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 [ Direct ] I / II and AC [Chapel ] June 18 - July 18, 2009 Tone and Temperament - Curated by Sophie Landres

Thu Jun 18, 2009 00:00 - Thu Jun 04, 2009

AC [ Direct ] I / II and AC [Chapel ]
June 18 - July 18, 2009 / Opening: Thursday, June 18, 6-8pm

New Group Exhibition:
Tone and Temperament - Curated by Sophie Landres

AC [Institute Direct Chapel] is pleased to present Tone and Temperament, a group-exhibition that considers the temporal and expandable material of sound. Curated by Sophie Landres and in collaboration with the eight participating artists, this exhibition concentrates on sound as a condition for personal, social, political and metaphysical experience. In addition to the permanent fixtures in the gallery, performances will be scheduled to occur throughout the duration of the exhibition.

Tone and Temperament was conceived as an opportunity to explore literal and conceptual ideas of harmony versus discordance and innocence versus criminality that subsist within the framework of conflicting social norms and art historical precedents. The exhibition was regarded as a conduit for inconclusive experiments in redistricting discursive boundaries and expanding aesthetic properties. Despite sound’s reflexive predilection for interference, the participants created pieces either in response to the exhibition site or with the ambition that their work could co-exist within spatial proximity, without jeopardizing individual content. Though many of the pieces violate prevailing notions of harmony and composition, the refusal to abide is a victimless crime, motivated by a congenial faith in plurality. Allowing sound to flow without bleeding or hemorrhaging, we hope to maintain numerous elements in a constellate connection, free to generate their own alliance of possible meanings.

Chris Bors complicates the act of listening by juxtaposing pop-psychology relaxation techniques with a pop-cultural response to trauma. Jennie C. Jones stretches notes and manipulates tones to reconfigure musical history and exhume emotional content. In a sculpture that references both the harmony of the spheres and the politics of knowledge, Zach Layton uses looping phase structures to create an internally conflicting "chamber music" of the self. Audio recordings and corresponding images by Terry Nauheim describe imagined and site-specific geographies and measure the physical form of sounds against their content, examining how memory and objects are equally subject to decay. Exploring the theory of electronic voice phenomena Daniel Perlin recreates Thomas Edison’s lost schemata to build a telephone that can speak with the dead. Through the visualization and sonification of Arctic data and electromagnetic lightening transmissions, Andrea Polli and Joe Gilmore express the fragility and interconnectedness of the global ecosystem. Mike Skinner enlists the viewer’s body in acts of compositional terrorism, working with mirrors and parabolic reverberating sine waves to demonstrate how the occupation of space can be an oppositional force.

About the Curator:

Sophie Landres is an independent curator and arts writer. She was the 2007 guest curator for the Catskill Art Society (Livingston Manor, NY), was chosen for the CUE Art Foundation Young Art Critic Program in 2008 and was recently the Director of Mireille Mosler Ltd. (both New York City). Landres holds an MA in Art Criticism and Writing from the School of Visual Arts (New York City) and a BA in Political Science from the University of Iowa (Iowa City, IA). Prior to enrollment in graduate school, she was the Director of Naked Duck Gallery and facilitated various art projects throughout her tenure, such as designing the set for Dance and Process at The Kitchen and founding an after-school gallery guide program for third grade students (all New York City). She has curated exhibitions at: 3rd Ward and Supreme Trading and Art in General (both New York City) and Catskill Art Society Gallery (Livingston Manor, NY). Her writing has been published in Modern Painters, HE magazine, Degree Critical, the Performa07 Biennial catalogue, MAKE and the New York Foundation for the Arts NYFA Current magazine. She currently serves on Art in General’s Education Advisory Panel and is a contributing arts editor to MAKE[/i[.

About the Artists:

Chris Bors, Tranquility, 2009
In this work the artist reads the lyrics from Slayer’s Reign in Bloodwidely considered the best thrash metal album of all time, over appropriated relaxation music downloaded from an online health and wellness store.

Bors is a New York-based artist whose work has been exhibited at PS1 MoMA, White Columns, Envoy Gallery, Sixtyseven (Thierry Goldberg Projects), Heist Gallery and Ten in One Gallery (all New York City), Casino Luxembourg (Luxembourg) and the Videoex Festival (Zurich). Reviews and publications include, The New York Times, Time Out New York, Vogue Italia, K48 and zingmagazine. For more information visit: www.chrisbors.com.

