Faith Holland
Since 2009
Works in New York, New York United States of America

Faith Holland is an artist and curator living between Providence and New York. She is currently working on gender and sexuality’s relationship to the Internet through videos, GIFs, web-based projects and a few IRL objects. Her work has been exhibited at Xpo Gallery (Paris), Art in Odd Places festival (New York), Elga Wimmer (New York), Axiom Gallery (Boston), the Philips Collection (Washington, D.C.), and File Festival (São Paulo). Her work can be seen here:
Discussions (0) Opportunities (2) Events (2) Jobs (0)

Magic Lantern Presents: TECHNOLUST

Thu Feb 13, 2014 19:00 - Thu Feb 13, 2014

Providence, Rhode Island
United States of America

Magic Lantern Presents:

Curated by Faith Holland
February 13th, 2013
7 PM
Cable Car Cinema & Café
Providence, RI

Technolust is not whispering sweet nothings to your OS all night. Technolust is the stir in your body when you run your fingers along a perfectly smooth metal curve. Technolust is the sensation of softly tapping rounded plastic buttons with your fingers. Technolust is battery-powered pleasure. Technolust is the thrill of viewing beautiful sets of pixels. Come with your laptop, smart phone, personal device, thumbdrive, or significant other to a special program of technoeroticism this Valentine’s Day Eve.


FEATURING: If I Had a Hammer from Real Video Trilogy by Bobby Abate, Kustom Kar Kommandos by Kenneth Anger, Soc Net Vogue by LaTurbo Avedon, (If I can sing a song of) Ligatures by Abigail Child, Lift Off by Martha Colburn, Oh Sussana by Dafna Ganani, No No Nooky TV by Barbara Hammer, Light Petting and Heavy Petting by Faith Holland, Big Mouthed Sissy by Georges Jacotey, Take Off by Susan Mogul, Still Life (Betamale) by Jon Rafman, Afternoon Delight, Dreaming of Machines, and Queering Pluto from Laborers of Love by Stephanie Rothenberg and Jeff Crouse, Filmography by Matthew Underwood, Webcam Venus by Addie Wagenknecht and Pablo Garcia

If I Had a Hammer from Real Video Trilogy by Bobby Abate, 2001, DVD, color and b&w, sound, 11 minutes
The breakdown of identity, communication, and human relationships via the internet. An electronic reality of porn, beer, sex, cash, and drugs. Crafted from softly pixilated QuickTime, NetMeeting sessions, emotive vintage pop, airplane disaster footage, online porn, streaming Hollywood trailers, and the curious hypnotic qualities of taping off computer monitors, Bobby Abate's internet-sex-n-death thrillogy explores new anxieties made possible by technology, and the profoundly intimate places that tiny images and lonely piano chords burrow deep within the soul. Real Videos is like a tender and tumultuous visual virus, created to infect a world where humans live through movies, die through malfunctions and, in between, email their love. – Ed Halter, The New York Underground Film Festival 2001

Kustom Kar Kommandos by Kenneth Anger, 1965, 16mm, color, sound, 3:30 minutes
To the soundtrack of "Dream Lover" a young man strokes his customized car with a powder puff. – Canyon Cinema

Soc Net Vogue by LaTurbo Avedon, 2012, digital video, color, sound, 5:23 minutes
LaTurbo Avedon is an avatar with an art practice who also likes to party. In Soc Net Vogue, she imaginatively occupies her social media environment by seductively dancing in a 3D-rendered Facebook club to Madonna’s “Vogue.”

(If I can sing a song of) Ligatures by Abigail Child, 2009, DVD, b&w, sound, 5:22 minutes
Third in my series of Foreign Films exploring relations of text and image, how text turns the image. In (If I Can Sing A Song About) Ligatures, words taken from lines of Nada Gordon's unrequited love poems, whose sentences are taken, in their turn, from anonymous web poems, reveal a history of sexuality. Ligatures pronounces the poignancy of desire; its power and its vulnerability. The women are visions, girls, desirous, delicate, illusory. The illusionary nature is made manifest-transversing boundries, expectations and physical limits-by the close. We in the audience, creating our own identities in the moments, remain trans-fixed. – AC

