Holly Crawford
Since 2005
Works in United Kingdom of Great Britain and Northern Ireland

Holly Crawford is cross media artist, behavioral scientist, economist and art historian. She received her Ph.D. from the University of Essex in Art History and Theory, B.A and M.A. in Economics and M.S. in Behavioral Science from UCLA. From 2004-2006, she was a non-clinical Fellow at NYU Medical School Psychoanalytic Center. Her art and poetry (www.art-poetry.info) give new meanings and draws categories themselves into question through transformative juxtapositions. Her projects include: Offerings (Ars Electronica, (.net Participant); Open Adoption, The Road, Hyphens, Voice Over, Found Punctuation (video) Tate Modern 2007, My I have your autograph? (unofficial, Basel Miami Art Fair 2007), Critical Conversations in a Limo, NY 2006 (VIP project, Armory), 2007 in Melbourne (MIAF) & San Francisco (The LAB & Sesnon Gallery UCSC), Sound Art Limo, NY and Melbourne 2007, Flatland Limo, NYC 2008. Many projects are ongoing, site specific and participatory. Publications: Artistic Bedfellows, ed., 2008, Attached to the Mouse, 2006 and catalogue essay, “Disney and Pop” in Once Upon a Time Walt Disney Studio; Artistic Bedfellows, edited, 2008. Some projects are created and curated through AC (Art Currents) which she created and directs, www.artcurrents.org She taught art at UCLA and SVA. She was born in California and now lives in New York City.
Discussions (5) Opportunities (21) Events (150) Jobs (1)

Call for Book Proposals

Fri Aug 30, 2013 17:20

New York, New York
United States of America

AC Institute

Book Proposal Guidelines for Authors

The AC Institute is accepting submissions for academic manuscripts, critical theory and innovative texts and essays or collections of essays that investigate art and its many disciplines.
• Please keep to the following guidelines for all proposal submissions.
• Please provide two sample chapters with completed proposal.
• Proposals are not to exceed 6 pages.

The AC Institute will review all proposals within a reasonable period of time and notify author of rejection or acceptance pending the fulfillment of the following guidelines and contracts.

If accepted, the AC Institute will publish the title, which will be available for purchase at Amazon.com. Some texts may also be picked up for larger distribution.

Submissions may be mailed (include a stamped and addressed return envelope) to:

AC Institute
Attn: Book Proposal
547 W. 27th St. #210
New York, NY 10001

Alternatively, please submit any electronic proposals to:
Subject: Book Proposal

About the AC Institute

Since 2009 the AC Institute has been publishing catalogs and experimental critiques and unique edited volumes. Through our imprint, AC Books, we now have select titles distributed by R.A.M publications + distribution.

The AC Institute’s mission is to advance the understanding of the arts through investigation, research and education. It is a lab and forum for experimentation and critical discussion. We support and develop projects that explore a performative exchange across visual, sonic, verbal and experiential disciplines.

We encourage critical writing that challenges conventional expectations of meaning and objectivity as well as the boundaries between the rational and subjective.

The AC Institute is a nonprofit 501(c)(3) organization under the leadership of artist/critic/curator and Director, Holly Crawford, Ph.D. For more information visit www.artcurrents.org

Submitting Your Proposal
1. The Proposed Manuscript
• Working title and subtitle:
• Estimated length (word count) including references and bibliography:
• Please include a Table of Contents
• Has any material included in the manuscript been previously published? If yes, please provide details.
• Do you plan on including any image reproductions, photographs, illustrations, tables, charts, graphs, interviews*? If yes, how many?
• Is this an edited collection of works? If yes, please provide the names and affiliations of all participants?
• Estimated delivery date of completed, fully reviewed manuscript?*
• Please provide a brief summary of your manuscript’s content and themes.
• List each chapter title and include a brief description of each chapter including proposed length and number of reproductions/graphics.
*Please keep in mind that the author is responsible for obtaining any and all permissions from copyright holders and must provide publisher with copies of said permissions.
*Final submission of manuscript must be done electronically, double spaced and fully edited.

2. The Author
• Please attach a current CV listing academic/professionally related experience and any previously published titles
• Please provide three referees, names and titles, who can evaluate the need for and strength of the proposal
• Author’s Contact Info:
Job Title:
Email address:
Home/Cell Number:
Home Address:
Work Address:
Work Telephone:


Call for Submissions: Video Works

Mon Jun 10, 2013 23:59

New York, New York
United States of America

Call for Video Submissions

The AC Institute, a non-profit gallery in Chelsea, NY, is now accepting submissions for single channel Video Works for the 2013-2014 exhibition year.

Videos will be projected in their own gallery space. A five speaker stereo system is available for sound pieces. The videos will be featured for two or three week exhibition periods as solo exhibitions. Any subject or theme is welcome.
Please submit your video project to <u>submissions@artcurrents.org (links to works are preferred). Type “Video Art Call” in the subject line and include a proposal and CV. No hard-copy submissions.