Jennie C. Jones, MEMOREX: Authenticity, Technology, Blackness and Jouissance, 2009
Jones’ practice is bo¬¬th a comment on and a continuation of the conceptual ideology of jazz, an honoring of the deep radical legacy of its experimentation, of hybrid modernist forms, wit and the concept of riff. She attempts a merger of art history and black history within the realm of the abstract languages they construct. Consequently, Jones’ work occupies a unique space in that it aims to examine the cultural intersections of music, theory, art and ‘gadgetry’―at its core her practice also a search for neo-modernism. These notions are manifested through multi-disciplinary pieces that incorporate sound, sculpture, works on paper and site based projects.

Jones attended the Mason Gross School of the Arts at Rutgers University, where she received her Masters of Fine Art. Prior to that she attended The School of the Art Institute of Chicago as a fellowship student, receiving a Bachelors of Fine Art. Over the past decade she has participated in numerous artist residencies and fellowship programs including: The Liguria Study Center for the Arts & Humanities Fellow (Genoa); Cité Internationale des Arts (Paris); The Lower Manhattan Cultural Council Residency at the World Trade Center (New York City); and Skowhegan School of Painting and Sculpture (Skowhegan, ME). Her Artists Space (New York City) project “Simply Because You’re Near Me” was reviewed by Holland Cotter in The New York Times (February 10, 2006). In 2007 she had her first solo exhibition, Recomposing (Berlin) and participated in the group show Black Light/White Noise: Sound and Light in Contemporary Art at the Contemporary Art Museum in Houston. Her upcoming exhibition opens at the Contemporary Art Center in Atlanta this June. In 2008 she was a fellow at the Red, Bird, Blue Rockefeller Foundation’s Study Center in Bellagio, Italy, as well as a visiting artist at The American Academy in Rome. She is a 2008 Creative Capital Grant Recipient and the recipient of a William H. Johnson Award. She has works in the prestigious Deutsche Bank collection and in the collection of the law firm Weil, Gotshal & Manges. For more information visit: www.jenniecjones.com.

Zach Layton, Chamber Music, 2009
Layton is a composer, curator, guitarist and video artist based in Brooklyn with an interest in biofeedback, generative algorithms, experimental music and improvisation. His work investigates complex relationships and topologies created through the interaction of simple core elements like sine waves, minimal surfaces and kinetic visual patterns.

Layton’s work has been performed by the Cleveland Chamber Symphony and he has performed and exhibited at The Kitchen, Roulette, Joe's Pub, Diapason, Issue Project Room, Eyebeam, Bushwick Arts Project, St. Mark's Ontological Theater, DUMBO Arts Festival, New York Digital Salon, Miguel Abreu Gallery, Participant Inc., Monkeytown, Sculpture Center, Harvestworks Mixology Festival (all New York City), Art Forum Electronic Art Festival (Berlin and New York), Yerba Buena Center for the Arts (San Francisco) and many other international venues. He has worked and collaborated with Luke Dubois, Vito Acconci, Jonas Mekas, Joshua White, Tony Conrad, Bradley Eros, Andy Graydon, Nick Hallett, Matthew Ostrowski, Christine Bard, Alex Waterman, Michael Evans, Patrick Hambrect, Angie Eng, Adam Kendall, Chika Ijima, Tristan Perich and Ray Sweeten among many other artists, filmmakers, curators, musicians and friends. Layton is also founder of Brooklyn's monthly experimental music series, "Darmstadt: Classics of the Avant-Garde" co-Curated with Nick Hallett, a co-Curator and Producer of the PS1 Warmup music series and is the Managing and Technical Director of Issue Project Room. He has received grants from the Netherlands America Foundation, Turbulence, Experimental Television Center and the Jerome Foundation. Layton is a graduate of the Oberlin Conservatory and the Interactive Telecommunications Program at NYU's Tisch School of the Arts where he is also currently an Adjunct Professor. For more information visit: www.zachlaytonindustries.com.

Terry Nauheim, Propagation Seems Good Here Tonight, 2009 / Rotation (in Four Movements), 2005-2006
In Propagation Seems Good Here Tonight, animated drawings correspond with shortwave radio transmissions recorded in the AC gallery spaces. Imagery alters between illumination and dimness as if to sift through an atmosphere of random noise in the universe. This unpredictable environment, among its degrees of murk and clarity, propagates waves that bend, stretch, open, close, pack together and break apart. Rotation (in Four Movements) is a multi-channel audio/single channel video installation built from recorded and processed sound fragments of hand-cast record negatives and their corresponding recorded drawings.

