivity in what is broadly referred to as 'ecological'.
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Participating artists include: Dan Baker, b.a.n.g. lab, Ecosistema Urbano, Fluxxlab, Living Environments Lab, Ricardo Miranda Zúñiga, N55, Miguel Soares, Dr. Manos Tentzeris, Terreform ONE texts by Ignacio Nieto & Avinash Rajagopalimage
chimera+ is a curatorial initiative preoccupied with constructing a politics of the present.image
October 13 – October 27, 2011
Opening on Thursday October 13, 7:00PM – 10:00PM
Gallery Hours: Thursday – Saturday, 2:00pm - 6:00pm, and by appointmentimageimage

For more information and image requests, please contact info@319scholes.org.


EVENT

Wallpapers by Nicolas Sassoon and Sara Ludy


Dates:
Thu Jul 14, 2011 16:00 - Fri Jul 15, 2011

Location:
Brooklyn, New York
United States of America

319 SCHOLES is pleased to present the premiere of Wallpapers, an immersive, 3,000 sq ft installation designed by new media artists, Nicolas Sassoon and Sara Ludy. Throughout the past year, these two artists have explored the concept of domestic space as a definition of identity and representation through online collaborations and projects. WALLPAPERS will mark the artists’ physical debut of these ideas, with an installation that spans the walls of 319 Scholes.
ON VIEW FOR ONE NIGHT ONLY //// WITH LIVE PERFORMANCES BY
X2SIH (WATER BORDERS) DJ SET WWW.SOUNDCLOUD.COM/WATER-B​ORDERS
PHYSICAL THERAPY WWW.SHENEEDSTHERAPY.NET
MIRROR MIRROR WWW.MYSPACE.COM/MIRRORMIRR​ORNYC
NULLSLEEP WWW.NULLSLEEP.COM
LAUREL HALO WWW.LAURELHALO.COM

LIVE VJ: Alejandro Miguel Justino Crawford
_/”7_/”7_/”7_/”7_/”7_/”7_/​”7_/”7_/”7_/”7_/”7_/”7_/”7​_/”7_/”7_/”7_
THURSDAY JULY 14TH – OPEN RECEPTION FROM 6:00PM – 8:00PM
BANDS BEGIN AT 9:00PM; $10 COVER AFTER 8:00PM
RSVP ON FACEBOOK
Curated by Lindsay Howard and Katie Miller
_/”7_/”7_/”7_/”7_/”7_/”7_/​”7_/”7_/”7_/”7_/”7_/”7_/”7​_/”7_/”7_/”7_
Artist Bios:
Nicolas Sassoon is a Vancouver-based artist and member of the online art collective Computers Club. Nicolas publishes a lot of his work online through the format of animated gifs and collaborates with architects, artists, electronic music producers and fashion designers. His work has been exhibited in various international venues and events such as the Miami Art Fair, the Tokyo Art Fair, Today Art Museum in Beijing, The Charles H.Scott Gallery in Vancouver, TINBOX Contemporary Art Gallery in Bordeaux, the Berlin Fashion Week, and MU Eindhoven. The work of Nicolas Sassoon revolves around the relationship between computer technology and the representations of landscape, architecture and domestic environment.
Link: www.youmakemesohappy.blogspot.com
Sara Ludy holds a BFA in New Media from School of the Art Institute of Chicago. Her work has been widely exhibited in the US and internationally. Recent exhibitions include: Action! International Film Club – Dazed Live Festival, London and a video screening/exhibition, and via Rhizome at the Armory Show in New York. She is a member of Tremblexy, an experimental audio/video collaboration with Austin Meredith that creates immersive, sensory experiences through the use of collage, electronic manipulation, repetition and projections. As a VJ, she has collaborated with many of the most interesting musicians as Daedelus, Damian Lazarus, Etienne de Crecy, Hercules + Love Affair, James Zabiela, LA Riots, Moby, Mr. Oizo, Timo Maas, Vitalic, Wolfganag Gartner and many more.
Link: www.saraludy.com
For more information and image requests, please contact lindsay@319scholes.org


DISCUSSION

DISCUSSION