BIO
Ed Osborn is a sound and media artist who has exhibited and performed worldwide. His artworks take many forms including installation, sculpture, radio, video, performance, and public projects. They demonstrate a visceral sense of space, aurality, and motion combined with a precise economy of materials. Ranging from rumbling fans and sounding train sets to squirming music boxes and delicate feedback networks, Osborn’s kinetic and audible pieces function as resonating systems that are by turns playful and oblique, engaging and enigmatic.
Osborn has performed and exhibited at ZKM (Karlsruhe, Germany), the singuhr-hörgalerie (Berlin, Germany), the Berkeley Art Museum (Berkeley, CA), Yerba Buena Center for the Arts (San Francisco), Artspace (Sydney, Australia), Sonambiente Festival (Berlin, Germany), the Museum of Applied Arts, (Helsinki, Finland), Galerie DARE-DARE (Montréal, Quebec), LACE (Los Angeles, CA), the MassMOCA (North Adams, MA), the Institute of Modern Art (Brisbane, Australia), the Auckland Art Gallery (Auckland, NZ), and the Sonic Arts Research Centre (Belfast, Northern Ireland). He has received grants and residencies from the Guggenheim Foundation, the Creative Work Fund, Arts International, and the DAAD Artists-in-Berlin Program,
He is represented by the Catharine Clark Gallery in San Francisco and is on faculty in the Department of Visual Art at Brown University.
Osborn has performed and exhibited at ZKM (Karlsruhe, Germany), the singuhr-hörgalerie (Berlin, Germany), the Berkeley Art Museum (Berkeley, CA), Yerba Buena Center for the Arts (San Francisco), Artspace (Sydney, Australia), Sonambiente Festival (Berlin, Germany), the Museum of Applied Arts, (Helsinki, Finland), Galerie DARE-DARE (Montréal, Quebec), LACE (Los Angeles, CA), the MassMOCA (North Adams, MA), the Institute of Modern Art (Brisbane, Australia), the Auckland Art Gallery (Auckland, NZ), and the Sonic Arts Research Centre (Belfast, Northern Ireland). He has received grants and residencies from the Guggenheim Foundation, the Creative Work Fund, Arts International, and the DAAD Artists-in-Berlin Program,
He is represented by the Catharine Clark Gallery in San Francisco and is on faculty in the Department of Visual Art at Brown University.
New Articles and Projects on Stretcher.org
Dear Rhizome Reader,
We want to tell you about the new articles and artist's projects we've posted on Stretcher.
A number of special pieces cover the International Society for the Electronic Arts (ISEA)/Zero One Festival, a major event in new media art hosted by the city of San Jose this past August. Stretcher provides overview and analysis of the event, comprising the first six of the links below. In addition, this issue includes a profile of Ryan McGinness, an essay on painting, a book review of "Connected, or What It Means to Live In the Network Society", and reviews of "Particulate Matter," "Paintings by David Ivan Clark," and of "David Ireland".
The Stretcher co-publishers chose favorite artworks from the ISEA/Zero One festival to bring to your attention, in FOCUS: ISEA/Zero One.
http://www.stretcher.org/archives/ep1_a/2006_10_11_ep1_archive.php
A web piece, "Palabras" by Sharon Daniel, is showcased as representative of the geographically and culturally far-reaching initiatives of the festival, as well as its collaborative spirit:
http://www.stretcher.org/archives/ap1_a/2006_10_12_ap1_archive.php
Ed Osborn provides a succinct overview of the first large- scale media arts festival presented by the city of San Jose, in ISEA/Zero One.
http://www.stretcher.org/archives/r1_a/2006_09_09_r1_archive.php
"Sure, play can be fun. But just because it‚s fun doesn't mean it‚s play. And, just because you track something on GPS, that doesn‚t make it play or fun for that matter." Christiane Robbins quotes Daniel Perlin on the IDC list in her incisive critique of the festival, Assessing ISEA 2006.
http://www.stretcher.org/archives/f1_a/2006_10_06_f1_archive.php
Reflecting on the Pacific Rim Summit meeting that preceded the Festival, Stephanie Ellis and Meredith Tromble identify key contradictions in the way "virtual reality" is construed.