Nauheim explores sound and visual relationships through digital media, drawing and installation. She has exhibited her artwork at the Bronx Museum of the Arts; the Contemporary Museum (Baltimore); Delaware Center for Contemporary Arts (Wilmington); the Drawing Room (London); Musée d’Art Contemporain (Lyon); and the Sculpture Center (Long Island City). Her work has been included in festivals including the acclaimed New York, New Sounds Festival; New York Electronic Art Festival; Artscape (Baltimore); and Biennale Musique en Scène (Lyon). She was recently distinguished as an Artist-in-Residence in Sound Art at Harvestworks (New York City, 2005); a participant in the Bronx Museum of the Arts "Artist in the Marketplace" program (2003); and a recipient of the Maryland State Arts Council Individual New Genre Artist award (2002). Her work has been featured in publications including those from Rhizome, art@radio and in Link: Science/Technology/Innovation in the Arts and Nomads Audiophile. In addition to producing her work, Ms. Nauheim teaches Computer Arts as a faculty member at New York Institute of Technology. She sits on the Board of Directors of NYC ACM Siggraph and was chair of 2008 NYC Metropolitan Area College Computer Animation Festival (MetroCAF). Terry Nauheim received her MFA in mixed media/digital arts at the University of Maryland and BFA in painting at Washington University in St. Louis, Missouri where she received a William Fett Drawing Award. She has also managed museum projects at the Contemporary Museum and the Walters Art Museum (both Baltimore). For more information visit: www.terrynauheim.com.

Daniel Perlin, Telephone to speak with the dead, 2009
From 1922 until his death in 1931, Thomas Alva Edison worked on a telephone designed to speak with the dead. Upon Edison's death, the plans as well as the phone he had designed disappeared. Searches were held both at Menlo Park as well as at his parent's home in Ohio. It is thought his assistants hid or protected the work as it has never been found. After research, finally, in 2009, his patent application schematics were discovered and the phone has been rebuilt. When properly used, it has been proven to speak with voices from beyond.

Perlin is an artist and sound designer based in New York City. He works across media creating sound, video, objects and installations. His work has been shown at the Lower Manhattan Cultural Council, The Chelsea Art Museum, Guggenheim Film, Postmaster’s Gallery, D’Amelio Terras (all New York City), TN Probe (Tokyo), Yautepec Gallery (Mexico City), Temporary Contemporary Gallery (London) and the Centre Pompidou (Paris). Recently, he has collaborated with Natalie Jermijenko on the installation For the Birds for the 2006 Whitney Biennial, Rem Koolhaas and Sanford Kwinter on the installation of Mutations and with Vito Acconci on the public sound installation Viraphone (Madrid). He has also been the sound designer for such films as Kelly Reichardt’s Old Joy, Errol Morris’ Fog Of War and Phil Morrison’s Junebug. In 2006 he completed a residency as studio artist at the Whitney Independent Study program.

Andrea Polli and Joe Gilmore, N., 2007
Polli is a digital media artist living in New Mexico. Her work addresses issues related to science and technology in contemporary society. She is interested in global systems, the real time interconnectivity of these systems and the effect of these systems on individuals. N. is a collaborative sound and visual installation by Andrea Polli (USA) and Joe Gilmore (UK) with scientific collaborator Dr. Patrick Market (USA) which takes weather monitoring data gathered from research stations in the Arctic to build an audio-visual representation of the altering climate and conditions at the North Pole.

Polli's work with science, technology and media has been presented widely in over 100 presentations, exhibitions and performances internationally. Moreover Polli’s work has been recognized by numerous grants, residencies and awards including UNESCO. Her work has been reviewed by the Los Angeles Times, Art in America, Art News and NY Arts among others. She has published two book chapters, several audio CDs, DVDs and many papers in print including those found in MIT Press and Cambridge University Press journals. For more information visit: www.andreapolli.com.

Gilmore is a UK based artist and designer and the co-creator of rand()\%, a generative net.radio station. rand()\% is entirely automated, where every program transmitted is composed in realtime by computer. His work has been presented throughout Europe including the Ars Electronica Festival (Linz, Austria). For more information visit: www.joe.qubik.com.

Mike Skinner, Bullets, 2009
Using analog staccato blasts and reflective surfaces Skinner utilizes the psychology of localization to exploit the ordinary sound source/sound receiver relationship. His bullets of sound can appear to generate from ordinary household materials such as mirrors and doors.