Lift Off by Martha Colburn, 1998, 16mm, color, sound, 3 minutes
An interstellar Sex Capade of Astro-Porno-O-Naughts strobing and sucking through the Outer Limits. Nasty NASA Nymphets float through the Galaxies ... insinuating rocket blow jobs and releasing their Planetary Pleasures, ending in the dispersion of a capsule/parachute. Originally a double-projection of 16mm color space footage and animated, hand-colored collage animation Super 8. With an incredibly Spaced-Out-Dementia-Dirty-Tech soundtrack by Jad Fair and Jason Willett. Man's desire to fornicate with the entire Universe is finally fully realized. "Her orgiastic collages of found footage and animation pirate the images from the unceasing onslaught of our mass media era and turn them inside out, revealing the perversity we all expect is there." – The Austin Chronicle

Oh Sussana by Dafna Ganani, 2013, digital video, color, sound, 3:02 minutes
A domestic dance performance in the bedroom: a woman dances to the confederate song of "Oh Sussana," as digital animations cover her image, her residence alters around her through affect and alterations in spatial continuity. – DG

No No Nooky TV by Barbara Hammer, 1987, 16mm, color, sound, 17 minutes
NO NO NOOKY TV posits sexuality to be a social construct in a "sex-text" of satiric graphic representation of "dirty pictures." Made on an Amiga Computer and shot in 16mm film, NO NO NOOKY TV confronts the feminist controversy around sexuality with electronic language, pixels and interface. Even the monitor is eroticized in this film/video hybrid that points fun at romance, sexuality, and love in our post-industrial age. – Film-maker’s Coop

Light Petting and Heavy Petting by Faith Holland, 2013, digital video, color, sound, 3:13 minutes
Light Petting and Heavy Petting are a video couplet about our bodily relation to images we see on the screen. The videos suggest a different relationship to the virtual image, one that is both affective and physical. Heavy Petting, in particular, complicates the viewer’s relationship to pornographic images in multiple ways. There is an appropriation of heterosexual male-targeted porn for a female audience and rather than identify with the penis, the viewer relates with the woman’s actions. But this identification is incomplete and instead a triadic relationship is formed between the couple on screen and the viewer in meatspace.

Big Mouthed Sissy by Georges Jacotey, 2013, digital video, color, sound, 3:49 minutes
In this video, George Jacotey performs for a webcam by opening his mouth in different places in front of the static camera. Each pose his mouth strikes suggests a different sexual scenario. His lips are digitally traced in fire, conflating pleasure and danger.

Take Off by Susan Mogul, 1974, DVD, b&w, sound, 10:30 minutes
"I made Take Off in my studio apartment on Myra Avenue during my second year living in Los Angeles. As a member of the Feminist Studio Workshop, I was writing an essay at the time comparing male artists’ representations of their sexuality with female artists’. Vito Acconci was my model for a male perspective. I had been captivated by his videotapes; particularly Undertone, where he was supposed to be masturbating while seated at a table. The videotape was my ultimate response and commentary on Acconci as well as an expression of my own sexuality." —SM

Still Life (Betamale) by Jon Rafman, 2013, digital video, color, sound, 4:55 minutes
Made as a music video for Oneohtrix Point Never, Still Life (Betamale) remixes found imagery of basement computers, anime, furries, and more to explore the Internet’s deepest, darkest sexual desires.

Afternoon Delight, Dreaming of Machines, and Queering Pluto from Laborers of Love/LOL by Stephanie Rothenberg and Jeff Crouse, 2013, digital video, color, sound, 6:02 minutes
Laborers of Love/LOL is a crowdsourcing project that explores how sexuality and desire are mediated through new technologies, specifically new models of global, outsourced labor. The project takes the form of an Internet service that uses anonymous online workers to create “customers” video fantasies. Utilizing Mechanical Turk, an online job engine created by (, LOL leverages a global online workforce of workers that are not specific to the sex industry but rather a diverse group of home/computer based workers. In an assembly-line fashion, Mechanical Turk workers collect images and video related to the fantasy from a variety of websites. A real time data visualization is then presented on the website consisting of worker locations (Waco, Texas; Bangalore, India; etc) and IP addresses of the mined content (images and video). This visualization maps the process and “production” of the video fantasy. The final product is a short video mashup, more funny than sexy, where 1970’s experimental cinema meets canned Photoshop filters, and ultimately reflects on how desire and pleasure are represented, fragmented and abstracted through the consumption of online digital media. – SR & JC

Filmography by Matthew Underwood, 2013, digital video, color, sound, 7:53 minutes
I was asked to contribute to Ivan Lozano’s inaugural issue of Image File Press, dealing with the suicide of porn actor Arpad Miklos. ‘Filmography’ is a textual and spatial study utilizing strategies of appropriation. – MU

