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

PORTFOLIO (1)
BIO
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 (20) Events (128) Jobs (1)
EVENT

AC Institute Opening Event


Dates:
Thu Sep 09, 2010 00:00 - Sat Jul 31, 2010

AC Institute

Sept. 9th, 2010 from 6-8 pm
For the first exhibitions of the new season!

New Space Gallery #610
Same location, just one floor up.

The AC Institute presents five solo exhibitions on the theme of exchange and value

Featuring:
Be Andr: Structure
Katie Latona: The ‘Eat My Problems’ Bake Exchange
Sebasjtan Leban and Stas Kleindienst: Buy Your Own Art Experience
Max Liboiron: The New York Trash Exchange (NYTE)
Kim Wan: When does an art gallery give away artworks?


Be Andr:Structure
The piece Structure explores the links between exchange and value. It is an interactive installation that continues to be created and grow as the audience interacts with it by exchanging something of their own for a piece of the art work - a poster depicting the value of one pound in different currencies on the day the idea of the piece occurred to the artist.

The objects the visitors decide to exchange for a piece of art should be placed on the black area on the floor as an integrated part of the installation.

When the black area on the floor is full of objects they will be removed and placed into black plastic bags next to the exchange area. The plastic bags will be part of the installation, and will be exhibited as part of the installation when the piece is on display.

This installation will continue to grow as more and more people interact with it. When all the posters are exchanged new ones must be printed.

In this way the installation continues to grow each time it is exhibited. The number of black plastic bags will show how well it is received and in that way also be a measure of its value.

Katie Latona: The ‘Eat My Problems’ Bake Exchange
Taking the form of a traditional “bake sale,” this project presents a group of anonymous problems, baked into cookies, that are available for exchange with the viewer. To receive a cookie, the viewer (now participant) must submit one of his or her own problems, by writing it down on the card provided, and depositing it into the box. The submitted problems will then be baked into the next batch of cookies, which will be replenished throughout the exhibition.

At its most basic level, the “bake sale” sees a cookie traded for our participation in the project. The cookie is “free” in that no money changes hands, but it does ask something of us: that we engage with the project. We also exchange our problem for someone else’s; we are able to relieve ourselves of a burden, whether mundane (“netflix addiction”) or deeply personal (“premature ovarian failure”), only to take on another’s. We are sharing the load.

Is one problem worth more than another? Is one cookie less enticing because of what is stamped into it? Is it fair to exchange a “strange groin lump” problem for the “flat bike tire” cookie? Is that considered a bargain? What is the value of my labor, as the artist and baker?

Sebastjan Leban and Stas Kleindienst: Buy Your Own Art Experience
Who, how and what defines what an artwork IS? The answer to this question can be traced in the system of valorization of artwork, which defines, values and places the artwork in a larger social context inscribing it at the same time into the genealogy of the history of art. One of the fundamental problems of the art world and the art market is the attachment to the original as some kind of fetish, which of course, is evaluated with all of society’s fetishes and installed into a specific hierarchical valorization. The project Buy Your Own Art Experience explores and exposes the issue of idealization of art and the artist, the valorization system of artworks and capital produced through the culture industry. The project consists of five performances documented in photographs. Those who buy the performance will have the possibility to participate in the real performative act. On the contrary, if one decides to buy a photograph (object), the performances will be interrupted and the final result of the project will be an object-photograph as a pure commercial artefact. Thus the buyer will be faced with the fact that he/she can consciously activate the process of context alienation, which cancels the performative element of the project by transforming it into an object.

The Leban/Kleindienst’s artistic practice is characterized by intermedia interdisciplinarity that is reflected in the critical analysis of the systems of valorization (in the arts and in other fields), contemporary migration, new forms of colonialism and other phenomena occurring within the changing social formation. Through art and theory, Leban/Kleindienst intervene into specific systems with the aim to establish contemporary critical tools that enable to rearticulate the ever more complex social reality.