http://www.stretcher.org/archives/e1_a/2006_09_22_e1_archive.php
The Exploratorium's "Invisible Dynamics" project, presented at ISEA, used new mapping technologies as reported by Meredith Tromble in Invisible Dynamics.
http://www.stretcher.org/archives/r2_a/2006_10_05_r2_archive.php
Meredith Tromble talks with Ryan McGinness, who says his work, "allows the human spirit to have the final say in the ordering of the universe", in Profile: Ryan McGinness.
http://www.stretcher.org/archives/e2_a/2006_10_19_e2_archive.php
Gloria Tanchelev considers politics, abstraction, and painting as an anomaoly, in On Painting.
http://www.stretcher.org/archives/r4_a/2006_10_08_r4_archive.php
Tromble also reviews Steven Shaviro‚s book, "Connected, or What it Means to Live in the Network Society", in BOOKS: Connected, making note of Shaviro‚s use of the structure of the web search and his references of intriguing novels & film that support his underlying thesis.
http://www.stretcher.org/archives/r5_a/2006_10_06_r5_archive.php
Greg Borman closely observes and quietly records the detail from which we can assess the work presented in Particulate Matter, at Mills College Art Museum.
http://www.stretcher.org/archives/r3_a/2006_10_01_r3_archive.php
Thomas Cuniff talks about aspects of romanticism and the landscape bordering on abstraction in David Ivan Clark, Paintings.
http://www.stretcher.org/archives/r7_a/2006_10_17_r7_archive.php
Borman also takes a perceptive and penetrating look at Ireland‚s history and the current show in David Ireland, a review of the current Gallery Paule Anglim show, ending November 4.
http://www.stretcher.org/archives/r6_a/2006_10_27_r6_archive.php
We look forward to reading your posts in response to these pieces, and to hearing from you with any suggestions or contributions to Stretcher.
Sincerely,
The Stretcher co-publishers,
Amy Berk
David Lawrence
Cheryl Meeker
Ed Osborn
Meredith Tromble
We want to tell you about the new articles and artist's projects we've posted on Stretcher.
A number of special pieces cover the International Society for the Electronic Arts (ISEA)/Zero One Festival, a major event in new media art hosted by the city of San Jose this past August. Stretcher provides overview and analysis of the event, comprising the first six of the links below. In addition, this issue includes a profile of Ryan McGinness, an essay on painting, a book review of "Connected, or What It Means to Live In the Network Society", and reviews of "Particulate Matter," "Paintings by David Ivan Clark," and of "David Ireland".
The Stretcher co-publishers chose favorite artworks from the ISEA/Zero One festival to bring to your attention, in FOCUS: ISEA/Zero One.
http://www.stretcher.org/archives/ep1_a/2006_10_11_ep1_archive.php
A web piece, "Palabras" by Sharon Daniel, is showcased as representative of the geographically and culturally far-reaching initiatives of the festival, as well as its collaborative spirit:
http://www.stretcher.org/archives/ap1_a/2006_10_12_ap1_archive.php
Ed Osborn provides a succinct overview of the first large- scale media arts festival presented by the city of San Jose, in ISEA/Zero One.
http://www.stretcher.org/archives/r1_a/2006_09_09_r1_archive.php
"Sure, play can be fun. But just because it‚s fun doesn't mean it‚s play. And, just because you track something on GPS, that doesn‚t make it play or fun for that matter." Christiane Robbins quotes Daniel Perlin on the IDC list in her incisive critique of the festival, Assessing ISEA 2006.
http://www.stretcher.org/archives/f1_a/2006_10_06_f1_archive.php
Reflecting on the Pacific Rim Summit meeting that preceded the Festival, Stephanie Ellis and Meredith Tromble identify key contradictions in the way "virtual reality" is construed.
http://www.stretcher.org/archives/e1_a/2006_09_22_e1_archive.php
The Exploratorium's "Invisible Dynamics" project, presented at ISEA, used new mapping technologies as reported by Meredith Tromble in Invisible Dynamics.
