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 (132) Jobs (1)
EVENT

North Light & Fugitive Light by John R. Neeson


Dates:
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


EVENT

The Importance of Good Conduct by Hong-Kai Wang


Dates:
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.


OPPORTUNITY

Domestic


Deadline:
Sun Feb 01, 2009 00:00

Location:
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


EVENT

Richard Kostelanetz: “SCRAM/BLEDS”


Dates:
Thu Dec 18, 2008 00:00 - Sat Dec 06, 2008

Location:
United States of America

AC [Chapel] presents “SCRAM/BLEDS,” December 18-January 17. Opening 6-8 pm.

This work is based on a sequence of visual poems by Richard Kostelanetz, one of America’s foremost intellectuals and prolific avant-garde artists. Enlarged in scale from its original chapbook size and offering a rare opportunity to collectively interact with the piece in a public forum, “SCRAM/BLEDS” is being exhibited as an installation for the first time since its publication (Luna Bisonte Prods, 2008).

There is no category, “ism” or area of creative expertise that is expansive or porous enough to contain to all of Kostelanetz’s work. His versatile mastery of both written and visual language through experimental, unconventional art forms is unparalleled. Through his poetic vision, the means through which we communicate experience and decipher language around us become palpable and inclusive encounters.

A versatile artist, critic, writer, editor, publisher, composer, filmmaker and holographer, Kostelanetz has been the recipient of numerous awards and grants including Fulbright fellowships, Guggenheim Foundation, the Pulitzer Foundation and the National Endowment for the Arts.

Born and raised and New York, he has contributed poems, stories, articles, reviews, and experimental prose to hundreds of magazines both in the US and abroad. He has written more than fifty books of criticism, cultural history, and creative work, in addition to editing over three dozen anthologies of art and exposition.

Among the recent books authored by him are SoHo: The Rise and Fall of an Artist’s Colony (Routledge), 3 Canadian Geniuses (Colombo), More Wordworks (Talisman), and second editions of A Dictionary of the Avant-Gardes (Schirmer/Routledge) and Conversing with Cage (Routledge).

New books edited by him include AnOther E. E. Cummings (Liveright), The Gertrude Stein Reader (Cooper Square) and Virgil Thomson: A Reader (Routledge). Long active in alternative literary publishing, he co-founded Assembling Press in 1970 and alone founded Future Press in 1977 and Archae Editions in 1978

As a media artist Kostelanetz has created language-based audiotapes, videotapes, films, and holograms that have been exhibited and broadcast around the world. Both Anthology Film Archives (New York) and Bumbershoot (Seattle) have presented retrospectives of his audiovideotapes. “Wordsand” was the title of a multimedia exhibition of art with words, numbers, and lines that toured North American universities in 1978-81. International Artists Books (Paris) mounted a retrospective of his book art in 1996.

Individual entries on Kostelanetz appear in Contemporary Poets, Contemporary Novelists, Postmodern Fiction, Baker’s Biographical Dictionary of Musicians, Reader’s Guide to Twentieth-Century Writers, the Merriam-Webster Encyclopedia of Literature, Webster’s Dictionary of American Authors, The HarperCollins Reader’s Encyclopedia of American Literature, NNDB.com, and the Encyclopedia Britannica, among other distinguished directories.

For additional information about Richard Kostelanetz please contact AC [Institute Direct Chapel] at info@artcurrents.org.

More of Kostelanetz’s work is also on view at: www.richardkostelanetz.com

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


EVENT

Michael Greathouse: What Is It That Wakes the Sleeper?


Dates:
Thu Dec 18, 2008 00:00 - Sat Dec 06, 2008

Location:
United States of America

AC[Institute Direct Chapel] is pleased to announce the exhibition of Michael Greathouse's series of videos that will run from December 18- Jan 17, 2009.

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

Opening December 18, 6-8 pm

AC [Direct] I, Michael Greathouse exhibits his most recent series of video shorts: Banquet, Valentine, Badlands, Windows, Everything Seems to Be OK..., In Dreams as well as the first showing of Incarnation. Inspired by the cinema genres of film noir and early Hollywood horror, each piece is a cinematic collage of composited, found images and sounds seamlessly integrated with 3D computer animation.

Within an infinite loop of isolated moments, Greathouse captures the surreal, oneiric storytelling reminiscent of black and white films of the ‘40s and ‘50s. Filled with ominous, asynchronous sounds, he creates dark, unsettling hyper-real images saturated with visual metaphors and non-linear associations. His experimental and conceptual narratives leave questions unanswered and the storylines implied yet never defined.

Influenced by his background in sculpture, Greathouse’s videos have the profound awareness of space along with a poignant, dreamlike clarity and form. His enigmatic and sensuous monochrome palette captures impossible places suspended in time and reality.

Born in Kansas City, and presently living in New York, Greathouse has been exhibited in numerous film festivals including the Ace Film Festival, (New York); Cannes Film Festival; Kargart International Video Festival, (Istanbul); “Videologia” (Volgograd) and the International Festival of Independent Cinematography, "KinoLev," (Lviv) where he was awarded first place in animation. He has also exhibited in the Louisiana Biennial; the Louisiana Contemporary Arts Center; the New Orleans first international biennial, “Prospect 1” as well as an upcoming exhibition in 2009 at “Die Begegnung mit der andren Art,” Museum of Contemporary Arts (Siegen).

For additional information about Michael Greathouse please contact AC [Institute Direct Chapel] at info@artcurrents.org. AC is a 501(3) c

More of Greathouse’s work is also on view at: www.michaelgreathouse.com