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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The AC Institute presents 4 new exhibitions

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

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.

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


Exchange Value

Thu Jul 01, 2010 00:00


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.


The AC Institute Presents 4 New Exhibitions

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.

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


Orphans Offered Up

Thu Feb 04, 2010 00:00 - Fri Jan 22, 2010

Call for Participation...

Orphans Offered Up

a project by Holly Crawford

February 4-March 6,
547 W. 27th St, 5th Floor (suite 500)
Hrs: 1-6 pm
NY, NY 10001
Opening Feb. 4 6-8 pm

“But, art as a practical precedent is forever young and physically here with us. Works of art, as theoretical constructs, hold their place in a field of knowledge. As historical artifacts, they speak of ancestry and parental origins. As practical precedents, works of art are orphans, ready to be adopted, nurtured and groomed to the needs to any astonishing new circumstances.”—Dave Hickey, “Orphans,” Art in America, January 2009

What will you offer? What will you sacrifice?

Orphans Offered Up is participation installation evolve in a space that was formerly an art gallery that is now empty.

Orphans that I’m offering up are a series of conceptual oil paintings on canvas that are very small, 4" x 4". They’re intimate. They are fragments that appear to be abstractions. They are offered up in several different ways.

Offer is defined as: act of worship or devotion: sacrifice; to present for acceptance or rejection; to propose or suggest; to try or begin to resist; to threaten; to make available; to present in performance or exhibition; to propose as payment; to make an attempt; to present itself; to make a proposal.

What will you offer me? Not all offers will be accepted. Suggestions: Stocks, bonds, a house, another painting, a manuscript, or something else? Something much less tangible? What are you willing to sacrifice? If you insistent on money, then the price will be determined by random walk, and that price will be a number between one and five hundred, that will be generated randomly by RANDOM.ORG, Trinity College. They provide a “random number service that generates randomness via atmospheric noise.” Numbers will stamped on a poker chip and placed in a black velvet bag that will be hung from the ceiling. Pick one, that’s your price. Use it. Trade it. Sell it. Keep it as a souvenir.

The inspirational sources for the paintings are the invisible engraving marks found in old postage stamps that belonged to my late father. These painting were first started in 2002. They are not studies. They are not miniatures. They're finished paintings. I have completed more than fifty.

What do you do with your art? What’s your relationship to art? Do you hang it on the wall or put in storage? Relationships with art: Baldessari burnt them; Van Gogh shoved them under Theo’s bed.

Ask people to suggest a name by writing it on a post-its and then placing that post-it around the painting. The images and suggested names will be documented along with what I was offered. Names maybe also submitted by email. Peter Selz has already done just that.
I would like to thank the Pinetree Group for the offer of the space for this project.

Holly Crawford, NYC 2010



Gallery Exhibitions: Strange Skies, 1Bird2Birds3Birds, Salzburg Bough

Thu Feb 04, 2010 00:00 - Fri Dec 18, 2009

The AC Presents 3 New Exhibitions:
Jonathon Keats: Strange Skies
Ardan Özmenoğlu: 1Bird2Birds3Birds
Elise Rasmussen: Salzburg Bough

February 4, 2010 - March 13, 2010
Opening Event: Thursday, Febrary 4, 2010 6-8pm


About Strange Skies:
Directed and Produced by Jonathon Keats
Plants have roots. As a consequence of this simple fact, they do not travel naturally, lacking the chance to experience the world's vast diversity, and even missing out on the many subcultures and microclimates of New York City. In order to let flora encounter distant realms vicariously, conceptual artist Jonathon Keats presents a series of travel documentaries specifically targeted to the plant kingdom.
Given their ability to perform photosynthesis, plants are a fit audience for cinema. These travel documentaries exploit that affinity, screening onto plants' leaves a selection of skies - the ultimate botanical tourist attraction - filmed in the United States and Europe. Since plants do not have human eyesight, and perceive light only in aggregate, footage is projected onto a scrim which diffuses the picture, streaming subtly changing tints of blue onto the foliage below.
Strange Skies will be screened for a select botanical audience at the AC Institute from February 4th through March 13th, 2010. People are also invited to visit. But of course, human experience will be second-hand: Strange Skies is presented for the entertainment of plants.