Max Liboiron: The New York Trash Exchange (NYTE)
The New York Trash Exchange (NYTE) is a cross between a cultural laboratory experiment, environmental activism, and a model of economic change. Like all of Max Liboiron’s recent work, this piece is a participant-determined, interactive economy based on trash. A miniature city has been made from New York City discards. Gallery visitors are welcome to take any piece of the city away with them at any time as long as they make and leave something behind in exchange. This single rule of interaction mimics a steady-state economy, where there is no net growth or decline, though there is still development.

All of Liboiron’s trash installations include a different one-rule economy. Gallery visitor’s interactions with the work usually create social economies that exhibit different characteristics than those of everyday market-driven capitalism. They tend to show that people are not inherently greedy, self-maximizing, or selfish, but generous, creative, and even daring in their relationships to goods and to each other. Visitor actions are tracked with video or surveys and the data is used to model and imagine sustainable economic and material futures.

New Yorkers are the ultimate test of self-interest and material accumulation, but New York is also a bastion of creativity— how will visitors to the AC Institute choose to “develop” this miniature New York City? Will it be impoverished, with viewers taking the best pieces and leaving behind rubbish (as Canadian curators and critics have predicted)? Or will it flourish? The end result is in your hands.

The final outcome of the exhibition will be published at www.maxliboiron.com

Kim Wan: When does an art gallery give away artworks?
Just when does an art gallery give away artworks, hand-made especially for the free market? In a world of climate change and water shortages does free, clean water mean anything to a person living in the developed world? Are paintings more important than water? When does money become art, instead of art accruing fiscal value? These are some of the questions posed in this installation by artist Kim Wan.

The installation itself consists of hand-painted $1 bills, photocopies of drawings, a water-cooler with a set of scales and plastic cups. As the viewer enters the space, s/he is offered the choice of taking either a photocopy or a cup of water. The painted dollar bills, however, stay on the wall, occupying the space and remain indeterminate.

“I am attempting to set up a market economy within the gallery space. In response to the project brief, I have identified differences between the ‘artificial’ value that consumers place on luxury objects such as paintings, and the ‘real’ value placed on natural resources - such as a cup of water. In identifying the choices and economic forces which shape and inform a free-market economy, I wish to enter into a discourse where the artworks become an interactive and quantifiable commodity. My aim is to realise interpretations and debates surrounding the capitalist system whilst provoking discussion and debate Art, money, death, life.............” (Kim Wan)

Bios:

Be Andr was born in 1978 in Oslo, Norway and now resides and works in London. He studied at Slade School of Fine Art, UCL London. His art has been exhibited at the ‘Third Thoughts’ exhibition at CCA Andraxt, Spain curated by Barry Schwabsky and Carol Szymanski. Some of his new pieces will be shown at the ‘Multiplied: Contemporary Edition Fair’ at Christie’s, London in October 2010.

Katie Latona was born in Islip, New York in 1981, and received a BA from Fordham University in 2003. She works in a variety of media on projects for galleries and public spaces, and has exhibited nationally. From a background in painting, Katie’s practice is now predominately materials-based, and involves performance, photography, and video. Her focus has long been on using ephemeral systems to investigate language: how it circulates, and what it asks of us. She is currently an MFA candidate at the University of Illinois at Urbana-Champaign, with her degree due in 2011.

Sebastjan Leban is working in the field of art and theory. He is a co-founder and co-editor of Reartikulacija and is a lecturer of Radical Critical Analysis at the Academy of Visual Arts (AVA) in Ljubljana. His artistic practice involves the collaboration with Stas Kleindienst and the group Reartikulacija. He has exhibited in numerous national and international exhibitions, participated in many symposiums and had texts published in several different publications. He is currently enrolled in a Ph.D. program at the Institute of Philosophy at SRC of the Slovenian Academy of Sciences and Arts.

Stas Kleindienst
works in the field of art and theory in collaboration with Sebastjan Leban and is a member and a co-fouder of the group Reartikulacija. He has exhibited in numerous exhibitions in Slovenia and abroad and has had texts published in different publications. He lives and works in Ljubljana.

