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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AC Institute presents ALTERNATE CURRENTS, the new Experimental Music Program

Thu Mar 31, 2011 19:00 - Thu Mar 31, 2011

New York, New York
United States of America

AC Institute presents ALTERNATE CURRENTS, the new
Experimental Music Program
Curated by Hans Tammen
Thursday , March 31 at  7 PM
Admission: $20
AC-Institute is proud to present virtuoso flutist ROBERT DICK as part of its
new Experimental Music series ALTERNATE CURRENTS. With equally deep roots in
classical music old and new and in free improvisation and new jazz, Robert Dick
has established himself as an artist who has not only mastered the flute, he
has redefined it and its music. Diverse global audiences have likened his
uncanny solo performances to “the experience of hearing a full orchestra.”
Dick’s sound can be thick chords one instant, then
chromatic percussion, then delicate whispering filigrees, then a display of
surprising power.  His performance includes flute (with his invention, the
Glissando Headjoint®), piccolo, alto flute, and bass flutes in C and F, and the
giant, stand-up contrabass flute.
The program includes original compositions for
flutes, selected from Dick’s thirty years of creating music – repertoire ranges
from the now classic Afterlight, to
the science fiction scenario of IF for
amplified bass flute in F, to the performance art combination of poetry and
acting with flute performance of everyone@universe.existence.


Unlikely Savages

Thu Mar 24, 2011 06:00 - Sat Apr 30, 2011

New York, New York
United States of America

presented by Carla Macchiavello, Ph.D. in Art History and Criticism Stony Brook
24-April 30, 2011
Unlikely Savages

presents works by seven artists that question the continuity of
the savage paradigm in relation to Latin America and the ideologies of dominion
and violence that support it. Through a dialogue of related themes (technology,
archives, violence) and mediums (video, installation, text), the exhibition
attempts to put in tension and intertwine a variety of positions regarding the
images of the uncivilized that Latin America still evokes, both from within and
without. Though savagery seems to have changed forms, leaving the colonial
world behind to reemerge as extreme violence often associated in Latin America
with political questions, oppressive regimes, revolutionaries, and more
recently drugs, the term is still deeply enmeshed with battles of dominion and
representation involving many actors. The works in this exhibition address in
either direct or veiled ways some of the convoluted relations between the
so-called first and third worlds, alluding to everyday realities and imaginary
ones through an extended notion of savagery.

The exhibition opens with a wall text by Elkin Calderón, which
introduces the contradictions of being a successful Latin American artist
dealing with themes such as violence, as in the case of the renown Colombian
artist Doris Salcedo. Through a first person narration, badly translated and
copied, Calderón plays with stereotypes regarding artistic civilized behavior.
The work enters in dialogue with the video installation by Manuela Viera-Gallo
(Chile, 1975), who posits the existence of a third world in every first world
through shards and glimpses of savage behavior. In works like “Undercover”,
ceramic black crows watch through white sacks the gallery’s visitors,
establishing an ambience of suspicion regarding others. Violence reemerges in two
video works of Alejandro Moreno (Chile), which re-conceptualize aggressive
ritual and its connection to Western fantasy and gender identity through hybrid
myths and the crude violence of sexual stereotypes (“La Chata”). Imaginary
violence is also evoked in a double video projection by Diego Lama (Peru, 1980),
where oneiric images organized in chapters explore the architecture of power influencing
the construction of a savage Latin America. This dream-like quality is
countered by the documentary works of Wilson Díaz (Colombia) that delve on the
entangled ways in which tradition, popular culture, violence, and warfare
continually displace notions of primitive and civilized behaviors. In his
drawings with a type of pencil made out of coke leaves and video “Rebeldes del
sur”, nature, resources, music, and war are joined to question the roles of
those involved in the drug conflict. The relationship between the primitive,
violence, and otherness has been central to the revisions of the archive as a
system of knowledge and the reproduction of power relations in the works of
Ernesto Salmerón (Nicaragua, 1977). Opening up the limits of knowledge neatly
classified in the archive, Salmerón brings disparate sources of external
visions concerning the Americas and some of its most complicated agents in the
video “El Danto”. In between clips, projections, and images coming from
archival interviews with the son of guerrilla leaders from Nicaragua and U.S.
supported propaganda material, a different picture of the Americas may be
glimpsed. The exhibition closes with a video and text installation by Andrés
Burbano (Colombia) in which the artist’s own expectations regarding his home
country uncivilized others clash full front with the native’s realities. Coming
full circle and joining Calderón’s initial text through its reference to language
and translation, Burbano’s installation leaves an open question regarding the
present and future relations between technology, power, minorities, and
dominant cultures in an interconnected world.
List of artists
Andrés Burbano
Elkin Calderón
Wilson Díaz
Diego Lama
Alejandro Moreno
Ernesto Salmerón
Viera-Gallo (Chile)