Utilized in this work, Holosonic Research Labs, Inc. develops and manufactures the Audio Spotlight® directional sound system which creates focused beams of sound by using a narrow beam of ultrasound as a "virtual" sound source. While ultrasound is outside the range of human hearing, this technique causes the air itself to change the ultrasound's "shape" as it travels, leading to the creation of clear sound that can be directed to a precise location. For more information visit: www.holosonics.com.

Skinner is a sound artist, record producer and drummer. Production credits include those for Scott Matthew, Kevin Devine, Vito Acconci, War Slut, The New Humans, Onelinedrawing among others. He has worked as a producer for Performa's Commission series since their first biennial in 2005 and in 2007 was the Director of Multimedia Installations at the Park Avenue Armory extension of the Whitney Biennial (both New York City) where he produced works by Marina Rosenfeld, Kembra Phaler and many others. Sound design and composition credits for artists/dancers include, Ugo Rondinone, James Drake, Glen Fogel, Helena Fredriksson, Jeremy Wade and Olof Persson. In 2006 Skinner was awarded a Jerome Foundation compositional grant which culminated in an hour-long performance of his 8\_Track\_Attack series at Roulette (New York City).

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
#519-529, New York, NY 10001
email: info@artcurrents.org
Gallery Hours: Wed, Fri. & Sat: 1-6pm, Thurs.: 1-8pm



Sat Jul 04, 2009 00:00

DEADLINE for contributions: SATURDAY 4th JULY 2009

in New York

Pan-demonium - a multi-media bricolage and bricologue exhibition curated by Gillian Whiteley

Pan-demonium exhibition/event opens THURSDAY 3rd September 2009 at AC [ Direct ] 547 West 27th St, Chelsea, New York.

AC is a non-profit lab and forum and for experimentation and critical discussion with the aim of advancing the understanding of art through investigation, research and education. It explores performative exchanges across visual, verbal and experiential disciplines. See www.artcurrents.org


Pan-demonium resonates with the current global political and economic situation - one in which the hegemonic forces of order have been overwhelmed by a dynamic of chaos and disorder, turning the world 'upside-down'. Pan-demonium aims to explore this through bringing together a cacophony of voices, sounds, text and visual imagery.

But what are the affective possibilities of disorder and noise (Michel Serres)? Does Pan-demonium offer a metaphor for a critique of global capitalism and its 'devils' - its pan-demons - in all their guises (pan-demics included)? Or might it offer a comment on the creative collective possibilities of political change and the re-mythologizing of the god Pan in a contemporary setting?

Can Pan-demonium provide a conduit to explore political and ideological implications and potentialities through bringing together a panorama of sounds, text and visual imagery?

This exhibition aims to investigate all possible understandings and interpretations. It explores randomness (John Cage), ‘sieve orders’ (Michel de Certeau) and ‘mess’ (John Law) through adopting bricolage methods and a makeshift aesthetic of presentation.

SUBMISSION: I invite you (individually or in collaboration with others) to participate in a temporary community of indisciplinary practice by creating visual, sonic and written responses to the idea of Pan-demonium. Please email them to gillian@bricolagekitchen.com See below for details. Full acknowledgment will be given to all selected contributions.

EXHIBITION : The exhibition will present selected responses in a bricolage (a multimedia installation) and an interactive bricologue - a dialogue space in which viewers will be invited to draw/write/pin up their response. A living and growing pan-archive of responses will then grow on my website. An ISBN publication will accompany and document the exhibition. This will include an introductory essay exploring historical, philosophical, political and aesthetic meanings and interpretations of Pan-demonium and implications for contemporary contexts by the artist-curator, Gillian Whiteley.

If you are interested, see below for more information and please submit a contribution. Please also inform other visual artists, soundsmiths and cultural activists about this open call.

If you want to sound me out about a contribution or have any queries, please email me, Gillian Whiteley, at gillian@bricolagekitchen.com

The Pan-demonium project acknowledges financial support from Loughborough University and AC Institute, New York.



Pan-demonium emerges from my ongoing research into bricolage and improvisatory techniques as a paradigm for research and practice (eg forthcoming book Junk : Art and the Politics of Trash (IB Tauris) and essay ‘Scavenging from margins to mainstream? Artist as bricoleur in the twenty-first century’ (University of Paris). See my website www.bricolagekitchen.com

Bricolage has various histories - from anthropological to cultural/artistic, from Claude Levi-Strauss to Steven Connor on postmodern culture. John Cage’s explorations of indeterminacy and the polarities of random/order have relevance and Michel Serres’ ideas on noise/clamour have informed the project. Serres writes about ‘fuzzy logic’ but ‘mess’ is increasingly being cited as a new paradigm in research methodology and is being transposed to other disciplines and creative practices. See John Law, After Method : Mess in Social Sciences Research, 2004

Artists, writers, musicians, activists and culture-jammers are invited to contribute visuals, sound or text-based work, in response to and provoked by the notion of Pan-demonium as, potentially, a global, contagious, affective phenomenon. Each respondent is asked to spread the 'virus' by passing the invitation to other artists and word/soundsmiths.