Max Liboiron is an artist and academic whose understandings of environmental relationships were formed growing up in rural northern Canada in an area disproportionately affected by poor environmental health, deforestation, reservation poverty, and climate change. Now a PhD candidate at New York University in Media, Culture, and Communication, Liboiron continues to work with issues of environmental sustainability—specifically, garbage— in academia while exhibiting her art in Canada and the United States.

Kim Wan is a contemporary artist working on an international platform. Recent collaborations include a self-portrait in the National Portrait Gallery, London; exhibiting work alongside Van Gogh; and public art in Bejing. Kim is a process-based artist, investigating materials and different disciplines and then developing them into more advanced and/or reconciled works. Educated at Winchester School of Art, UK, in Fine Art and trained as a painter with an artistic lineage tracing back to David Bomberg, Kim reaches beyond formal approaches to the problem of painting and embraces the new. Art insiders have described Kim Wan as being in that group of painters that includes Bacon, Freud and Auerbach. Being of Chinese-Malay and English descent, this heady mix informs Kim’s work. Not Chinese work, not English work, but both and more: informed by a far-reaching global consciousness.

www.kimwanart.wordpress.com


Shows run from September 9, 2010 to October 16, 2010
Artists talks to be scheduled. Check back!


About AC Institute: AC’s mission is to advance the understanding of art 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, 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.

Art Currents is a non-profit 501(c)3.
AC Institute
547 W. 27th St, 6th Floor New York, NY 10001 Gallery #610
www.artcurrents.org / email: info@artcurrents.org Gallery Hours: Wed., Fri. & Sat.: 1-6pm, Thurs.: 1-8pm


OPPORTUNITY

Narrative / Identity


Deadline:
Wed Sep 15, 2010 00:00

Most people are other people. Their thoughts are someone else's opinions, their lives a mimicry, their passions a quotation."
Oscar Wilde

Narrative / Identity - Open Call for group exhibition

As a means of grappling with the flux of identity, narratives are a necessary part of individual and social constructs. Whether internal or external, narratives define how we see ourselves and others.
Which facts construct our identities?
Do we have a variety of identities and what makes us change them?
Is the identity we display in public different than our private one?
What happens if we take an identity of another person?
Does an ID or passport tell the most important things about us? If you don’t have one does it mean you are invisible?
Does education and knowledge about society and politics change our identity?

For the first group show of 2011, February 3 - March 12, curated by Nicole Bebout and Sonja Hofstetter, The AC Institute seeks to investigate the ways in which narrative is used by contemporary artists to construct or demolish our ideas of self and other. Whether through guerrilla-like disruption, ambiguity or fantasy inspired story-telling, we are seeking artists who see narrative as essential to their artistic identity.

Focusing on experimental, installation, and new media work, AC seeks submissions from contemporary artists, and others, working in any medium. Artists are encouraged to submit work either already existing or as-yet unrealized that addresses the interlocking questions of narrative and identity; either at the level of social practice, contemporary representation, or both.
Email submissions should be sent to submissions@artcurrents.org by Sept. 15th, 2010. Please include the following in the body of your message (not as attachments):


-A short description and/or images of the work you are proposing for our spaces


-Your standard CV and contact information


-Links to your website or other sites where materials could be viewed, if possible

NO ATTACHEMENTS PLEASE

About AC Institute:
The AC Institute exists to advance art through investigation, research and practice. It is a lab for experimentation and a forum for critical discussion. Emphasizing emerging, international, and under-represented artists, the Institute develops projects across disciplines, exhibiting work deploying a variety of strategies for critical, experiential, and performative interventions in the field of contemporary art. In addition to publishing critical writing that pushes conventional expectations of meaning and objectivity, the AC Institute realizes off-site projects taking place at the edge of the art marketplace. Committed to an integrated vision of creative practice, Art Currents creates autonomous spaces to pursue experimental work. The AC institute is non-profit 501(c)3 under the Direction of Holly Crawford.

Since moving to Chelsea in September of 2008, AC has mounted numerous exhibitions and performances, participated in the 2009 Armory show with Critical Conversations in a Limo; collaborated with over 50 artists; and worked with various cultural organizations including Rhizome and Harvestworks to pursue its mission. We provide space, programming support, and certain A/V equipment. Please see our website for more information: www.artcurrents.org.

