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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"Live in the Limo" Armory Show Special VIP Event

Fri Mar 06, 2009 00:00 - Sun Feb 15, 2009

The AC [Institute Direct Chapel]’s unmistakable white limousine is being hosted by 3 very innovative musical artists with an array of special guest co-Hosts.

Sawako, Joseph F. Di Ponio and Benjamin Lanz will collaborate and interact with other artists, musicians, performers, poets and you. All of these characters collide during this special moment in art in our movable white salon, toasting champagne as it provides us a temporary residence. Previous projects have included: "Critical Conversations in a Limo," "Sound Art Limo" and “Flatland Limo.” As part of the 2009 Armory Show, "Live in the Limo", will run from 3-6pm on March 6th, 7th, and 8th, making half-hour journeys (6 time slots available per day), to and from the entrance of Pier 92, upper level. Please E-mail info@artcurrents.org to reserve a seat and time as space is very limited.

Tokyo/Brooklyn-based Sawako, a sound sculptor, a composer/improviser, a timeline-based artist and a signal alchemist performs an improvised work drawing on the specificities of this peculiar, yet familiar space in motion.

New York City-based composer Joseph F. Di Ponio has created a work specifically for the limousine that will engage with the social and aesthetic relationships between composer, performer, audience and venue.

Trombonist/multi-instrumentalist Benjamin Lanz, working with various mutations of his instruments, improvises a series of miniature compositions that draw on our limo as a dynamic, yet at times contradictory, organism.

Our special guest co-Hosts traverse artistic boundaries and disciplines and include: Rainer Ganahl, Martin Gantman, Elizabeth Gower, Richard Kostelanetz, Taras Polataiko, Liselot Van Der Heijden, Lee Wells and Holly Crawford.

This event is FREE and open to the public. The AC Institute, 547 W. 27th St., 5th Floor, is a 501(c)(3) and is under the Direction of Holly Crawford. This event was co-curated by Sonya Hofer.


Amor Infiniti by Elizabeth Gower

Wed Jan 21, 2009 00:00 - Wed Jan 21, 2009

AC[Institute Direct Chapel]
547 W. 27th St., 5th Floor
NY 10001

Reception 6- 8 pm January 22, 2009
January 22-February 14, 2009

AC [Direct] II presents Amor Infiniti (love of the infinite), an on¬going project of cutout paper plates by Australian artist Elizabeth Gower. Each “design” is unique, utilizing the six-point symmetry of the snowflake and the infinite variations possible within that geometric system.
Gower’s work has consistently involved the collection and collation of materials, images and data into systems of order. This collec¬tion, begun during the winter of 1997 in London, was the result of two incongruous stimuli. The first was the observation of stenciled snowflakes on storefront windows (the integration of aspects from consumer culture can be found throughout Gower’s work). And the second was the influence of “A Sense of Order” by E.H. Gombrich, which revealed the fact that after photographing 3000 snowflakes, none were found to be identical.

Gower began exploring the possibilities of a relatively simple system which would result in an infinite number of variations. Using equally elementary means, a compass, ruler, pencil and retractable blade, six-point symmetrical designs were cut into the flat circular base of paper plates. The ready-made disposable paper plate is an extension of her practice of incorporating discarded materials retrieved from the ur¬ban environment.

To date Gower has amassed approximately two thousand variations of cutout geometric designs and patterns. None are repeated, which demonstrates Pythagoras’ dictum “limit gives form to the limitless.” Like all collections, this one (and consequently this project) will never be complete.
Elizabeth Gower lives and works in Melbourne, Australia where she is currently completing a PhD from Monash University (Melbourne). Gower has exhibited in numerous solo exhibitions and participated in many major group exhibitions in Europe, U.K, United Arab Emir¬ates and throughout Australia including Museum of Contemporary Art (Sydney), Australian Centre for Contemporary Art (Melbourne), Centro per le Arti Visive (Venice), Auronzo di Cadore (Treviso), Institute of Modern Art (Brisbane), Museum of Modern Art at Heide (Melbourne), National Gallery of Victoria (Melbourne), Art Gallery of New South Wales (Sydney), Sharjah University (UAE), Gramercy Art Fair (New York) and International Contemporary Art Fair: ARCO (Madrid). Her work has been chosen for public commis¬sions for The Super Dome Olympics (Sydney), City of Port Phillip, Southbank and World Congress Centre (Melbourne) and Victorian Ministry for the Arts.

