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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Zirkel (1+2)

Thu Mar 13, 2014 13:00 - Wed Mar 26, 2014

New York, New York
United States of America

Inspired by the notion of the human body as drawing tool – and more specifically, as compass – Zirkel (which means compass in German) is an ongoing and open-ended collaborative project by Mexican artists Vanessa Enríquez and Ilya Noé.

The artists experiment with sequences of circular bodily movements using chalk on blackboards. The possibility to erase their gestural inscriptions allows them to investigate freely and learn from the process through a continuous response to each other and the material, resulting in a graphical grammar of motion and notation that continues to be developed, re-calibrated and adapted as new types of movements are introduced into their shared drawing practice.

Through the methodical exploration of angles, rotations, extents and limitations of different joints, and the repetition of specific gestures and sequences, the artists are able to trace and overlay their particularities and differences, as well as locate and measure the subtle variations of their movements and positions across time. In other words, the artists become compasses, and their resulting drawings, videos, photographs, notations and working notes become diagnostic maps.

In the context of their exhibition at the AC Institute, Zirkel (1+2) will present a selection from their first two series of experiments.


Tell Me and Silences

Thu Mar 13, 2014 13:00 - Sat May 10, 2014

New York, New York
United States of America

Álava’s projects in the form of dialogues, verbal descriptions, rumors or random encounters, explore notions of trust and intimacy, and use language as a medium to investigate the interconnections that exist between public, private, educational and interpretative aspects of art. Her work explores the capacity that certain materials have to create a maximum by reversing a minimum. “I am intrigued by how we react to the kinds of situations where we are faced with something that looks like it is about to fall. Do we just let it go and rebuild a new structure, or do we try to balance what is mostly gone?”

Alava’s interactive installation Tell Me 2004-2014, made out of thousands of handwritten pieces of paper pinned to the wall and sensitive to the slightest air current, contains thousands of fragmented conversations maintained for the last decade between Álava and the public in the privacy of NYC art museums, where Álava has worked for twelve years as a lecturer/museum educator, leading more than two thousand gallery talks, and inviting friends to think of different ways to interact inside these communal spaces. “I am an artist intrigued by the way the general public interacts and communicates inside museums. To me, museums are ideal ecosystems and stages where differences can be discussed through dialogue, making it possible to engage with the multiple thoughts that arise from these differences and increase our knowledge via interconnected fields.” (FonteraD, 2010)

Also exhibited are Álava’s drawing series Silences 2004-2014, made underground on the subway in New York with ballpoint pen during the commute between her studio and the museums, depicting dark rooms seen through half closed/open doors.



Thu Nov 21, 2013 18:00 - Thu Nov 21, 2013

New York, New York
United States of America

WHAT: A piece of your art work that you want to destroy publicly

DATE: Thursday 11/21/13

PLACE: AC Institute

527 W. 27th St. #210
New York N.Y. 10001

TIME: 6-8 p.m. One night only.

Stump on it. Rip it. Tear it up. Get rid of it. Painting, drawing, proposals, video, photographs, mixed media, sculpture and? NO ART LEFT BEHIND.


Tracey Snelling: Nothing

Thu Dec 12, 2013 18:00 - Wed Jan 08, 2014

New York, New York
United States of America

Nothing tells the story of a young woman named Jane. She has resigned herself to a life with a man that she doesn't love and a dead-end job as a maid in a small rundown motel. Her one form of escape is to try on the lives of the guests that are staying in the rooms she cleans.

As Jane reluctantly cleans while dabbling in her role playing game, she comes face to face with her own life, in a frightening and honest way.

Set in the heat-soaked town of Twentynine Palms, the desert landscape becomes a character, and the film rides the line between art and narrative.

Written and directed by Tracey Snelling.
Courtesy of the artist and Rena Bransten Gallery.