http://www.stretcher.org/archives/r2_a/2006_10_05_r2_archive.php
Meredith Tromble talks with Ryan McGinness, who says his work, "allows the human spirit to have the final say in the ordering of the universe", in Profile: Ryan McGinness.
http://www.stretcher.org/archives/e2_a/2006_10_19_e2_archive.php
Gloria Tanchelev considers politics, abstraction, and painting as an anomaoly, in On Painting.
http://www.stretcher.org/archives/r4_a/2006_10_08_r4_archive.php
Tromble also reviews Steven Shaviro‚s book, "Connected, or What it Means to Live in the Network Society", in BOOKS: Connected, making note of Shaviro‚s use of the structure of the web search and his references of intriguing novels & film that support his underlying thesis.
http://www.stretcher.org/archives/r5_a/2006_10_06_r5_archive.php
Greg Borman closely observes and quietly records the detail from which we can assess the work presented in Particulate Matter, at Mills College Art Museum.
http://www.stretcher.org/archives/r3_a/2006_10_01_r3_archive.php
Thomas Cuniff talks about aspects of romanticism and the landscape bordering on abstraction in David Ivan Clark, Paintings.
http://www.stretcher.org/archives/r7_a/2006_10_17_r7_archive.php
Borman also takes a perceptive and penetrating look at Ireland‚s history and the current show in David Ireland, a review of the current Gallery Paule Anglim show, ending November 4.
http://www.stretcher.org/archives/r6_a/2006_10_27_r6_archive.php
We look forward to reading your posts in response to these pieces, and to hearing from you with any suggestions or contributions to Stretcher.
Sincerely,
The Stretcher co-publishers,
Amy Berk
David Lawrence
Cheryl Meeker
Ed Osborn
Meredith Tromble
Digital Arts & New Media Festival, UC Santa Cruz, May 4-7
Dates:
Thu May 04, 2006 00:00 - Sun Apr 30, 2006
DIGITAL ARTS AND NEW MEDIA FESTIVAL
UNIVERSITY OF CALIFORNIA, SANTA CRUZ
May 4-7
UNIVERSITY OF CALIFORNIA, SANTA CRUZ
May 4-7
Harvester at ASU / AME
Harvester
Sound Installation by Ed Osborn
Computing Commons Gallery
Arizona State University, Tempe, AZ
February 3 - March 11, 2005
Lecture February 3, 3-4pm, Computing Commons Auditorium
Reception immediately following the lecture
Harvester is an installation that employs sound, kinetic elements,
and interactivity to create a shifting audio field from a system of
controlled feedback. These sounds are generated in real time and
filtered so that they become a set of evolving, resonant low and
mid-range tones that can be listened to for an extended period. The
piece consists of a set of microphones that are held at the ends of
slender, flexible support stands which are moved by electric motors.
The stands are distributed around the space so that visitors can walk
among them. As they move through the piece, visitors can affect its
behavior by their physical presence in the path of the sound. Both
the visitor input and its results occur in real physical space. It is
a form of interaction that is both complex and subtle, one that is
intuitively engaging and rewards extended interaction.
Images and more information:
http://www.roving.net/installations/harvester.html
Arts, Media and Engineering Program * Institute for Studies in the Arts
Arizona State University
http://ame.asu.edu/news/index.html
--
Ed Osborn
edo@roving.net
http://roving.net
Sound Installation by Ed Osborn
Computing Commons Gallery
Arizona State University, Tempe, AZ
February 3 - March 11, 2005
Lecture February 3, 3-4pm, Computing Commons Auditorium
Reception immediately following the lecture
Harvester is an installation that employs sound, kinetic elements,
and interactivity to create a shifting audio field from a system of
controlled feedback. These sounds are generated in real time and
filtered so that they become a set of evolving, resonant low and
mid-range tones that can be listened to for an extended period. The
piece consists of a set of microphones that are held at the ends of
slender, flexible support stands which are moved by electric motors.
The stands are distributed around the space so that visitors can walk
among them. As they move through the piece, visitors can affect its
behavior by their physical presence in the path of the sound. Both
the visitor input and its results occur in real physical space. It is
a form of interaction that is both complex and subtle, one that is
intuitively engaging and rewards extended interaction.