AC Institute [Direct]
547 West 27th street, # 610, 6th floor
New York, NY 10001


EVENT

The AC Institute presents 4 new exhibitions


Dates:
Thu Jul 01, 2010 00:00 - Tue Jun 15, 2010

Immediate Release
An AC Institute [Direct Chapel] Curated Event July 1 - July 31, 2010
Opening Event: Thursday, July 1, 2010 6-8pm

Featuring:
The KIT Collaboration + Robert Saucier: Virutorium
Owen Mundy: You Never Close Your Eyes Anymore
Hannah Ross: I Have Plagiarized Jennifer Wroblewski: Get Free
Contact: info@artcurrents.org

The Kit Collaboration + Robert Saucier: Virutorium Virutorium is the second joint project by The Kit Collaboration + Robert Saucier. Their first project, named Infrasense, was a large-scale sound installation that toured 11 galleries in Canada, UK, USA and Belgium between 2004 to 2006 and dealt with the cultural economy of paranoia surrounding the word ‘virus’ in its biological (sexual), computational (coding) and capital (marketing) forms. Virutorium is an interactive robotic sound installation, a kinetic and aural work that advances themes originated in the
Infrasense project. This new project explores the extensive and pervasive cultural dynamics of the ‘virus’ and seeks to highlight how far viral systems and models are influencing bodily and computer based communication systems, modes of capitalism and socio-sexual relations, ultimately contemplating how we construct cultural memories about transient entities that we consider detrimental to our livelihoods.

Owen Mundy: You Never Close Your Eyes Anymore Owen Mundy’s artwork considers places where money and culture collide. Often involving collaboration, software and interventions, it manifests in both private and public spaces, initiating dialogue by engaging with history, vernacular forms of communication and the political order. The development of his sculptural and digital practice continues an interest in the cultural construction of meaning through mechanical means of representation. You Never Close Your Eyes Anymore is an installation that projects moving US Geological Survey (USGS) satellite images using handmade kinetic projection devices. Each device hangs from the ceiling and uses electronic components to rotate strips of satellite images on transparency in front of an LED light source. They are constructed with found materials like camera lenses and consumer by-products and mimic remote sensing devices, bomb sights and cameras in Unmanned Aerial Vehicles. The installation includes altered images from various forms of lens-based analysis on a micro and macro scale; land masses, ice sheets and images of retinas, printed on reflective silver film.

Hannah Ross: I Have Plagiarized In honor of Hal Davis' 1985 court case, Hannah Ross has taken famous contemporary works and copied them. Without altering the images in any manner, she converted the digital images to computer code, and displayed the code. There is a grey area when it comes to US copyright law; because a derivative work is allowed to attain copyright on the basis that the original was creatively altered. But the extent of alteration and what constitutes "creativity" is vague. An additional technicality is that in order to begin a derivative work, you must be granted permission by the owner: "only the owner of copyright in a work 
has the right to prepare, or to authorize someone else to create, a new version of that work." The act of creation itself is the infringement. So these works are in violation of copyright law because they are identical to the
originals, but are just read in a different visual format.

Jennifer Wroblewski: Get Free For Get Free, Jennifer Wroblewski frames "the real" as the perceived limitations inherent to life in the material world. The temporary installation investigates possibilities of finding freedom through a transcendence of the material body, and an embrace of that which is our energetic presence in the material universe. The goal of this temporary installation/wall drawing is to challenge and redefine ideas about the drawing as object by creating a site-specific, impermanent installation. The drawing is a byproduct of a performance, the casting of a spell, an offer of a different version of reality for both artist and viewer. The space becomes the body, in constant motion, externalized. Following the exhibition the walls will
be repainted, the drawing lost forever. The work cannot be preserved, framed, purchased. The work itself is fleeting, as are all moments of freedom.

