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.
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Call for Video Submissions

Mon Jul 16, 2012 23:59

New York, New York
United States of America

The AC Institute, a non-profit gallery in Chelsea, NY, is now accepting submissions for Flat Out, our rotating video project for emerging and experimental artists from around the globe.

Videos will be featured for two or three week exhibitions on an LCD screen mounted at the entrance to the gallery. Any subject or theme is welcome.

Please submit your video project to submissions@artcurrents.org (links to works are preferred). Put FLAT OUT in the subject line and include a proposal and CV. No hard-copy submissions.

If accepted, please be prepared to mail a hard copy DVD: NTSC, looped, and standard definition only (16:9 can be supported).

The deadline for these submissions is July 16, 2012.


Maria Anwander: Analyzing

Thu Jun 07, 2012 18:00 - Sat Jun 16, 2012

New York, New York
United States of America

June 7 – June 16, 2012
Opening Event: Thursday, June 7, 6-8pm

All exhibitions are free and open to the public.
Contact: info@artcurrents.org

Influenced by conceptual art, my works are established between the fields of performative and installation art. By utilizing different kinds of artistic media, including photography, video and sculpture, my work questions authenticity of artworks and the gap between the art-market and the artist as its potential participator. Instead of giving refined didactic answers my work shows the formal process of my investigations.

Memories and archives in the form of text, which by its anticipation evokes images in the viewers‘ mind, is one important aspect of my work. I perform simple interventions in ordinary items to detach them from their original context and to allow the recipient a different point of view.
My latest works deal with issues of collecting, ownership and authorship. I am highly interested in the creation of notional images by removing other already existing images. The dematerialization and deconstruction of images into pure descriptions of themselves and vice versa are part of my deliberations.

For the video Analyzing, Adolfo Profumo, a psychoanalyst in New York, whom I've never met before, tries to tell me who I am just by looking through my portfolio. The video questions the certainty of art interpretations.
--Maria Anwander

Maria Anwander works and lives in Berlin. After her diploma at the academy of fine arts in Vienna in 2008 she spent one year in Bilbao for a residency, three months in the Harlem studio fellowship program in New York and two months at the Casino Luxembourg.

Beside solo and group exhibitions throughout Austria and Germany her works were also shown in Utrecht, London, Bilbao, Cyprus, Illinois, Venice, New York, Moscow and Sydney including the 4th Biennale in Moscow and a satellite-project at the Venice Biennale. Since 2008 she won several prizes and competitions such as the Alexander-Reznikov-Award, the Pfann-Ohmann Group-Award and an art-as-construction competition from the Vorarlberger Landesmuseum in Bregenz, where she created the 230-meter long construction fence. For the Künstlerhaus Thurn und Taxis in Bregenz she further curated the show "Gaming the System - rank the ranking or fuck the curator" which examined the commercial art scene.



Brigid Mc Leer’s Horizontal Ontologies: One + One (The Reading) and Vexations

Thu Jun 07, 2012 18:00 - Sat Jun 30, 2012

New , New York
United States of America

June 7 – June 30, 2012
Opening Event: Thursday, June 7, 6-8pm

All exhibitions are free and open to the public.

Brigid Mc Leer’s practice is concerned with ‘staging’ or ‘imaging’ complex and contingent models of the ‘subject’. She does this through developing durational performative responses to pre-existing texts, sites or images. The two works shown here at AC Institute are One + One (The Reading) (2010/12) and Vexations (2007/8). Both use visual documentation of extended performance activities as the basis of their form.

Vexations is based on Eric Satie’s enigmatic 1893 musical composition of the same title. Famously, Satie’s short but difficult score included an epigraph that stated “to play this piece 840 times one would need to prepare oneself in the greatest silence with serious immobility”. For this work the artist spent 15 days in a gallery relearning how to play piano by learning this piece. While doing this, she also produced a vast wall drawing reflecting her experience. This drawing was continually photographed, producing the set of 840 images - a vast new visual score – that are on show at AC Institute.