Paolo Javier

Sat Oct 16, 2010 00:00 - Thu Oct 14, 2010

During his residency at the Department of Micro Poetics, Queens Poet Laureate PAOLO JAVIER will complete obb a.k.a. the original brown boy, a collaborative multimedia poetry comic begun in 2006 that imagines an octopus and a catfish moving through New York City at the turn of the new millennium. Comic (book art) history, (trans)nationalism, race, and desire are among obb’s many intersections and collisions. The work also foregrounds the presence of the poetic in comic books, and experiments with it in a fragmented text built on/with/from/through illustration, cut-up, collage, video, and painting.

Javier will be joined by his collaborators ERNEST CONCEPCION, MIKE ESTABROOK, and ROBERTO JAMORA during the residency, and will exhibit the entirety of their collaboration with a talk and performance on the last day.


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

Thu Oct 28, 2010 00:00 - Fri Oct 01, 2010

The AC Institute presents three solo exhibitions on the theme of exchange and value
October 28- December 4, 2010
Opening Event: Thursday, October 28, 6-8PM

Derek Curry: Viaticus Par Eximo Sermo (money is free speech) and Tulipeo Feteo
Jennifer Gradecki: IRB# G10-02-066-01
Dima Strakovsky: The Erotic Life of XAU

Derek Curry: Viaticus Par Eximo Sermo (money is free speech) and Tulip Feteo
Derek Curry’s work aims to make people aware of their own actions as performing a function within a social system. He intends to make visible the underlying structure that dictate how people react to, or work within a paradigm or set of unquestioned assumptions. Ultimately, the goal is to provoke people to question their unarticulated presuppositions. To accept certain precepts is to give credence or power to a belief or authority. By demonstrating that those precepts are the result of a paradigmatic belief system, Curry hopes to undermine, or at least to encourage the viewer to question, that system’s authority.
Viaticus Par Eximo Sermo (money is free speech) is an installation that demonstrates how legal rulings that regard the spending of money for political campaigns as free speech effectively means that increased spending power is speech amplification. Crickets encased in a series of steel and Plexiglas boxes accompanied by a megaphone and paper money represent this relationship. Charts, diagrams, and drawings convey the history of money being legally considered free speech and illustrate how loud a cricket would be if it had the wealth of a major corporation.
Tulipa Feteo aims to cross the genes of a tulip with a carrion flower, creating a tulip that smells like rotting flesh. The tulips will be planted at sites affected by economic bubbles as a reminder of the first economic bubble, the Tulip Bubble. Presently, viewers are invited to place scratch and sniff stickers in place of the flowers.

Jennifer Gradecki: IRB# G10-02-066-01
Over the past six years, Jennifer Gradecki’s work has pulled from the histories, methodologies and values of both social science and art, often mining the darker sides of human behavior. Utilizing techniques traditionally employed by social scientists, she provides a framework that enables people to reflect on their perceptions, while questioning the belief that science and art should be exclusionary to one another. Through staged clinical lab settings, scripted performances, sculptural installations, data visualization, and both hidden and explicit data collection techniques, she investigates and displays the viewer/participant’s behavior as well as systems of power relations.
IRB# G10-02-066-01 is a participatory installation that questions the boundaries of ethics in psychological research, explores the possibility of exchange between the fields of art and psychology, and examines the social relations that a shock machine may represent or produce in a gallery setting. The piece consists of an Institutional Review Board (IRB) application for a study entitled Social Interaction as a Function of Voluntary Engagement with a Shock Machine, letters of correspondence with the IRB, two chairs flanking a small table that holds a shock machine, and a sign that explains the guidelines for participation. The letters of correspondence on display contain Gradecki’s efforts to convince the IRB that she is producing meaningful information and preserving participant autonomy. Viewers are invited to use the shock machine, which has two electrode leads and two hand-held push buttons to allow for two people to shock each other simultaneously.