Through the use of sculpture, photography, video, and installation, Tracey Snelling gives her impression of a place, its people and their experience. Often, the cinematic image stands in for real life as it plays out behind windows in the buildings, sometimes creating a sense of mystery, other times stressing the mundane. Snelling has shown work in museums such as Gemeentemuseum Helmond, the Netherlands; Shanghai Zendai MOMA, China; The Museum of Arts and Design, NY; Kunstmuseen Krefeld, Germany; El Museo de Arte de Banco de la Republica, Bogota; and Stenersen Museet, Oslo. She has had solo exhibitions throughout the US as well as in China, Belgium, the Netherlands, and London, and has been awarded residencies in Beijing and Shanghai. Her large-scale installation Woman on the Run was originally commissioned by Selfridges, London during Frieze 2008, and has traveled to Smack Mellon, Brooklyn; 21c Museum, Louisville; Frist, Nashville; SECCA, Winston-Salem; and the Virginia MOCA, Virginia Beach. Snelling presently has a solo exhibition at Aeroplastics Contemporary in Brussels, and will have one at Rena Bransten Gallery in San Francisco in December.


Tracey Snelling-writer, director, set design
Idan Levin-executive producer, producer
Christine No-producer
Elizabeth Guest as "Jane"
Todd Banhazl-cinematographer
John LaRosa-sound design, production sound mixer
Jeremy Castillo-editor, 2nd unit dp
Jeff Powers-gaffer
Music by Ryan Ruehlen and My Uncle is a Cannibal

Nothing premiered at the San Francisco International Film Festival 2012.


Jessica Angel: AS ABOVE, SO BELOW

Thu Dec 12, 2013 18:00 - Sat Feb 22, 2014

New York, New York
United States of America

“The ‘Strange Loop’ phenomenon occurs whenever, by moving upwards (or downwards) through levels of some hierarchical system, we unexpectedly find ourselves right back where we started.”
-Douglas Hofstadter

The solar system can easily be paralleled with the “basic” unit of matter, the atom. Operations of a colossal city are analogous to the miniature calculations of a computer. Phenomena of any system occur every instant, simultaneously, on small and large scales. I am interested in exploring these patterns and parallel realities, this duality between the vast and the minute. The deeper into the minute one goes, the closer one gets to understanding the large and vice versa.

I have chosen two specific analogies to embody the idea of the minute and the vast as equivalents 1) the relationship between the outer space and the digital information space and 2) the similarity between urban planning and computer integrated circuits.

To work around this dichotomy I will create an immersive installation that takes over the southern room of the AC Institute. I plan to “invert” these two ideas representing the “large” in a small scale and the “minute” in an outsized scale, emphasizing the concept of the strange loop and the cyclic patterns. The installation will make reference to the micro world of computers correlation with outer space phenomena.

-Jessica Angel

Jessica Angel is a visual artist living and working between Bogota and New York. Her recent and upcoming projects aim to foster cross-disciplinary initiatives. She was invited to represent Colombia as an artist in residence at the 2014 Vancouver Biennale, where she will develop a project enabling forms of collaboration among sciences, philosophy, music, art and new media. In 2013 she organized Pintura Abierta, a collaborative project that prompted the circulation of ideas about painting. In an attempt to consider this language through its practice, the creation and reflection laboratory gathered different proposals by Colombian painters by means of on-site paintings. The project took place in the Parqueadero space of the Museo del Banco de la República.

While living in New York City Jessica has been awarded the Teaching-Artist Residency at the Cooper Union, the BRIC Media Arts Fellowship (2012), City Walls with the Brooklyn Arts Council (2010) and the BOFFO Artist in Residence (2009). She has exhibited solo at Juan Salas Gallery (2012), The Museum of Modern Art of Bucaramanga (2008), at the Salamanca University Cultural Center in Bogotá (2008), at The Project Room of Los Andes University in Bogota and at Casas Riegner Gallery (2006 and 2009). Her work has been exhibited both locally and abroad in cities like Bogota, New York, Miami, Washington, Rosario, La Paz and Mexico. In 2007 she received an honorable mention at the 4th International Biennial SIART, Bolivia and at the 1st Drawing Biennial of the Americas, Mexico (2006).