Images and more information:
http://www.roving.net/installations/harvester.html
Arts, Media and Engineering Program * Institute for Studies in the Arts
Arizona State University
http://ame.asu.edu/news/index.html
--
Ed Osborn
edo@roving.net
http://roving.net
Harvester at Interaccess
Harvester
Sound Installation by Ed Osborn
November 11 - December 11, 2004
Interaccess, Toronto
Harvester is an installation that employs sound, kinetic elements, and interactivity to create a shifting audio field from a system of controlled feedback. These sounds are generated in real time and filtered so that they become a set of evolving, resonant low and mid-range tones that can be listened to for an extended period. The piece consists of a set of microphones that are held at the ends of slender, flexible support stands which are moved by electric motors. The stands are distributed around the space so that visitors can walk among them. As they move through the piece, visitors can affect its behavior by their physical presence in the path of the sound. Both the visitor input and its results occur in real physical space. It is a form of interaction that is both complex and subtle, one that is intuitively engaging and rewards extended interaction.
Images and more information:
http://www.roving.net/installations/harvester.html
Interaccess
401 Richmond Street West, Suite 444
Toronto, Ontario M5V 3A8
Canada
t: 416.599.7206
f: 416.599.7015
http://www.interaccess.org
Sound Installation by Ed Osborn
November 11 - December 11, 2004
Interaccess, Toronto
Harvester is an installation that employs sound, kinetic elements, and interactivity to create a shifting audio field from a system of controlled feedback. These sounds are generated in real time and filtered so that they become a set of evolving, resonant low and mid-range tones that can be listened to for an extended period. The piece consists of a set of microphones that are held at the ends of slender, flexible support stands which are moved by electric motors. The stands are distributed around the space so that visitors can walk among them. As they move through the piece, visitors can affect its behavior by their physical presence in the path of the sound. Both the visitor input and its results occur in real physical space. It is a form of interaction that is both complex and subtle, one that is intuitively engaging and rewards extended interaction.
Images and more information:
http://www.roving.net/installations/harvester.html
Interaccess
401 Richmond Street West, Suite 444
Toronto, Ontario M5V 3A8
Canada
t: 416.599.7206
f: 416.599.7015
http://www.interaccess.org
Aerial Lines @ Galerie Haferkamp
Ed Osborn Aerial Lines - New Works in Sound and Video
Reception: 25. October, 7 pm
Exhibition: 26th October - 7th December 2002
Opening hours: Tu- Fr. 2- 7 pm, Sa. 12-3 pm
Exhibition:
Gallery Rachel Haferkamp presents a solo show of Ed Osborn. The show
title, "Aerial Lines." refers both to light movements of his kinetic
sound sculptures and to motions found in several of his video pieces.
His sounding artworks demonstrate a visceral sense of space,
aurality, and motion combined with a precise economy of materials.
Ranging from rumbling fans and sounding train sets to squirming music
boxes and delicate feedback networks, Osborn's kinetic and audible
pieces function as resonating systems that are by turns playful and
oblique, engaging and enigmatic. On view will be the kinetic sound
installations "Swing Set" and "Tall Poppies", and the video pieces
"Flyover", "Layover", and "Arena."
This exhibition presented In cooperation with
Reception: 25. October, 7 pm
Exhibition: 26th October - 7th December 2002
Opening hours: Tu- Fr. 2- 7 pm, Sa. 12-3 pm
Exhibition:
Gallery Rachel Haferkamp presents a solo show of Ed Osborn. The show
title, "Aerial Lines." refers both to light movements of his kinetic
sound sculptures and to motions found in several of his video pieces.
His sounding artworks demonstrate a visceral sense of space,
aurality, and motion combined with a precise economy of materials.
Ranging from rumbling fans and sounding train sets to squirming music
boxes and delicate feedback networks, Osborn's kinetic and audible
pieces function as resonating systems that are by turns playful and
oblique, engaging and enigmatic. On view will be the kinetic sound
installations "Swing Set" and "Tall Poppies", and the video pieces
"Flyover", "Layover", and "Arena."
This exhibition presented In cooperation with