Dima Strakovsky: The Erotic Life of XAU
Photograph by Robert Dickes
It is absolutely amazing that a system of global exchange can be based on a desire for a bright, yellowish, glittering metal. Gold is valuable, but its value does not originate in the realm of economics. It is beautiful, pretty, shinny and a whole list of other "fuzzy" adjectives. Until very recently gold was the cornerstone of the world financial exchange and is still used as a hedge against inflation. In short, the most vital quantitative system on the planet (finance) has at its core a qualitative value judgment.
Gold provides a perfect foil for talking about the idea of beauty and value of aesthetic judgment. In some ways it is a reflection of the system that sends the values of art (read aesthetically relevant) objects sky high. In other ways it is an embodiment of the "purest of beauties." That is, unlike artworks, it is least likely to be an object of speculative pricing; there are several international agreements to assure us that this will not happen. In this way we prop up our decision, care for it, and try to make sure that it is never questioned.
Strakovsky chooses to look at this process as a highly complex durational performance. This act is mirrored in The Erotic Life of XAU; one gram of gold is levitated using a helium balloon. For the sculpture to stay afloat and functioning, the balloon has to be refilled by the gallery staff for the
entire duration of the show.

Derek Curry was born in Pittsburgh, Pennsylvania in 1976. He received his BFA from the University of South Florida (2007) and his MFA in New Genres from UCLA in 2010. Working with a variety of material from copyright law to bacteria, Curry’s work frequently involves viewer participation, sometimes without the participants’ knowledge of their involvement. He has exhibited at the Museum of Fine Arts in St. Petersburg, FL, the Tampa Museum of Art, and The Atlantic Center for the Arts. While he has shown nationally in art galleries and museums, it is also common to find his work outside of a traditional art context in the form of public interventions. Currently, Derek lives and works in Los Angeles.

Jennifer Gradecki was born in Milwaukee, Wisconsin in 1980. As an undergraduate, she attended the University of Wisconsin-Milwaukee, earning a double major in Sculpture and Experimental Social Psychology and a minor in Art History. She earned her MFA in New Genres from UCLA in 2010. Gradecki is an emerging national artist. Her work has been exhibited in galleries, museums, and alternative spaces from Los Angeles to New York, including Crisp London Los Angeles, Cal State Long Beach, and the Milwaukee Art Museum. Gradecki has presented her psychological research at the Midwestern Psychological Association’s annual conference. In 2008, she co-curated the Wight Biennial. Gradecki can also be found performing experiments, usually uninvited, at galleries, museums, and other public places. She currently lives and works in Los Angeles.

Dmitry "Dima" Strakovsky was born in St. Petersburg, Russia in 1976. He has lived in the United States since 1988. Dima completed his MFA degree at The School of the Art Institute of Chicago's Department of Art and Technology and stayed in Chicago for several years producing art and working for various companies in the toy invention industry. In 2006 he began his full time academic career at the University of Kentucky (Lexington).
Dima's work spans across diverse media: robotic/kinetic installation, sound, video, performance and graphic arts. His work has been included in a variety of exhibitions and events at venues such as Tokyo National University of Fine Arts and Music, LA FREEWAVES 2008 and Moscow International Biennale for Young Art 2010.

Shows run from October 28, 2010 to December 4, 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


Decision Making and Output - an artist talk by Kim Wan

Fri Sep 10, 2010 00:00 - Wed Sep 01, 2010

The AC Institute presents an artist talk by Kim Wan
Friday, September 10 at 4pm

Decision Making and Output

In this talk about his installation at AC Institute, When does a gallery give away artworks?, Kim Wan will discuss his artistic practice, how the concept of the installation came into being, and the making and "defacing" of 210 individually painted one dollar bills. He will also be taking questions from the floor.

About 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)

About Kim Wan:

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.

Gallery #610
Wednesday - Saturday: 1-6PM, Thursday: 1-8PM
www.artcurrents.org / info@artcurrents.org
Art Currents is a non-profit 501(c)3