If accepted, please be prepared to send a DVD (only NTSC accepted) or a digital copy (NTSC or PAL) of the video through an online file share with any credits and titles already formatted. We can accept .avi, .mov, and .mp4 files, and HD.

The deadline for these submissions is June 10, 2013.


Willis Arnold: There are thousands of these lying around

Tue May 07, 2013 13:00 - Sat May 18, 2013

New York, New York
United States of America

There are thousands of these lying around is an attempt to work the boundaries of intrusion as an organizing principle. Each day we are bombarded by messaging, instructions, advertisements. No media goes untainted. It is virtually impossible to exist in contemporary American culture without exposing oneself to a barrage of product-based supplications. This product exists. Buy it. Buy it.

This piece is an attempt to manifest manufactured insistence simultaneously on the visual and aural planes. By collapsing the audio of multiple ads and interjecting original sounds, the piece attempts to construct a rhythm that reinterprets these recordings as an artistic product. By situating a product against formal images – a row of potted plants, a row of houses – the piece explores the relationship of definitive product advertisement and the subversive ideological “products” with which we are presented.

There are thousands of these lying around culminates in the intrusion of marketing into the home-space, a personal space, the body into which we continually welcome prescriptive and proscriptive consumer behavior.

Willis Arnold grew up in Minnesota and is now based in Brooklyn. He is a multimedia artist and journalist whose work centers on the integration of personal perception with social cues and visual currency. In his videos he explores themes of containment, experience, and juxtaposition. He is interested in skewing the details of contemporary life to expose the relationship of the individual to larger environmental matrices. Although language is not present in all of his work, it informs much of the imagery therein. For more information please visit: undisciplinedciudad.wordpress.com


Nathania Rubin: DSM Series: Attachment Disorder and Crowded Chapters 1 & 2

Tue Apr 23, 2013 13:00 - Sat May 04, 2013

New York, New York
United States of America

In the two hand-drawn animations on view by Nathania Rubin, a girl acts out her struggle with letting go in a farcical treatment of the psychoanalytic preoccupation with feces and a morphing face struggles to congeal an identity which it temporarily accomplishes during a sexual encounter before splintering into multiple extra-human incarnations.

For Rubin, the narrative of this animation is secondary to the drawn marks which determine the next steps of the moving image. It is improvised as a developing drawing with no script and only fragments of reference footage.

Rubin’s work is largely about role-playing. The bigger questions behind the work concern the nature of identity, the knowability of the other, the knowability of the self and what it means for the self and other to stand in relation to one another. Her animations depict unknown and unknowable characters that morph and shift both drastically and subtly. The formations and deformations of narratives coincide with those of the drawn marks of graphite and its erasure. The removal of marks plays as central a role to the development of the narrative as do the drawn interventions. Similarly, with respect to the relationship between form and content, the driving mechanism through the time-based aspect of the pieces is perhaps more within the working and the reworking of the drawing itself than the narrative development that the drawing articulates. Narrative in this way has awkward footing within the pieces that struggle to find their subject in terms of both character and content. The subject is what the laboriously rendered forms are searching for, but in the end the forms themselves and their struggle comprises the subject content of the work.

Nathania Rubin is an artist working primarily in hand-drawn animation and drawing/video installation. Her work investigates the relationships between narrative, fiction and the formation of self. She explores the shifting nature of identity through morphing drawings and their erasure. Originally from New York City, she spent 2011-12 as a fine art researcher at the Jan van Eyck Academie in the Netherlands and she is currently artist-in-residence at the ACC Galerie in Weimar, Germany.


Michael Woody: Arlington

Thu Apr 04, 2013 18:05 - Sat Apr 20, 2013

New York City, New York
United States of America

April 4 – April 20, 2013
Opening Event: Thursday, April 4, 6-8pm

This event is free and open to the public.

Arlington is a brief video sketch that relates several stories from within a biker community in Arlington, Texas. It focuses primarily on the role of motorcycles within the culture. The piece features the machines, depicting their influence as a catalyst for important events within the member's lives.

Michael Woody (b.1976) lives and works in Champaign, IL. He has an MFA in painting from the Savannah College of Art and Design and an MFA in New Media from the University of Illinois. His work has been shown at festivals and galleries in New York including Vaudville Park, The Ende Tymes Festival and the Wassaic Project, as well as having been shown at The Horse Hospital, Aid and Abet and Alexander park in the UK. Michael’s work has been shown at The Arts Armory in Pasadena, CA, and on closed circuit TV stations and experimental radio broadcasts in Chicago, Mexico City and New York. He has been a featured lecturer at the University of Illinois and the University of Missouri, and has been featured in the Cutbank Literary Journal at the University of Montana and the Journal of Short Films at Ohio State University. Michael is currently working from a photographic archive of bikers from Arlington, TX from the late 70s, a case file from an obscure murder investigation in the Southeast and an extensive set of radio broadcasts related to the influenza virus.