Webcam Venus by Addie Wagenknecht and Pablo Garcia, 2013, digital video, color, sound,
In Webcam Venus, we asked online sexcam performers to replicate iconic works of art. This piece is an experimental homage to both fine art and the lowbrow internet phenomenon of cams. Sexcams use webcams and chat interfaces to connect amateur adult performers with an audience. Users log on to see men, women, transsexuals, couples and groups broadcast their bodies and sexuality live for the public, often performing for money. To create this experiment in high and low brow media, we assumed anonymous handles and spent a few hours each day for a month asking performers: “Would you like to pose for me?” – AW & PG


From the Cloud: Video in Cyberspace Screening for Magic Lantern

Wed Mar 13, 2013 09:30 - Wed Mar 13, 2013

Providence, Rhode Island
United States of America

March 13th, 2013 at 9:30 PM
Cable Car Cinema & Café, Providence, RI

FEATURING: Kari Altmann, Cory Arcangel, Hilary Basing, John Michael Boling, Jennifer Chan, Jacob Ciocci, Jesse Darling, Feminist Frequency/Anita Sarkeesian, Mike Goldby, Faith Holland, Daniel Johnson, Franco and Eva Mattes, Jillian Mayer and Lucas Leyva, Lorna Mills and Yoshi Sodeoka, Gracie Nesin, and Hennesy Youngman

Curated by Faith Holland

In February 2005, YouTube was launched and forever changed our relationship to moving images, both as viewers and producers. But even well before then, the web had made a large variety of new materials accessible to see and to download, as well as upload. “From the Cloud” is a video program that looks at found footage "films" in the Internet Age. The proliferation of archived photographs, digital images, and videos made available to everyone online as well as an exponential increase in production has changed the way artists interact with pre-existing material. The artists in this program both pull material from the cloud and implicitly comment on the cloud by doing so.

“Black Hole (Mutant Sequence),” Kari Altmann, 2009-ongoing, digital video, color, silent, 54 sec.
“Cultivation (Mutant Sequence),” Kari Altmann, 2010-ongoing, digital video, color, silent, 51 sec.
“Where is the Blood? (Mutant Sequence),” Kari Altmann, 2009-ongoing, digital video, color, silent, 52 sec.

Employing a customized version of the vital logic behind memes, brands, and algorithms that suggest similar search results, Altmann appropriates images into new, mutant sequences with their own messages.

“Arnold Schoenberg, op. 11 - I - Cute Kittens,” Cory Arcangel, 2009, digital video, color, sound, 4:21
Arnold Schoenberg's Drei Klavierstücke, op. 11-I played by cats on pianos.

“Only Girl,” Hilary Basing, 2011, digital video, color, sound, 3:53 min.
My performances on camera aim to equalize identities through the adoption of their different characteristics and gestures. Only Girl explores the gestures of femininity and the breakdown of information through mimicry as I imitate drag queen Raja’s imitation of Rihanna’s Only Girl (In the World).

“Electric Sweat,” John Michael Boling, 2007, digital video, color, sound, 54 sec.
This video is a valentine to hardware that raises technolust to the level of technoromance.

“A Total Jizzfest,” Jennifer Chan, 2012, digital video, color, sound, 3:22 min.
A sample of the richest and sexiest men in computer and Internet history.

“New American Classic,” Jennifer Chan, 2011, digital video, color, sound, 1:44 min.
Is it sculpture or furniture?

“Am I Evil?,” Jacob Ciocci, 2011, digital video, color, sound, 4:14 min.
In her essay, “Mirror Horror”, Trinie Dalton describes, “In early times, since mirrors were rare commodities, only qualified shamans had mirrors. But in 1438, when Guttenberg started a mirror-making business, anyone untrained in magic could use and be tempted by one. This proliferation of mirrors perpetuated myths of witchcraft, since some theorized that mirrors were being used for maleficence by those corruptible, vain and immoral enough to admire their own reflections.”
The good witch (Harry Potter?) tries to understand his reflection but the mirror shatters as soon as he touches it. The evil witch (Wicked Witch of the West?) tries the same thing but the mirror again shatters. The mirror always shatters just before a fixed identity can be sustained. A mirror is magic in much the same way many newer image-making tools are magic: for a brief moment you are put under a spell, you believe in it. But the longer and the closer you look, everything begins to fall apart. That is the real magic. This is the 3rd piece in Ciocci’s ongoing series “Trapped and Frozen Forever,” an investigation into the relationships between online and off-line images: images trapped (not tangible) on-screen and images frozen (not moving) in the physical world. In this iteration Ciocci has scanned section by section each of the 2 large collages on the wall, using them as the basis for the animated projection.