One + One (The Reading) is work in video and drawing taken from a 7 hour public performance of the artist reading all the proper nouns from James Joyce’s Ulysses. The performance was filmed using a specially commissioned 12.5m miniature rail track. This scene of a tracking shot of a woman reading was itself inspired by the opening sequence to Jean Luc Godard’s Le Mépris -a film about the making of a film of The Odyssey, which of course is the epic tale of homecoming upon which Joyce based Ulysses.

Such circularities and refractions of image and subject are central to the structure and idea of both works.


Brigid Mc Leer is an Irish artist based in London. She trained in Fine Art at NCAD, Dublin, University of Ulster, Belfast and Slade School of Art, London. She is interested in ideas of duration and contingency and works in various media/modes including video, performance, photography, and drawing/writing.

Recent solo exhibitions include ‘One + One’, at Highlanes Gallery, Drogheda and Wexford Arts Centre, Ireland, Isoli [cont.], Lanchester Gallery Projects, Coventry, and ‘Vexations’, Site Gallery Sheffield, UK. Group exhibitions include ‘A Game of Two Halves’, Lewis Gallery, Rugby School, ‘L’Ulitma Cena’, Reffetorio di San Michele, Pescia, Italy, ‘Beyond Fontana’, curated by Stephanie Moran, Studio 1.1, London and ‘Unspeaking Engagements’ curated by Steve Dutton and Brian Curtin, Chulalongkorn University Gallery, Bangkok and LGP Coventry. Mc Leer is currently Course Director of Fine Art (BA) at Coventry School of Art & Design.

More details of her work can be found at www.brigidmcleer.com.


Pattern Variants New York Edition

Thu May 24, 2012 14:00 - Sat May 26, 2012

Writing Installation:
Thursday, May 24, 10am-1pm
Friday, May 25, 6pm-9pm
Saturday, May 26, 10am-1pm

This event is free and open to the public.

USTREAM Live Broadcast
On channel: Pattern Variants New York Edition AC Institute

The collaborative writing installation, Pattern Variants, will be open to the public and available for viewing on LIVE WEBCAST. Conceived, directed, and produced by Buzz Evers, Pattern Variants represents the first of three programs focused on the art of dialogue and the collaborative process.
Pattern Variants is a new writing experiment highlighting the poetic techniques of OULIPIAN and LINKED POETRY featuring the work of Daniel Levin Becker, Roman Muradov, Max Giteck Duykers and nine distinguished NY poets, including Marcella Durand, Anselm Berrigan, Paolo Javier, Lee Ann Brown, Tim Trace Peterson, Johanna Fuhrman, Vincent Katz, Adeena Karasick, and Jena Osman, with Edmund Berrigan serving as an alternate for the last set of rotations.

Executed over three days (May 24-26), in 3 three hour sessions, Pattern Variants brings together nine landmarks chosen by our nine poets, including Harryette Mullen's Muse and Drudge; The Puppet; The Chrysler Building; The Book of Formation; The Hays Code; Moveable Type; New French Feminisms; "Sayings Of The High One" from The Poetic Edda; & Breton's 'L'amour fou'.

The writing installation intersects two other collaborations involving, first, a series of eight 3X3 flash fiction grids realized by Daniel Levin Becker and Roman Muradov with their own set of combinative potentials in delivering six of Italo Calvino's Six Memos for the Next Millennium, along with two additional memos, Symmetry and Obscurity. Additionally, our sound design by Max Giteck Duykers elucidates on patterns within the writing schematic added with an undercurrent of percussive vowels. Pattern Variants sets in motion an experiment in creative writing with the liberating uses of form as the catalyst for enabling creative discourse.

Contact Buzz Evers at gatehouse334@netzero.com for any additional information.