Bios:
The KIT Collaboration has produced numerous interactive robotic installations for galleries and museums, sound and video projects for new-media festivals, and site-specific works for offsite locations across Europe, the Middle East, North America, Australasia, and Japan. It has also been producing internationally touring exhibitions and has been curated into group shows for galleries and biennials since its conception as a collaborative unit in 1995. Invited to undertake residencies in universities, sculpture parks, production units, to research its work, The KIT Collaboration develops its projects from a wide range of situated practices.
Robert Saucier is originally from the province of New Brunswick, and currently lives and works in Montréal, Canada, where he is a professor of sculpture and media art at the University of Québec in Montréal (UQAM). Since he began his professional practice in 1979, Saucier has produced artworks for many solo exhibitions and has been curated into group exhibitions for galleries, museums, and festivals in Canada, USA and Europe. He is an active member of Hexagram (Art and Technology Research and Development Centre) in Montréal, which funded portions of his recent research in the robotic arts.

Owen Mundy is an artist, designer and researcher. He was a photographer in the US Navy and has a BFA in Photography from Indiana University and an MFA in Visual Arts from the University of California, San Diego. He is based in Tallahassee, FL, and is an Assistant Professor in the School of Art and Design at Florida State University. His work has been shown at Transitio\_mx 03 in Mexico City, the California Center for the Arts, compactspace in Los Angeles, Golden Thread Gallery in Belfast, APEXART in New York, the Sarai Media Lab in New Dehli.

Hannah Ross was born in Washington D.C. and spent six years living abroad in Panama, Japan and the UK. She received her BFA from New York University and has completed photographic training through the Pratt Institute and the Corcoran. Ross is a multidisciplinary artist with a focus on photography who makes satirical works about the notion of ideal Americana, the influence of media and society's conventions. A majority of her inspiration derives from international cognitive studies, personal experiences, sociology and commercial trends. In looking at how society functions and grows, Ross finds links between humanity's method of thinking and its actions.

Jennifer Wroblewski is a visual artist whose work consists mainly of monumentally scaled drawing and drawing installation projects. She is the recipient of a 2009 NYFA Fellowship in Printmaking/Drawing/Book Arts. In 2008 she was selected to participate in Radius 11, The Aldrich Contemporary Art Museum’s program for emerging artists. She was a 2008-2009 recipient of and Artist Fellowship at A.I.R. Gallery in Brooklyn, during which time she had her first solo New York exhibition, "New Monuments to the AntiConcept." Her work was recently reviewed in the New York Times (December 20, 2009) and a drawing was included in Timeless: The Art of Drawing at the Morris Museum (NJ). Since 2006 Ms. Wroblewski has been an adjunct lecturer in the School of Art+Design at (SUNY) Purchase College.

About AC Institute [Direct Chapel]:
AC’s mission is to advance the understanding of art 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, 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.

Art Currents is a non-profit 501(c)3.
AC Institute [Direct Chapel] 547 W. 27th St, 5th Floor New York, NY 10001 5th Floor - #519-529, North Alcove www.artcurrents.org / email: info@artcurrents.org Gallery Hours: Wed., Fri. & Sat.: 1-6pm, Thurs.: 1-8pm


OPPORTUNITY

Exchange Value


Deadline:
Thu Jul 01, 2010 00:00

EXCHANGE VALUE

The ascent of exchange value over use value is everywhere asserted. Less attention is paid to the historical plurality of economies, structures, relationships and traditions that make up the many types of exchange. Separate from its role in producing value on the international market, issues of exchange tend to form and inform reception and cultural opinion. Exchange is not exhausted by the continuing extension of its peculiar value form, but persists, inhabiting the life-world at many moments within human organization and understanding.

In 2010 and 2011, the AC Institute takes up the link between exchange and value to explore the different manifestations of each through both open call and invited artists, writers and others. Focusing on experimental, installation, and new media work, AC seeks submissions from contemporary artists, and others, working in any medium. Artists are encourage to submit work either already existing or as-yet unrealized that addresses the interlocking questions of value and exchange; either at the level of social practice, contemporary representation, or both.

