STATEMENT OF RESEARCH PROGRAM
Focus:
My creative research examines the strategies of how we perform—the systems of control we set in place, and the way we negotiate our psychological, tangible and virtual positions. I question the greater emphasis placed on physical experiences as a measure of authenticity or intimacy in an age where the boundaries between physical reality and the virtual become nearly indistinguishable. Employing broader themes such as militarism, religion, queer sexuality and technology, I expose and challenge the changing condition of bodies and psyches as they collide against each other within these often dysfunctional atmospheres. While my primary discipline is in video and other new media (including animation, sound, internet-based art [net.art], and other interactive/technology-based work), my practice is interdisciplinary and my work traverses disciplines within the field of visual art—manifesting itself in such other formats as sculpture, installation, performance, and drawing.
Major Accomplishments/Significant Contributions:
The tension/collision between the “real” and the “virtual” as they position themselves for control drives my ongoing work. In 2012, I, along with Professor James Moreno in the Department of Dance, I received a substantial Collaborative Seed Grant from the Hall Center for the Humanities at the University of Kansas. Our multi-year collaborative project, human, next, resulted in a three serialized live performances and video artworks incorporating dancers and video material that uncovered new possibilities and challenges for our 21st Century condition. While I produced all of the video and animated content and sound to complement Moreno’s choreography, the project reflects an ambition and a technical complexity of two major solo projects, conceptually intertwined in equal parts. The performances and their related video art-works have extended the reach of our collaborative research worldwide and helped establish our presence on the international stage (especially in Latin America). Likewise, as a completely self-taught animator, this project compelled me to push myself to the boundaries of my technical and conceptual capabilities leading to new and critical work.
My second major work, Impenetrable as Night, completed in 2016 after a residency in Husavík, Iceland and produced almost exclusively via the Maya 3D animation platform, takes inspiration from the landscape of northern Iceland as virtual site for a demented tactical and techno-spiritual training camp. Covert mountain-like structures in the fjord reveal themselves to be hybrids of bunker and landscape, as well as metaphors for “the closet.” Animated figures perform actions that blur the line between worship, ritual violence and queer eroticism. The iconic icelandic “hot tubs” become potential sites for some sort of sinister training activity, violent or erotic ritual. The virtuality of the space is revealed consciously via the inclusion (and revelation) of the 3D wireframe, the visible glitch, and puncturing and layering of spaces that don’t conform to conventions of believable 3D space. Drawings produced in tandem with the animation become similar ways of negotiating the physical and digital space—working back and forth between these methods and materials. Produced during the challenging a period of time when I was emerging out of the closet as a gay person the project both propelled my technical capabilities and allowed a queer vitality to enter the conversation in the work that has continued in my current projects.
At the core of my current research conversation is an exploration of what I theorize as a new kind of queer technosexuality—an identity/experience in which the supremacy of physical body-to-body contact is questioned, and virtual sexualities, and hybrid techno-body sexuality exists along a continuum of experience devoid of traditional hierarchies. This rises to the surface in my most recent finished projects, “from this side of space to the other side of the signal” and “of spectral glances [in] and [of] prophetic tremors, [not touching]”, both multi-channel video installations that incorporates virtual erotic situations which ignores the role of genitalia in favor of hand-based penetration via usb ports implanted in skins of 3D modeled characters, or via the strange “stroking” of body-like elements in the screen and physical space. Bodies and environments both “real” and “virtual” contend with this unstable system, and are perpetually interrupted by seemingly meaningless signs and symbols signs that queer the haptic perception of bodies, actions and icons. Likewise the rigidity of modernist frameworks for coding and identifying “form,” “action,” and “body” collapse in favor of a field of conceptual possibilities outside of binary perception.