Buzz Evers is an interdisciplinary artist, independent curator, arts administrator, director, and producer. He attended Pitzer College receiving a degree in organizational studies and gravitated toward the arts based on his interest in collaboration and the creative process. His diverse list of experiences include works in the visual, performing, and language arts.
Labyrinths, Synergies, and the Art of Dialogue represents a return to earlier themes bridging his interest in the traditions of linked poetry and the constraint driven propensities of the OuLiPo group of writers, poets, and mathematicians. The three programs developed under the guise of its leading title illustrate Evers' commitment toward interdisciplinary projects that explore the requisite synergies that optimize the creative dialogue, from an in-situ writing experiment with nine poets (Pattern Variants); a libretto written by seven poets (Verse in the Circle of Fifths); and an experiment in letters by three poets on the art of the book, L'Art du Livre: ÉPÎTRES Trois.
Experiences in the fine arts include serving as a studio assistant in glass, metal, and wood with additional experience as a self-taught painter. He has also served as an artists’ rights representative involving copyright, collections management administrator, and museum coordinator, with additional experiences in community development involving the promotion of educational centers for creative learning.
Evers is currently in discussions with The Salmagundi Club in negotiating the use of their notable art library as both sanctuary and part muse for the seven poets collaborating on the libretto for Verse in the Circle of Fifths.

Daniel Levin Becker is reviews editor of The Believer and the youngest member of the Paris-based Oulipo collective. His first book, Many Subtle Channels: In Praise of Potential Literature, was published by Harvard University Press in April 2012. He lives and works in San Francisco.

Roman Muradov is an illustrator/cartoonist from Russia. His drawings & comics appeared in the New Yorker, the New York Times, Village Voice, Washington Post, Nobrow magazine & other nice places. He loves tea and dislikes most other things. www.bluebed.net

Max Giteck Duykers is a composer whose work is dedicated to unusual beauty. His numerous commissions and premieres include "The Apricots of Andujar" by the Jerome Foundation, "Arborescence" by the Avian Orchestra, and “Sette Momenti” by the Le Ville Matte Residency in Sardinia, Italy. Others include The Stony Brook Symphony Orchestra, the Oakland Youth Orchestra, The Seattle Chamber Players, Anti-Social Music, Trio Tara, The Stony Brook Contemporary Chamber Players, HERE Arts Center, PS122, La Mama ETC, and the Stony Brook Department of Theater Arts. His "Glass Blue Cleft" was released by the Escher String Quartet on Bridge Records in 2010, and has also just won the New York Composers Circle Composers Competition. His music has been featured at festivals throughout the U.S. and abroad, including the Seattle Chamber Players’ Icebreaker IV, curated by The New Yorker’s Alex Ross. He has also been commissioned to compose music for over 35 theatrical, dance, film, and multimedia projects in the New York City area. He is a PhD candidate at Stony Brook University where he studies with Sheila Silver.

Vincent Katz is a poet, translator, and teacher. He is the author of eleven books of poetry, two books of translation, and numerous articles and essays. Katz curated an exhibition on Black Mountain College at the Reina Sofia museum in Madrid and edited the catalogue, Black Mountain College: Experiment In Art (MIT, 2002). He is the author of The Complete Elegies Of Sextus Propertius (Princeton, 2004) and Alcuni Telefonini (Granary Books, 2008), a collaboration with painter Francesco Clemente. He is the publisher of the poetry and arts journal VANITAS and of Libellum books. He currently teaches in the MFA Program in Art Criticism and Writing at the School of Visual Arts.

Tim Trace Peterson is the author of Since I Moved In (Chax Press, 2007) and Violet Speech (2nd Avenue Poetry, 2011) and is the Editor/Publisher of EOAGH. Peterson is co-editing with TC Tolbert the forthcoming Anthology of Trans and Genderqueer Poetry (EOAGH Books), co-editing with Gregory Laynor the forthcoming Gil Ott: Collected Poems (Chax Press), and has curated for the past few years the TENDENCIES: Poetics & Practice talks series on queer poetics and the manifesto at CUNY Graduate Center.