About Jonathon Keats:
Jonathon Keats is a conceptual artist, fabulist and critic residing in San Francisco and Northern Italy.
Recently, he choreographed the first ballet for honeybees at Yerba Buena Center for the Arts. He has also exhibited extraterrestrial abstract artwork at the Judah L. Magnes Museum, unveiled a prototype Ouija voting booth for the 2008 election at the Berkeley Art Museum, and attempted to genetically engineer God in collaboration with scientists at the University of California, Berkeley.
Exhibited internationally, his projects have been documented by PBS, NPR, and the BBC World Service, garnering favorable attention in periodicals ranging from The Washington Post and The Wall Street Journal, to Nature and New Scientist, to Flash Art and ArtUS. He is the recipient of fellowships from Yaddo and the MacDowell Colony, and is represented by Modernism Gallery, San Francisco, CA.

About 1Bird2Birds3Birds:
The foundation of my art springs forth from the idea of repetition as it investigates the process of image consumption, history and permanence in relation to mass production, ritual and accompanying psychological states. My investigation into our consumption of images splits off into two independent yet complimentary impulses. In some of my pieces, repetition provides social commentary; in others, it conjures a feeling of ritual and a more personal space for a contemplative mood.

I subject images to reproduction on that most ubiquitous yet disposable of modern conveniences, the Post-it note. Social commentary enters into the experience as the images eventually curl and fall away.

My approach to my art and its sources has been and will always be contemporary in the extreme: my investigation into image coexists with aesthetic gestures that challenge, provoke and invite.

About Ardan Özmenoğlu:
Ardan Özmenoğlu, born in Turkey,in 1979, lives and works in Istanbul and New York. She obtained her BFA in Landscape Architecture and Urban Design as well as her MFA in Graphic Design from Bilkent University, Turkey. She was an Artist in Residence at Kala Art Institute in Berkeley, Ateliergemeinschaft Milchhof e.V. Berlin and Frans Maserell Centrum in Belgium. She contributed to several exhibitions since 2002.

Her recent projects are site-specific screen print installations, which incorporate architecture and sculpture, using materials such as glass and post-it notes. The transparent sculptures by Özmenoğlu show an extraordinary glimpse inside the body. At the interface between printmaking and sculpture, three-dimensional, portraits come into being.

Since her first solo exhibition in Istanbul and the second in Berlin in 2008, Ardan Özmenoğlu tirelessly continues to carve a unique place for herself in the art world, somewhere in between the disciplines of sculpture and printmaking.

About Salzburg Bough:
“At the salt mines of Hallein near Salzburg the miners throw a leafless wintry bough into one of the abandoned workings. Two or three months later, through the effect of waters saturated with salt which soak the bough and then let it dry as they recede, the miners find it covered with a shiny deposit of crystals.”
—Stendhal, On Love, 1822

The Salzburg Bough takes its inspiration from the chapter in Stendhal’s book describing "crystallization," the most important stage in the act of falling in love. This metaphorical term describes attraction as being the shimmering crystals encrusted on an otherwise ordinary leafless bough. The piece was originally installed in the former salt factory in Hallein that inspired Stendhal's writing and is re-created for this exhibition.

About Elise Rasmussen:
Elise Rasmussen (b. 1977, Edmonton, Canada) first honored her franco-philia at the age of ten by proclaiming she would go by her middle name Elise. She continues to indulge her penchant for French culture by spending time in cafes, using Garamond typeface whenever possible, and creating projects inspired by New Wave cinema and the French Revolution. In addition to these pursuits, her works explore many themes including the relationship between salt and love, and how art makes people sick.

Elise received her MFA from the School of the Art Institute of Chicago in 2007. She has exhibited in the United States, Canada, Austria and Germany. Elise lives in Brooklyn, NY and is currently working on a project that investigates reasons why the Atlantic Ocean is ruining her love life, and the legacy of the Cod Fishery and Beothuk cultures on contemporary identity in Newfoundland.

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