The hybrid nature of her artwork in the moving image eludes easy categorization. It extends from traditions of both experimental film and video art, embraces contemporary tools and materials, and explores new techniques in the creation of mostly single and multi-channel video, live cinema performance, and multimedia installation.
She and her partner Jason Jay Stevens are known as Potter-Belmar Labs, a collaborative team who have been working together in multimedia performance and installation since 1999.
Her solo and collaborative work has been shown at venues such as the the Museo de Arte Contemporáneo (Santa Fe, Argentina), San Antonio Museum of Art, Artpace (San Antonio, TX), the Sheldon Memorial Museum (Lincoln, NE), the McDonough Museum (Youngstown, OH), the Lausanne Underground Film Festival (Switzerland), the Sydney International Film Festival (Australia), Antimatter Underground Film Festival (Victoria, BC, Canada), Media Archeology Festival (Houston, TX), the Ann Arbor Film Festival (Ann Arbor, MI), PDX Film Festival (Portland, OR), Aurora Picture Show (Houston, TX), Chicago Filmmakers (Chicago, IL), Squeaky Wheel (Buffalo, NY), Los Angeles Filmforum, and Other Cinema (San Francisco, CA).
Born in Saint Paul (MN) and raised in Detroit, Raymond received her BFA in film and video from Rhode Island School of Design in 1990, and an MFA from the University of Michigan School of Art & Design in 1999. She is a Visiting Assistant Professor of Art at Oakland University in Rochester, Michigan.
Concurrent with the New Media Caucus panel Space: The New Frontier at the National CAA 2009, “@” is an exhibition that examines space and site.
With simultaneous locations in Los Angeles and Second Life (SL), “@”challenges artists to consider place & placelessness from within the context of networked culture.
The physical gallery space will be replicated within SL, featuring an actual window between the virtual and real worlds to observe and be observed.
The exhibition space will feature a floor-to-ceiling projection and a streaming video camera. This wall will serve as the interface between the Real Life (RL) in the gallery and its replication in Second Life.
The intent for “@” is to exploit the philosophically rich mirroring between RL and SL, as well as the paradoxical condition of being the observer and observed.
CALL FOR WORKS:
Three aspects to the show will be curated separately but are expected to connect conceptually:
1) installation in RL: a heterotopic space - "other space" or "alt space"- that contains the projection from SL and that can be modeled in SL. The artist is not responsible for creating the SL model.
2) video screenings: works concerning space and place vis-à-vis RL and SL. These works will be screened in an adjacent space in RL and streamed in SL
3) works based in SL that may cross RL boundaries. Objects and performances originating in SL that consider and make use of the synergistic interplay of RL/SL localities. Work may exist in either or both spaces.
Exhibition site: Southern California Institute of Architecture, Los Angeles, CA, and Seventh Eye in Second Life.
Installation will take place at the end of February
- Works may be in any medium. ( submissions must be web links)
- Physical works MAY be reproduced in the SL space.
- Please consider the exhibition context and propose new and existing works that fit this hybrid space.
- Links to high compression downloadable quicktime are recommended, suggested length is 3-5 minutes.
- The gallery is approximately 20' x 60' (detailed diagram available upon request)
Deadline: January 26
Please send proposals or documentation links to:
We were in town to participate in an a/v showdown for the "Unreal Tournament" at the University of Tennessee Knoxville / Downtown Gallery. We were grabbing a sushi special bite before our match against the indomitable Ed Cooper / Projexorcism and splendid Faze Exile on audio.
An animated gif I made as an in-class demo for Video Art II, inspired by Terry Gilliam's Do It Yourself Animation Show.
Eighteen years ago during the spring of 1995 on a small island in the Mississippi River off the shores of St. Paul MN at an abandoned power plant a group of artists observed Beltane using the medium of fire.
Earlier in the day, I had dug a pit and assembled a stove with a sheet of salvaged stainless steel and some bricks.