Gower has received grants and awards from Cité Internationale des Arts (Paris), Arts Victoria (Melbourne), Alliance Française Art Fellowship, Georges Art Prize as well as multiple grants for residen¬cies abroad from The Australia Council. She is currently Artist-in-residence in New York. Her work is held in collections within Europe,Australia and the United Arab Emirates such as The Australian National Gallery (Canberra), National Gallery of Victoria (Mel¬bourne), Parliament House Collection (Canberra), Queensland Uni¬versity of Technology and The University of Tasmania (Hobart).

AC is a non-profit 501(c)3
Holly Crawford, Director & Curator
Christine Licata, Gallery Manager
Sonya Hofer, AC Fellow



North Light & Fugitive Light by John R. Neeson

Thu Jan 22, 2009 00:00 - Wed Jan 21, 2009

AC[Institute Direct Chapel]
547 W. 27th St., 5th Floor
NY, NY 10001

AC is a non-profit 501(c)3

John R. Neeson's North Light and Fugitive Light
Jan 22-Feb 14, 2009
Reception Jan 22, 6- 8 pm

Hrs. Wed-Sat 1-6 & Thur 1-8 pm

Within the AC [Chapel] and along the AC [Direct] exterior walls are two site-specific installations by Australian artist John R. Neeson. Northern Light and Fugitive Light are based on the architecture, varia¬tions of light and light sources within the AC galleries. Through pre¬cise compositions of actual and painted representations of mirrors,Neeson creates mimetic representations of fragments within the internal and external spaces. Each installation requires the passage of the observer through it in order to complete the work.

In Northern Light, parallel lines of beveled, rectangular mirrors alter¬nating with tromp l’oeil representations of these mirrors, are placed on opposite walls of the AC [Chapel]. The mirrors reflect the light and architecture of the space as well as each other, while the painted representations replicate the mirrors they replace within the line. The installation fluctuates between a phenomenological and visual expe¬rience of his work and the space it occupies.
Located on the AC [Direct] exterior walls is Fugitive Light. In this installation, circular, concave mirrors sequentially reflect and distort aspects of the area and variations in the lux of it’s illumination and surrounding structures. The work is fluid, illusive, transitory and like all Neeson’s installations, specific to the site and impossible to dupli¬cate elsewhere.

Expanding upon the traditions associated with still life, landscape and portraiture, Neeson challenges reality and illusion creating an ambiguous relationship between the art and the role of the spectator. His work is influenced by the enigmatic and complex paintings The Portrait of Giovanni(?) Arnolfini and his Wife (‘The Arnolfini Portrait’) (1434) by Jan Van Eyck and Diego Velasquez’s Las Meninas (1656).

John R. Neeson lives and works in Melbourne, Australia. He has a PhD from Monash University (Melbourne) and completed post-graduate work at Royal College of Art (London). He has completed 27 venue-specific installations since 1993, in addition to numerous solo shows and major group exhibitions in Europe, U.K, Middle East and throughout Australia including Museum of Modern Art at Heide (Melbourne), Royal College of Art (London), Centre for the Arts (Hobart), University of Sydney, World’s Fair (Seville), Australian Centre for Contemporary Art (Melbourne), Museum of Contem¬porary Art (Brisbane), Gasworks (London), Fondazione Bevilaqua La Masa (Venice), Student Cultural Centres (Belgrade and Zagreb), Cité Internationale des Arts (Paris), Chameleon Contemporary Art Space (Hobart), Australian Embassy (Paris), University of Sharjah (U.A.E) and TarraWarra Museum of Art (Victoria).

He has received multiple residencies and awards including Anne & Gordon Samstag International Visual Arts Scholarship and grants from Royal College of Art (London), Australia Council (Sydney), University of Tasmania (Hobart) and University of Ballarat (Victo¬ria). Collections include: Art Bank (Sydney), National Gallery of Victoria, Australian National Gallery (Canberra), University of Tas¬mania, Geelong Art Gallery, University of Melbourne, University of Ballarat, City of Port Phillip and Mornington Regional Gallery (Victoria), Bundanon Trust (New South Wales).