In the exhibition, viewers will be asked to particpate/contribute their own ideas/responses in text/visual form and create a 'bricologue' - this will be a wall on which people can pin up their thoughts/ideas jotted onto postcards and other materials supplied.

An opening event at AC Institute, Chelsea, New York on THURSDAY 3rd September 2009 with live sound improvisation performances/readings, will create a temporary space of multimedia Pan-demonia.


DEADLINE for contributions: SATURDAY 4th JULY 2009

1 Please supply a brief ‘biographical’ note about yourself (max 100 words). Please give name, association (place/institution or whatever you want), something about yourself/your practice or whatever you want.

2 Please supply a note of how you want your contribution to be credited/acknowledged.

3 Please see the technical specifications below. Please email me at gillian@bricolagekitchen.com if you have any technical queries at all.

Technical specifications:

PLEASE NOTE: In keeping with the makeshift ethic and bricolage aesthetic, low-tech methods of display and presentation will be adopted. Please send material through a file-sharing website if it has a large memory capacity. Wordlengths and parameters for images, moving image/sound are given below but these are flexible. Please note that the nature of the project means that it might not be possible to return items so please send copies and retain originals/copies.

Text: any text is acceptable - statements, quotes, remarks, aphorisms, comments, emailed text, lists, cut-ups, scribbles, doodles, scanned handwriting, graffiti, poems, rants, etc (max 500 words). All text will be printed out and pinned on the wall. Please ensure you have copyright clearance for all material.

Images: photographs, photomontage, drawings, etc. Please supply up to 5 jpegs -- please specify preferred print-size (A4, A3 preferably). If its possible to send your jpegs via a free file-sharing website (eg www.box.net), please do so. Or please copy to a CD and email me for a postal address. All images will be printed/photocopied and pinned on the wall. Please ensure you have copyright clearance for all material.

Moving Image/Video: montaged stills, found footage, clips, video etc - preferred max 20 mins. Please send this to me on DVD by post. Please email me for a postal address. Or send your work via a free file-sharing website. Please ensure you have copyright clearance for all material.

Sound: blasts, scratchings, found sound, sonic improvisation, noise, etc. Preferred short pieces - but max 20 mins. Please send this to me in WAV or AISS files in 16 bit 44.1 khz format (Please contact me if your audio is in other formats as it might be ok). Please either copy to CD and email me for a postal address or send via a free file-sharing website. Audio will be collaged and presented via headphones/listening posts. Please ensure you have copyright clearance for all material.


AC [Institute] Special Live Performance with SAWAKO - Thursday, June 11, 6-8pm

Thu Jun 11, 2009 00:00 - Thu May 21, 2009

AC [Institute] Special Live Performance with SAWAKO - Thursday, June 11, 6-8pm

AC [Institute Direct Chapel] Presents:


Thursday, June 11, 6-8pm

The AC is pleased to present Sawako as part of it’s live performance series. In an intersection and interaction between virtual, luminescent, digital, sonic and organic networks, Sawako performs in situ among Christine Sciulli’s dynamic installation planeSPACE currently occupying the AC [Direct] I gallery space.

This event is FREE and open to the public.
AC [Institute Direct Chapel]
547 West 27th Street, 5th Floor
New York, NY 10001

About the Artist:
Tokyo/Brooklyn-based Sawako is a sound sculptor, a composer and improviser, a timeline-based artist and a signal alchemist. She is a multi-faceted artist in the urban life environment who understands the value of dynamics and the power of silence. Once through the processor named Sawako, fragments of everyday life float in space vividly with a digital yet organic texture. She is interested in the soundscape, the signalscape and the mediascape of our digital era, while her activities also aim to make bridges between the public and the private, the virtual and the actual world.