Earlier in my life, I had unknowingly come to understand convection principles through observing my mom opening and closing the damper to control the heat of the kiln. When my giant pancake stove needed more heat, I intuitively pulled out a brick to create a heat transfer current that would stoke the fire thus raising the temperature of the cooking surface.
I used a snow shovel to flip the pancakes.
This laboratory-style workshop was designed to support both the study and production of experimental animation. The students studied experimental animation history and contemporary work in the field, and investigated 2D animation techniques incorporating both analog and digital strategies.
Class time was used for lectures and screenings, discussion of animated works viewed as well as readings, technical demonstrations, production and critique. The students undertook a series of structured studies and produced mid-term and final open projects.
The shortened and intensive time frame of the summer term supported an exploration of multiple teaching/learning strategies with a quick turnaround time that made for fluid modification and fine-tuning. On the flip-side, however, the compressed workload did not allow students time for post-critique revision of their work.
It was refreshing to teach a group of advanced students from a variety of disciplines including photography, painting, cinema studies, and new media. The course culminated in a final show at the laSalle Auditorium at Cranbrook Museum of Art, and featured projects made by the students as well as animations by established historic and contemporary artists, selected by the class, that we watched in class or which were posted to their blogs.
It was a great experience and I am looking forward to teaching this class again during the Winter 2013 term.
I taught three sections of beginning drawing, three sections of painting, two sections of photography, and one advanced drawing class.
At lunchtime, I would lay down behind my desk and take a nap.
Sixteen years later, I find that the three largest gourds from the study have been enduring in the garage at my parents' house all this time. Seeds and other debris rattle around inside the dried husks, punctured in places and scarred with mildew and other growths. The surfaces are worn, with lots of color, texture and character.
It is very difficult to toss them into the compost, but seems like an opportune time to usher in a new era.
Like every one of my teaching peers, I learned how to teach by teaching. There was little-to-no training. Everything I figured out came through a combination of my own experience of being a student, anything I could get my hands on to read, and trial-and-error. After sixteen years (give or take one here or there), I can definitely say that I am now a good teacher. But it didn't come easy.
The baby and I are poking around in the closet when we find some of my old business cards from UTSA in an old bag. On the backsides, I draw some pictures of things she knows. Then I remember a scene from the film version of Paul Bowles book, The Sheltering Sky.
After the female protagonist has nursed her husband through a long and drawn out episode of typhoid in the middle of nowhere in the desert, ending in his death, she lets herself drift into a situation where she is a willing detained guest of a fellow with many wives. She has a tiny suitcase of her possessions, including a travel journal that she disassembles, hanging the pages on the rafters to decorate the room of her beatific imprisonment.
The journal is a symbol of a former life, which has given way to chance encounter without a clear path or focused direction any more. I knew that having a baby was going to change my life beyond recognition. And I am grateful for it.
with an acute aptitude for synthesis. My mind impulsively infiltrates the elements of any given circumstance. It surrounds, infuses and grows connective tissue in the gaps. Organic and fecund. Solve et coagula.
This time, I asked the students to pick an artwork from Digital Art chapter 1, "Digital Technologies as Tool," and find a relationship with three non-digital artworks (one contemporary, one 20th century, one pre-20th century) through a concept, form, aesthetic, etc.
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I have become sensitive to internal energetic states of the body throughout my two decades of practicing yoga, t'ai chi, and other body disciplines. Seeing the intangible territories of inner space explicitly represented in two- and three- dimensional form is fascinating to me.
21 oil on linen, 84"x46" (frames are polyester resin, fiberglass, wood, illuminated stained glass, 126"x60")
Ovarian Kung Fu (c.1980?)
First set of questions posed to my graduate students this term:
What is your relationship to digital tools?
What do you hope to get out of the Digital Tools class?
What specific skill or tool do you plan to master this term?
So I thought it a good exercise to answer the questions myself.