“Apocalypse Now,” Jesse Darling, 2012, digital video, color, sound, 1:06 min.
A roundup of the year 2012, made especially for the end of the world.

“Too Many Dicks,” Feminist Frequency/Anita Sarkeesian, 2010, digital video, color, sound, 1:19 min.
It is no secret that the majority of video games these days star overly muscular men often carrying big swords, guns, baseball bats, chainsaws or other phallic weaponry. Many games normalize this extremely macho form of masculinity while uncritically glorifying war or military intervention. Sadly too many games tend to celebrate grotesque displays of violence instead of providing opportunities for creative, less violent, innovative forms of conflict resolution. Today with the growing dominance of the first person shooter genre players are encouraged to really participate in the destruction, testosterone and gore up close and personal.
Not only are these games dominated by male characters but even the few women characters who do get staring roles are often made to replicate overly patriarchal, violent, macho behavior (but inside of a hyper sexualized female body). Not surprisingly the vast majority of game producers, designers and writers in the industry are still men.

“Erased de Kooning,” Mike Goldby, 2011, digital video, color, sound, 2:58 min.
In this video, Goldby brings an image of a de Kooning drawing into Photoshop and, as Robert Rauschenberg did 60 years ago, erases all the markings. But what is at stake when this is just a digital file, with another exact copy of the image available again to download or one can simply undo using ⌘Z?

“Analog Internet,” Faith Holland, 2012, digital video, color, sound, 5:12 min.
“Analog Internet” is a video-sculpture that reveals a pyramid of three-dimensional rendered CRT televisions, each with a different cat video appropriated from YouTube playing. This is the core of the Internet: an Egyptian site of worship for cats. Considering the Internet’s obsession with cats, Analog Internet re-imagines having the same relationship to cat videos in physical, not digital, space.

“Bieber Fever” Daniel Johnson, 2012, digital video, color, sound, 5:10 min.
Excerpted and looped from Justin Bieber’s music video “Baby,” in “Bieber Fever,” Bieber encircles us in all his glory while a symphonic slowed-down version of his song plays. As he spins, more and more about his gestures, posturing, and the environment emerges.

“No Fun,” Eva and Franco Mattes, 2010, online performance, color, sound, 15:46 min.
For No Fun Franco Mattes simulated committing suicide in a public webcam-based chat room. Thousands of random people, unwillingly recorded, watched while he was hanging from the ceiling, swinging slowly, for hours. The video documentation of the performance is an unpredictable, at times disturbing, sequence of reactions: some laugh, some are completely unmoved, some insult the supposed corpse, some take pictures with their mobiles.

“#Postmodem,” Jillian Mayer and Lucas Leyva, 2012, digital video, color, sound, 14:37
#PostModem is a comedic, satirical sci-fi musical based on the theories of Ray Kurzweil and other futurists. It's the story of two Miami girls and how they deal with the technological singularity, as told through a series of cinematic tweets.

“Money2,” Lorna Mills and Yoshi Sodeoka, 2012, digital video, color, sound, 1:16 min.
"Money2" by Lorna Mills and Yoshi Sodeoka is a brief, merciless video assembled from Lorna Mills's found and altered animated gif collages. These looping animations play against a soundtrack by Plink Flojd, a super audiovideo collective started by David Quiles Guillo with co-founders Yoshi Sodeoka and Eric Mast. The video is the cacophonous, dysfunctional, absurd, idiotic sequel to Pink Floyd's classic “Money.” The band’s original version from the 70’s exhorted their audience to reject wealth and conspicuous consumption, while at the same time launching them into the stratosphere of commercial success. Pink Floyd's "Money" remains an enormously popular song, despite the fact that all of the ideas about capitalism embedded in the song are now four decades out of date. “Money2” expands the original imagery to include the darkness, desperation, folly and anxiety that surrounds wealth and the lack of it. By pairing a mashed, mangled musical version with found, then re-arranged, animated gifs, Pink Floyd’s “Money” is revived and buried alive at the same time.