Marcella Durand’s recent books include Deep Eco Pré, a collaboration with Tina Darragh published by Little Red Leaves in 2009; Area, published by Belladonna Books in 2008 as part of the Council of Literary Magazines and Small Press’s FACE OUT program, and Traffic & Weather, a site-specific book-length poem written during a residency at the Lower Manhattan Cultural Council in downtown Manhattan (Futurepoem Books, 2008). She has collaborated with artists on various projects, including most recently a collaboration with New Orleans artist Karoline Schleh titled, “Stare: What Wild New World Is This?” (exhibited at Barrister’s Gallery, Fall 2010). She has talked about the potential intersections of poetry and ecology at Kelly Writers House, Poets House, Small Press Traffic, Naropa University, and other venues. Her essays and poetry have appeared in The Nation, Ecopoetics, NYFA Current, Conjunctions, The Poker, HOW(2), Critiphoria, The Denver Quarterly, and other journals. She was a 2009 fellow in Poetry from the New York Foundation for the Arts.

Adeena Karasick is a poet, media-artist and the award-winning author of seven books of poetry and poetic theory, Amuse Bouche: Tasty Treats for the Mouth (Talonbooks 2009), The House That Hijack Built (Talonbooks, 2004). The Arugula Fugues (Zasterle Press, 2001), Dyssemia Sleaze (Talonbooks, Spring 2000), Genrecide (Talonbooks, 1996), Mêmewars (Talonbooks, 1994), and The Empress Has No Closure (Talonbooks, 1992). Marked with an urban, Jewish, feminist aesthetic that continually challenges normative modes of meaning production, and engaged with the art of combination and turbulence of thought, her work is a testament to the creative and regenerative power of language and its infinite possibilities for pushing meaning to the limits of its semantic boundaries. Karasick has lectured and performed worldwide and regularly publishes articles, reviews and dialogues on contemporary poetry, poetics and cultural/semiotic theory. She is Professor of Global Literature at St. John's University in New York and Co-coordinator of KlezKanada Poetry Festival and Retreat: Three Millennia of Poetic Subversion. Forthcoming is This Poem, Talonbooks, Fall, 2012.

Anselm Berrigan is the author of five books of poetry, most recently the book-length poem Notes from Irrelevance, published in 2011 by Wave Books. Other books include Free Cell, Some Notes on My Programming, Zero Star Hotel, and Integrity & Dramatic Life. He is the current poetry editor for The Brooklyn Rail (brooklyrail.org), an arts and culture monthly, and from 2003-2007 he was Artistic Director of The Poetry Project at St. Mark's Church.

Lee Ann Brown was born in Japan in 1963 and was raised in Charlotte, N.C. She is the author of Polyverse (Sun and Moon), The Sleep that Changed Everything (Wesleyan University Press), a song cycle, The 13th Sunday in Ordinary Time, and In The Laurels, Caught, (Fence Modern Poets Series). She is editor of Tender Buttons press, and of The Spirit of Black Mountain College, a collection forthcoming from Lenoir-Rhyne University. Brown is Associate Professor of English Department of St.John’s University in New York City, and the founder of The French Broad Institute (of Time & the River), a collective for poetry and performance in the mountains of North Carolina.

Joanna Fuhrman is the author of four books of poetry, most recently Pageant (Alice James Books 2009) and Moraine (Hanging Loose Press 2006.) In 2011, Least Weasel published her chapbook The Emotive Function. She is a poetry editor for the journal Ping Pong and served as the Monday night coordinator for the readings at the Poetry Project at Saint Mark’s Church from 2001-2003 and the Wednesday night coordinator from 2010-2011. She teaches poetry writing at Rutgers University and in New York City public schools.