Submissions should be sent to submissions@artcurrents.org by July 1, 2010. Please include the following in the body of your message (not as attachments):


-A short description and/or images of the work you are proposing for our spaces

-Your standard CV and contact information

-Links to your website or other sites where materials could be viewed, if possible
Please do not send these items as attachments

About AC Institute:
 The AC Institute exists to advance art through investigation, research and practice. It is a lab for experimentation and a forum for critical discussion. Emphasizing emerging, international, and under-represented artists, the Institute develops projects across disciplines, exhibiting work deploying a variety of strategies for critical, experiential, and performative interventions in the field of contemporary art. In addition to publishing critical writing that pushes conventional expectations of meaning and objectivity, the AC Institute realizes off-site projects taking place at the edge of the art marketplace. Committed to an integrated vision of creative practice, Art Currents creates autonomous spaces to pursue experimental work. The AC institute is non-profit 501(c)3 under the Direction of Holly Crawford.

Since moving to Chelsea in September of 2008, AC has mounted numerous exhibitions and performances, participated in the 2009 Armory show with Critical Conversations in a Limo; collaborated with over 50 artists; and worked with various cultural organizations including Rhizome and Harvestworks to pursue its mission. We provide space, programming support, and certain A/V equipment. Please see our website for more information: www.artcurrents.org.


EVENT

The AC Institute Presents 4 New Exhibitions


Dates:
Thu Mar 25, 2010 00:00 - Fri Feb 19, 2010

The AC Institute Presents 4 New Exhibitions:
Toby Milman and Tirtza Even: Palestine Revisited
Linda Post: Approach
Apple: A group exhibition curated by John R. Neeson and Elizabeth Gower
Lawrence F. Mesich: At Work

March 25 - May 1, 2010
Opening Event: Thursday, March 25, 2010 6-8pm

Palestine Revisited:
Tirtza Even and Toby Millman each translate their experiences of personal encounters in Palestine in their collaborative exhibition, Palestine Revisited. The two projects, Once a Wall, or Ripple Remains by Tirtza Even and Access and Closure by Toby Millman each result from extensive stays in Palestine - on both sides of the borders dividing the occupied territories and Israel - during several periods spanning 1998 to 2008. These stays were translated into a body of visual and written material and include paper cutout maps, drawings, photographs, 3-D animations and video loops, as well as two individual book renderings of the same and expanded material.

The two records, in very distinct ways, aim to incorporate the images’ passage through media and through the history impacting their perception. Thus they utlizize everyday experience and history to address signs of forceful partitioning and containment beginning with the 1948 war and leading to the current construction of the wall, and most recently, the continued violent assaults in Lebanon and Gaza.

Using text that reflects on and questions the coherence and perception of the visual material, incorporating both humor and nuanced prose, the exhibition attempts to address the characteristics and consequences of the ongoing Israeli occupation on life in Palestine.

About Toby Millman:
Trained as a photographer, Toby Millman also works with printmaking, audio, drawing and paper-construction to explore issues of mapping, borders, identity, and movement as they relate to geopolitics and civil society in and around Palestine. She recently completed an artist book at the Oregon College of Art and Craft titled, Access and Closure: stories from in and out of an occupied Palestine, which is in numerous collections nationwide including the Getty Research Institute, Yale University and the School of the Art Institute of Chicago. Her work has been exhibited throughout the US and internationally.

Toby Millman received a BA from Hampshire College and a MFA from the University of Michigan. She currently lives in Detroit, Michigan.

About Tirtza Even:
A practicing video artist and documentary maker for the past ten years, Even has produced both linear and interactive video work representing the less overt manifestations of complex and sometimes extreme social/political dynamics in specific locations (e.g. Palestine, Turkey, Spain, the U.S. and Germany, among others). Her work has appeared at the Modern Art Museum, NY, at the Whitney Biennial, the Johannesburg Biennial, as well as in many other festivals, galleries and museums in the United States, Israel and Europe, and has been purchased for the permanent collection of the Museum of Modern Art (NY), the Jewish Museum (NY), the Israel Museum (Jerusalem), among others. She has been an invited guest and featured speaker at numerous conferences and university programs, including the Whitney Museum Seminar series, the Digital Flaherty Seminar, Art Pace annual panel, ACM Multimedia, The Performance Studies International conference (PSI), The Society for Literature, Science, and the Arts conference (SLSA) and others.