She has 4 solo releases from 12k, and/OAR and Anticipate and has collaborated with a wide range of musicians such as Taylor Deupree, Andrew Deutsch, Kenneth Kirschner, Taku Sugimoto, Toshimaru Nakamura, asuna and Jacob Kirkegaard. Recent performances and events have included a feature as part of the 2009 MATA Festival and with the AC’s 2009 Armory Show special project, as well as those at: Harvestworks, Warm Up @ P.S.1, Tonic, Diapason, Issue Project Room, Roulette, Monkey Town, the Stone, Knitting Factory (all New York City); Glade Festival, Resonance FM, Institute of Contemporary Arts (all London); Loopline, Offsite (both Tokyo); MUTEK Festival (Montreal); Batofar (Paris); Corcoran Gallery (Washington D.C.); Berklee Collage of Music (Boston); UCLA Hammer Museum (Los Angeles); Kunstraum Walcheturm (Zurich); Apple Store Sinsaibashi (Osaka); m12 (Berlin); OFFF Festival (Lisbon); among other venues in the US, Europe and Japan. Sawako obtained a Master's degree in Interactive Telecommunications from New York University's Tisch School of the Arts. She was born in Nagoya, Japan and is trained in both classical piano and Japanese Nohgaku Theatre. More information about Sawako and her work can be found at: www.troncolon.com.

About the AC:
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.

Gallery Hours: Wednesday - Saturday: 1-6pm, Thursday: 1-8pm
547 West 27th Street, 5th Floor - #519-529 & North Alcove
New York, NY 10001

www.artcurrents.org /info@artcurrents.org
Art Currents is a non-profit 501(c)3


AC [Institute Direct Chapel] Openings

Thu May 07, 2009 00:00 - Sat Apr 25, 2009

AC [Institute Direct Chapel] Presents
The 3rd Anniversary of the Work’s Premiere: Thursday, May 7th between 6-8pm


Richard Kostelanetz (2006)

With Featured Performers:
Laura Barger
Holly Crawford
Margaret Lancaster
Paige Taggart
Trio: Robert Dick, Joshue Ott and Morgan Packard

The AC [ Institute Direct Chapel ] continues in its performance series offering a program of a sole work—though presented in a fashion that is decidedly not solitary. With Richard Kostelanetz’s score Openings as our starting point, we traverse discipline and media offering a glimpse into the infinitely mutable possibilities of his work. What depth Kostelanetz’s work offers, in turn also reveals much about the reader, the interpreter, the performer. As such we are pleased to present 5 multi-faceted “versions” of this work highlighting the following performers in their unique renderings and also inherent collaboration with the score: Laura Barger; Holly Crawford; Margaret Lancaster; Paige Taggart; and Trio: Robert Dick, Joshue Ott and Morgan Packard.

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.

Gallery Hours: Wednesday - Saturday: 1-6pm, Thursday: 1-8pm
547 W. 27th St, 5th Floor, New York, NY 10001
www.artcurrents.org / info@artcurrents.org
Art Currents is a non-profit 501(c)3


AC [Chapel] Presents Dan Waber: A Depiction of a Broken Allegory May 14 - June 13, 2009 / Opening: Thursday, May 14, 6-8pm

Thu May 14, 2009 00:00 - Sat Apr 25, 2009

Dan Waber: A Depiction of a Broken Allegory
AC [Chapel] presents Dan Waber’s latest series of visual poems created by taking detailed rubbings from memorial plates on-site at local churches around Northeastern Pennsylvania. Entitled A Depiction of a Broken Allegory, these works grew out of a convergence of several ongoing areas of investigation with the primary motivation serving as an attempt to come to grips, both literally and metaphorically, with the way American culture uses language to intermix concepts of memorialization with those surrounding religion and politics.

Each rubbing was made in situ, using lumber crayons on paper—a set of tools whose rich potential Waber learned through the work of, and in correspondence with, visual poet David-Baptiste Chirot. Moreover, each individual piece limits itself to the language found on a single monument, though some monuments themselves yielded multiple pieces.

The artist’s hope is that the pieces operate on such a universal level that those who view them will, from that day forward, regardless of ideological agreement or disagreement, find themselves automatically locating the “anti-language” contained within the language of monuments.

Dan Waber is a visual poet, concrete poet, sound poet, performance poet, publisher, editor, playwright and multimedia artist whose work has appeared in a kaleidoscope of places, from digital to print, from stage to classroom, from mailboxes to puppet theaters, from Harvard to Smith. His expansive artistic range has currently led him to working, as he states, “on and everywhere in-between.” More information about Waber’s work and projects can be found at www.logolalia.com.

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.

For additional information about the artists please contact AC [Institute Direct Chapel].

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