My research has found success in numerous international venues over the course of my time at the University of Kansas exhibiting in over 68 exhibitions/festivals/screenings since my arrival in Fall 2012—including two solo exhibitions and a large-scale solo exhibition scheduled for May of 2018. Internationally, the work has been exhibited in Soueth Korea, Brazil, Argentina, Colombia, France, Romania, Greece, Israel, Mexico, the Netherlands, Poland, Chile, Spain, Germany, Belgium, Puerto Rico, Turkey, Croatia, Italy, Canada and the United Kingdom. Domestically, the work has been exhibited in Turlock (CA), Enfield (CT), New London (CT), Chicago (IL), Overland Park (KS), Lawrence (KS), Lowell (MA), Holyoke (MA), Kansas City (MO), Newark (NJ), Bronx (NY), New York (NY), Rockville (MD), Providence (RI), and Austin (TX). I have received multiple travel and research awards from the College of Liberal Arts and Sciences Travel Fund, the KU International Travel Fund Award, VIDEOFORMES and the Roger Shimomura Fund. I have been awarded a commission for the Missouri Bank Artboards for Fall of 2017 and was recently shortlisted for the competitive Charlotte Street Foundation Rocket Grant. I have held residencies at the Fjuk Art Centre in Husavík, Iceland, two residencies at Signal Culture in Owego, New York. I currently have a position as Artist-in-Residence in the competitive Studio Residency program of the Charlotte Street Foundation in Kansas City, which has provided me the opportunity to participate (and connect the University of Kansas) within the thriving national arts community in Kansas City.
Goals for the Next Five Years:
Building upon the successes of my current research program, over the next five years I intend to further develop a more focused and complex conversation around queer technosexuality, and the possibilities for developing this work via new interdisciplinary or experimental forms of practice. More specifically, I am interested in utilizing “the object” (in its broadest sense) as membrane for queering what we understand as “the physical erotic encounter,” while other audiovisual phenomena in the work further complicates the relationship between body, subject, object and interaction. This might take shape, for example in more tactile installation scenarios or hybrid performance/interactive environments. In addition to these works of art, I would like to further develop curatorial projects (including a screening series I am currently building in Kansas City titled Retinal Burn) as a way of engaging with larger conversations in the field beyond the scope of my own individual artwork. My work is currently under review for distribution by the Video Data Bank in Chicago and Lightcone in Paris. I aim to forge deeper connections with gallery/distribution opportunities as a way to further legitimize my research amongst a community of respected peers and to open up new possibilities for extending my international reach in exhibition and screening opportunities. I would like to further expand my practice post-tenure by participating in more international opportunities—specifically residency programs—to build my network and enable opportunities for the research to be altered by unique circumstances. However, at the core of all of this comes the continued engagement in my studio as the primary site for intellectual discovery, experimentation and new approaches towards the critical questions burning in the pit of my stomach. I am an artist, and unashamedly so, and must continue to hold myself to the rigorous standards of artmaking for the duration of my career.
MAJOR PROJECTS
from this side of space to the other side of the signal // 2017
“from this side of space to the other side of the signal” is a major project with multiple formats including a seven-channel video installation, a two-channel version of the installation and a single-channel video artwork. The project’s scope and intensity spans several years, with material for the work first begun during a residency at Signal Culture (in December of 2015) until April of 2017. The piece utilizes footage produced on unique analog equipment from the early history of video, and emerges from a nod to Michael Snow’s iconic structural film La Région Centrale. Virtual landscapes pumped through the analog system become caught amidst sets of “meaningless” signs/barriers and violent signals. Computer generated bodies and body parts glistening with video material generated via this system perform actions that queer the line between digital, physical and analog, homoeroticism and violence––entangled within a fragmented high-modernist grid. A voice from the other side of the signal attempts to lure the viewer into some act of connection, of crossing over, only to be perpetually interrupted by barriers of interference. The work was first installed at the Building Imagination Center in Turlock California, April 8 – May 6, 2017, and made its world premiere as a single-channel work at IN|DUST|REAL at the Museum of Ţǎrii Crişurilor, Oradea, Romania.