APPROACH:
Continuing her investigations into the sculptural application of time-based media, Linda Post creates a site-specific installation for the AC Institute’s Chapel space. APPROACH uses choreographed video to activate the long narrow room that dead-ends at an arched window. One approaches the work physically, as with sculpture. Phantom scenarios activate the simple act of walking into the space, approaching, engaging the work, and finally choosing to leave. These actions, the path available and the sound of movement in the space all become charged in the encounter.

About Linda Post:
Linda Post explores the sculptural limits of time-based media with installations that address site and viewer while avoiding spectacle. She has exhibited at MOMA, PS1, and the Sculpture Center in New York and in solo exhibitions in New York, London, and Turin, Italy. Her work is included in the publication fast forward: Media Art Sammlung Goetz. She participated in the exhibitions ‘Regarding Beauty’ at the Hirshhorn Museum, Washington, D.C.; 'NowHere' at the Louisiana Museum for Moderne Kunst, Denmark; and 'Young & Restless' at MOMA, NY.

Imaging the Apple:
In the jargon of American jazz musicians a gig was an ‘apple’, and a gig in New York City was the “big apple.” A Jazz interpretation of a standard or popular tune (in itself as iconic as an apple) takes advantage of the listener’s familiarity with the melody to elucidate improvisation. Artists, using different media, have reflected on the mundane image or word, and finding pictorial associations with it, the matching is rational or (in the tradition of Dada and Surrealism) paradoxical.

Curated by John R. Neeson and Elizabeth Gower, Imaging the Apple features the work of 60 artists, including Yoko Ono’s celebrated Apple. The group show presents apple themed artwork, each piece no larger than 12 cubic inches, in a multimedia installation on the AC’s temporary 6th floor exhibition space.

Imaging the Apple will be accompanied by a catalogue (documenting the works and including a project essay) published by AC and distributed by Amazon and Barnes & Noble.

Imaging the Apple has received a grant through the Dame Joan Sutherland Fund from the Australian American Association.
The Melbourne based art materials company Chapman & Bailey have also provided generous in kind support.

At Work:My work explores the dynamic relationships between bodies, behavior and the built environment. At Work investigates the specific relationship between the interstitial spaces of institutional interiors -lobbies, waiting areas, and hallways - and the routines of the people employed to inhabit them. The piece consists of video monitors mounted in enclosures that mimic the infrastructure of spaces they inhabit. The spaces depicted in the videos are at once foreign and familiar, reminding us of many different spaces while remaining essentially unplaceable. The behaviors depicted, the repetitive and unconscious actions that occur in the ‘down time’ of a work day, are similarly familiar and alienating. The repetition of these familiar architectural tropes and physical gestures creates a zone of liminal discomfort; the normally ignorable or invisible spaces and gestures are given explicit focus. Simultaneously, the monitor enclosures reemphasize the invisibleness and mundanity of those spaces and gestures. This tension implicates the viewer, asking them to reevaluate the spaces they inhabit and the behaviors those spaces help engender.

About Lawrence F. Mesich:
Lawrence Mesich's media work explores the political and social ramifications of intersections between bodies, the built environment, and unconscious human behavior. Most recently, he has created videos and installations that document his often eccentric relationships to institutional interiors. His work has been shown in several US cities including Chicago and New York, and his performances have occurred in public spaces throughout the US, much to the delight, outrage and bewilderment of passers-by.

Lawrence was born in Chattanooga, Tennessee. His fascination with and exploration of the spaces created by the city's rapid development and abandoned industrial infrastructure continue to inform his work.

About AC Institute [Direct Chapel]: AC’s mission is to advance the understanding of art 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, 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.

Art Currents is a non-profit 501(c)3. AC Institute [Direct Chapel] 547 W. 27th St, 5th Floor New York, NY 10001 5th Floor - #519-529 & North Alcove
www.artcurrents.org / email: info@artcurrents.org Gallery Hours: Wed., Fri. & Sat.: 1-6pm, Thurs.: 1-8pm