Holly Crawford, Director & Curator
Christine Licata, Gallery Director
Sonya Hofer, AC Fellow


The Importance of Good Conduct by Hong-Kai Wang

Thu Jan 22, 2009 00:00 - Wed Jan 21, 2009

January 22-February 14, 2009
Opening reception January 22 6-8 pm

AC[Institute Direct Chapel]
a non-profit 501(c) 3

547 W. 27th St., 5th Floor
NY, NY 10001

hrs. Wed-Sat 1-6 Thur 8 pm

Director and Curator: Holly Crawford
Gallery Manager: Christine Licata
Fellow: Sonya Hofer

AC [Direct] I and II presents “The Importance of Good Conduct,” by Taiwanese artist Hong-Kai Wang. In her cross-disciplinary sound and audiovisual pieces, Symphony and The Broken Orchestra, Wang investigates cultural and political conformity, deconstructing the in¬fluences of social norms on the individual.

Through a re-contextualization of common sounds and spaces, Wang challenges convention and accepted behaviors. Often collaborating with visual artists, theater directors, music composers, filmmakersand choreographers, her work reveals unexpected expressions and meanings within the overlap of aesthetics and quotidian life. Filled with poignant ironies and an experimental “purposeful play” remi¬niscent of John Cage, Wang resists the prescribed confines of any situation or medium.

In AC [Direct] I, the audiovisual piece Symphony juxtaposes the con¬structs of individuality and nationality through Wang’s encounter with the Immigration Naturalization Service in Garden City, Long Island. Her mechanical interrogation is heard simultaneously over Debussy’s melodic piece, Clair de Lune, led by an anonymous conductor in silhouette. In a clash of orchestrated forced and free will, harmony and acceptance become incompatible, dissonant forces.

Located in the front of AC [Direct] II and played from a 5.1 sound system (including benches for the audience) is Wang’s The Broken Orchestra, which explores the boundaries of conventional uniformity and euphony within music’s standard complement. For this work, nine musicians separately recreated an early childhood performance of Bach’s Ave Maria by Wang and her brother. Isolated from the en¬semble and responding to the naiveté of an imperfect and distorted instrumentation, the musicians’ sensibilities were open to personal associations and idiosyncrasies. The results of their interpretations are remixed into the original recording in an eternal loop of creative chance and circumstance.

Born in Taiwan and now living and working in New York, Hong-Kai Wang has a MA in Media Studies from The New School University (New York) as well as a BA in Political Science from The National Taiwan University (Taipei). Her sound and audiovisual installations have been exhibited in Europe, Asia, Canada, the Caribbean and the United States including Taipei Biennial (Taipei), The Salon Inter¬national De Arte Digital (Havana), DiVA (Miami), The Institute of Contemporary Art (Dunaújváros, Hungary), “In-Presentable” (Madrid), “L Noche en Blanco” (Madrid), Yokohama Triennial (Yokohama), “Madrid Abierto” (Madrid), and the HOWL! Festival (New York).

Wang’s upcoming projects include a sound installation commission for the operetta Dew of Mei Wu (Taipei), an ongoing work-in-progress project in collaboration with the Taipei Women Rescue Foundation and an interdisciplinary project for the International Women Artist’s Biennale (Incheon).
Special thanks to Joshua Camp, Andy Cotton, Kathleen Edwards, Ben Gerstein, Michael Hearst, Kurt Hoffman, Ben Holmes, Meg Reichardt and Pei-Yao Wang for making The Broken Orchestra project possible.



Sun Feb 01, 2009 00:00

United States of America

Exhibition at AC [Institute Direct Chapel]

Deadline for Submission: February 1, 2009

Theme: Domestic

Media: video, single channel

Curated by: Holly Crawford, Director of AC

AC [Institute Direct Chapel]: Call to Rhizome and PAM artists of a curate a exhibition of the members’ work for a group exhibition at the AC [Direct] I gallery for the period of March 19 - April 11, 2009.

Our goal is to give Rhizome and PAM artists an offline public forum. The curatorial theme is “Domestic” and limited to video media. Important: DVD’s must be NTSC and have a maximum length of 5 minutes.

The 500 sq. ft. AC [Direct] I space contains a 5.1 sound system, projector including a screen area of 9’ x7’ and audience seating (benches).

Please send any questions or final submissions to info@artcurrents.org

About AC [Institute Direct Chapel]
Our mission is to advance the understanding of art through investigation, research and education. It is a lab and forum for experimentation and critical discussion.

Art Currents is a non-profit 501(c)3.

Gallery Hours:
Wednesday - Saturday: 1-6pm, Thursday: 1-8pm
5th Floor - #519, #529 & North Alcove

AC [Institute Direct Chapel]
547 West 27th St, #519 New York, NY 10001
website: www.artcurrents.org
email: info@artcurrents.org