Paolo Javier is the current Queens Poet Laureate, and author of several plays, comics, poetry chapbooks, and full-length books of poetry, including The Feeling Is Actual (Marsh Hawk Press). The recipient of grants from the Queens Council on the Arts and New York State Council on the Arts, he publishes 2nd Avenue Poetry (2ndavepoetry.com), a tiny press devoted to innovative language art. OBB: Sunday Nite, his comics collaboration with Brooklyn artist Alex Tarampi, will be published in the fall by VSK Press in the U.K.

Jena Osman's books of poems include The Network (Fence Books 2010, selected for the National Poetry Series in 2009), An Essay in Asterisks (Roof Book, 2004), and The Character (Beacon Press, winner of the 1998 Barnard New Women Poet's Prize). Her book Public Figures is forthcoming from Wesleyan University Press in 2012. Osman was a 2006 Pew Fellow in the Arts, and has received grants from the National Endowment for the Arts, the New York Foundation for the Arts, the Pennsylvania Council on the Arts, the Howard Foundation and the Fund for Poetry. She co-edits the ChainLinks book series with Juliana Spahr and is a professor of English at Temple University, where she teaches in the MFA Creative Writing Program.

Edmund Berrigan is the author of two books of poetry, Disarming Matter (Owl Press, 1999) and Glad Stone Children (Farfalla, 2008), and a memoir, Can It! forthcoming from Letter Machine. He is editor of the Selected Poems of Steve Carey (Sub Press, 2009), and is co-editor with Anselm Berrigan and Alice Notley of the Collected Poems of Ted Berrigan (University of California, 2005) and the Selected Poems of Ted Berrigan (University of California, 2010). He is an editor of Vlak magazine, Brawling Pigeon, and is on the editorial board of Lungfull!. He has received three grants from the Fund for Poetry, and was named a NYFA Fellow in poetry in 2009.


Sarada Rauch: Jellyfish Piano

Wed May 16, 2012 13:00 - Sat May 26, 2012

New York, New York
United States of America

May 16 – May 26, 2012

All exhibitions are free and open to the public.
Contact: info@artcurrents.org

Jellyfish Piano:
Reinterpretation gives history more than one perspective. With this in mind, I reinterpret traditional narratives using contemporary images to create modern folklore. Narratives that I use come from traditional epics, fairy tales and myths which are collections of oral traditions. An oral tradition is passed down as a broad formula. The storyteller improvises a great deal of the narrative, reinterpreting the story and inserting their own perspective and imagery. I use this same methodology of reinterpretation while making videos, and I treat them as oral tradition.

A common parallel found in traditional narratives is the mermaid. Not many other imaginary beings are as prevalent cross culturally, or have maintained popularity throughout narratives, ancient to the present day. The mermaid lives underwater and enchants humans with song. She is graceful and dramatic, much like a jellyfish.

Jellyfish Piano is a reinterpretation of the mermaid. In this video, a swimmer is transformed into a jellyfish by the underwater perspective of the camera, stripping the body of its human traits to the essential organs and limbs of a jellyfish. The swimmer’s trailing skirt and legs form the greater part of this balletic jellyfish’s movement, whose gracefulness is punctuated by the notes her feet strike on the keyboard-like lanes of a public pool. The notes of the piano keys are played each time she touches one of them with her toes.

In my work, I combine the digital with the hand made and animate static objects. They acknowledge their own silliness and because of this they can also dabble with being genuine. My work is winking at you while telling you something heartfelt.

-Sarada Rauch

Sarada Rauch is a multi media artist born in Los Angeles and based in Brooklyn, after a long stint in Germany. Rauch reinterprets traditional narratives using contemporary aesthetics by animating her sculpture and paintings with video. She received her BFA from San Francisco Art Institute and her MFA from Hunter College. Sarada has exhibited and performed at venues such as Museum of Contemporary Art in Miami, RH+ Gallery in Istanbul, Winkleman Gallery at Seven, Miami, Platform Gallery in Seattle and the RISD Museum in Providence. She was also the recipient of the Tony Smith Award and the BBK Fellowship in Saxony.