“All Y’all,” Gracie Nesin, 2011, digital video, color, sound, 4:51 min.
“All Y'all” is one of a cycle of nine commemorative 'songs' called White Witch/Bluff City—a diaristic narrative about codeine, boarding school, the Athenian courtesan Phryne—dreams, shreds, parts. It's impressionistic, creepy-trill, a drunk/dull/sleepy recollection of prostitution both low and courtly, reenacted and past-life-ephemeral, a punchy Southern Gothic poem about After Empire sung somewhat underwater, smoked and muffled by a blue, New Age cloud, all collapsed and hilarious: yesterday today and tomorrow.

“Search by Image, Recursively Starting with a Transparent PNG,” Sebastian Schmieg, 2011, digital video, color, silent, 4:04 min.
With near-scientific method, Schmieg begins with a transparent PNG image file and allows Google’s Search by Image to visually free associate. The result is an insight into how Google’s algorithm “sees.”

“On Beauty,” Hennessy Youngman, 2011, digital video, color, sound, 5:11 min.
Is beauty still relevant in our future age where information is mad valuable and neoliberalism is the number one pop tune that seems like it will always be playing every time you turn on the radio forever into infinity? Well I don't got answers to these questions, but that don't stop me from enwisening y’all to this shit!

Faith Holland is an artist and current student at SVA MFA Photography, Video & Related Media. She is currently working on different visual models of the Internet through videos, GIFs, web-based projects and a few IRL objects. Her work has been exhibited at the Art in Odd Places festival (New York), Elga Wimmer (New York), Axiom Gallery (Boston), the Philips Collection (Washington, D.C.), and File Festival (São Paulo). Her work is currently on exhibit at Xpo Gallery (Paris).

Magic Lantern Cinema was founded in Providence in 2004 by artists Ben Russell and Carrie Collier as a venue devoted to the exhibition of experimental film and video, and is currently organized by Josh Guilford, Colleen Doyle, and Seth Watter. Magic Lantern is supported by the Robert Rauschenberg Foundation and the Malcolm S. Forbes Center for Culture and Media Studies at Brown University.


Looking for artist/student as a roommate in East Village apartment

Tue Jan 01, 2013 00:00

New York, New York
United States of America

This apartment was recently renovated (finished in 2010) and although it's on the smaller size, it's very comfortable and charming. The room itself is 6 1/2' x 12' and the apartment has an eat-in kitchen including a dishwasher and all new appliances and living room. There is a small backyard where I have a grill, tables, and chairs. There are also two gardens on my block. The rent is $1000.

Follow the link for more photos.

I am a 27 year old woman about to enter the last semester of my MFA at the School of Visual Arts in Photography, Video, and Related Media. I also work for the school on a part-time basis. I have two very friendly and adorable Russian Blue kittens, so please NO PETS. I am recently married, but my husband lives in Providence where he is pursuing his PhD. He frequently stays in the apartment and I often go there as well. Other than that, I often work at home in my bedroom. I also have a farm share I'd be happy to split with someone and am a dedicated composter.

I'm looking for someone who is fairly laid back as I am busy with my thesis and not super attentive to the apartment. It's pretty much a necessity to love cats since the kittens are very active and busy throughout the apartment. It would be great to live with someone who is also involved in the arts or a graduate student like I am.

If you're interested, please e-mail me (faholland AT a bit about yourself and we can set up a time for you to see the apartment. Thank you!


Call for Submission for Artists' Web Ring

Wed Apr 18, 2012 12:35


I am looking for artists whose work looks critically at any issues surrounding the internet. These works need not be net art, but they must be available online in order to participate. This work could fall under the rubric of ‘post-internet’ art or ‘internet-aware’ art, but this project leaves that kind of terminology to be self-defined by the artist and does not itself assume those labels.

Web Rings were popular in the early days of the consumer internet. People with like interests banded together to form a ring of sites. Each web page in the ring would have a button marking them as a member and connecting them to the next, last, and a random page within the ring.

As part of my own process of reconsidering 90’s web practices, I’d like to revive this old format. The Meta Cyber Arts Web Ring will constitute a community of artists linked together directly—without Google, Twitter, Facebook, blogs, or galleries. It will be a system of mutual support among artists as well as defining a particular moment in art practice in relation to the web.

To be included, please send an e-mail to with a link to your website as well as a short e-mail about why you feel your work fits. Please note, this is an inclusive process and everyone that sends me an e-mail will be included in the web ring.

Once I have a group of participating artists together, I will distribute code to include on the main page of your website.

If you’re interested in helping coordinate this process by contributing code or graphics, please also let me know.