Here's our assistant Leticia Rocha-Zivadinovic and me flanking a photo from the Small Town Texas exhibit at the Institute of Texan Cultures, featuring photos by UTSA president Ricardo Romo. This is the one shot in the show representing Marfa, and also happens to be, coincidentally, the site that PBL has worked out for the fall 2010 presentation of our Panorama Marfa project, for which we were awarded the Idea Fund grant.
The Church is the studios, home, and exhibition space of web designer Buck Johnston and sculptor Camp Bosworth-- an energetic, down-to-earth couple who allegedly bought the property fairly spontaneously about 5 years ago while on an excursion to Chinati Hotsprings, and moved to Marfa from Dallas. I really appreciated their straightforward and unpretentious demeanor, and am excited that we will be showing our project at their place.
Anyhow, back to San Antonio and the ITC. Potter-Belmar was on a scouting outing last week, taking in the exhibitions in consideration of an RFP that Jason is currently responding to. The Institute is a functioning historical relic built for the 1968 Hemisfair international exhibition as a showcase of the cultures of Texas. It happens to also contain a period multimedia dome, one of the only still in existence, showing the original "Faces and Places of Texas" multi-screen film and slideshow from 40+ years ago. Sounds like all of this is up to be refurbished in the near future to better reflect a contemporary outlook on culture and race.
Another important thing I want to mention is the fantastic tech assistance we had at the Egyptian! We came prepared with our gear & extra cables, but were treated to expert in-house support. Adam can remind me of our guru's name-- he exuded confidence when we decided to set up in front, and had a long run of ethernet cable(!) that we ran the video signal through. Nice to be introduced to new solutions! Let's hear it for the well-adjusted, fully capable, friendly variety of tech support people! YAY!
Here is Jason with Heights Theater owner Gus Kopriva in a storage room at his Redbud Gallery. He is showing us the 35mm film print which looks to be in great condition. For whatever reason, the print was never returned to the distributor and we got to open the cases for he first time since they were closed up over 40 years ago!
On our way home to San Antonio, we dropped by the Forbidden Gardens, a somewhat forlorn roadside attraction sporting a 1/3 size fiberglass replica of the Xi'an tomb site of Qin Shi Huang-di (along with a few full sized warriors) complete with a park employee in the tedious process of cleaning it; a miniature dilapidated model of the Forbidden City; a rather dusty exhibit of an imperial dinner table complete with imitation foodstuffs; and a room full of traditional weaponry, mostly bolted down to discourage visitors from getting overly interactive.
We flew to Detroit to spend a couple days visiting family, then hopped the Amtrak Wolverine for a 6-hour ride to Chicago. After dropping our bags in my colleague Paul Catanese's office in the Interdisciplinary Arts Department of Columbia College, we walked to the south end of Millenium Park where I sat by Lake Michigan next to the observatory on the most beautiful spring day while Jay checked out the Planetarium.
It was a real treat to have a week of good old winter up in Chicago. Over the years, the conference seems more accessible as my interests have become further defined, and my alliance with the New Media Caucus increasingly rewarding as my relationships strengthen therein.
Link to Alessandro Imperato's review in Media-N.
The Colonial Theater, where we saw the Alloy Orchestra accompany Von Sternberg's film "Underworld." This would be a great room to play! Maybe next time we get to Bethlehem.
At Syracuse University, Department of Transmedia chair, Heath Hanlin, begins our tour in the conference room.
Before I launch into my rant, I must first commend the special programs at this years festival: Mark Hosler; George Manupelli's talk; Michele Silva presenting the Bruce Connor retrospective; Pat Oleszko's performance; Remixing the Rules panel; Gerry Fialka's Ann Arbor Pioneers lecture; and the Canyon Cinema screening. As for the competition screenings, this year's opening night is a decent example of mixing up a range of styles-- my only critique there is to add something challenging. An example of problematic programming is the last half of the 'Shadows of the Night Sea,' where the works suffer from being stylistically and temporally too similar.