from this side of space to the other side of the signal // HD Video with Analog Video and 3D Animation // TRT: 09:54, 2017
PASSWORD: signal
Impenetrable as Night // HD Video with 3D animation // TRT: 08:04, 2016
PASSWORD: iceland
Impenetrable as Night // 2015-2016
Impenetrable as Night is a project begun during the Fjúk Arts Centre residency in Husavík, Iceland. Comprised of a series of drawings, and a 3D Animation the project looks towards the landscape of this relatively remote, northern region as virtual site for some demented tactical and techno-spiritual training camp. Mountain-like structures in the fjord reveal themselves to be hybrids of bunker and landscape, and potent metaphors for “closet”. Animated figures perform actions that queer the line between worship, ritual violence and the homoerotic. The iconic icelandic “hot tubs” become sites for some sort of sinister training activity or sensually charged violent ritual. The virtuality of the space is revealed consciously via the inclusion (and revelation) of the 3D wireframe, the use of real-time rendering of individual frames screen-recorded from Maya, and puncturing and layering of spaces that don’t conform to conventions of believable 3D space.
This conversation around the virtuality of these spaces is further investigated in many of the drawings where the 3D wireframe mesh is hand drawn against structures that resemble 3D texture UVS. Other drawings in the body of work examine these hybrid bunker/mountain structures with more fluidity. Hand drawn concentric and connected lines meditate on the idea of the “forcefield” in and around these structures. In this way the act of drawing is used as a way to uncover ideas present in the animated work—working back and forth in order to discover new ways of formulating virtual objects and experiences via the understanding of the physical hand.
human, next // 2013-2016
human, next is a collaborative multimedia project by choreographer James Moreno and artist Benjamin Rosenthal that uses dancers, video projections and mobile monitors to perform the convergences and differences between virtual and physical bodies—offering new perspectives on our 21st century hybrid condition. The project incorporates three phases of live performances, as well as video reinterpretations that exist as independent single-channel video artworks. Phase I of the performance premiered at the Lied Center of Kansas in November 2013 with six dancers, and was later performed with four dancers in March of 2014 as part of the CURRENT SESSIONS in New York City. Phase II of the performance premiered with six dancers at the Lied Center of Kansas in November of 2014, and was the first phase to introduce the use of mobile monitors. Phase III premiered in November of 2015 at the Lied Center of Kansas, and along with Phase II made its Chicago debut in April 2016 as part of “Body +/-” at High Concept Labs at Mana Contemporary. Virtual bodies appear on three wireless video monitors and the cyclorama. The dancers move, obstruct, and reconfigure the monitors as they compete with the digital bodies for control of the performance space. At other times, the dancers are under the temporal and spatial control of the digital bodies. Over the course of the performance this shifting struggle for control reveals the complexity of designating the “human.” Over the course of the project, the dancer’s bodies are videotaped, at times scanned, and then manipulated, stretched, reformulated and interjected into different virtual scenarios on the cyclorama and mobile monitors that draw from the fields of video gaming, internet culture, and computer graphics. These bodies intersect with digital “stand-in” bodies that “wear” skins of constantly changing video textures, both mimicking physical experience and defying the limitations of that experience.
Human, Next: Phase One // 2014 // TRT: 12:18
Human, Next: Phase Two // 2014 // TRT: 10:32
PASSWORD: human-next
Human, Next: Phase Three // 2016 // TRT: 14:14
PASSWORD: human-next
SYNOPSES:
Human, Next: Phase One, Human, Next: Phase Two and Human, Next: Phase Three—video reinterpretations of a live dance/video/animation work by choreographer James Moreno and artist Benjamin Rosenthal—explores the convergences and differences between virtual and physical bodies, offering new perspectives on our 21-st Century hybrid condition. In Human, Next: Phase One, the systematized condition of both the virtual and physical bodies is further emphasized by the sound score, composed for the piece by Benjamin Rosenthal. Primarily extracted from existing computer “system” sounds, the audio is chopped, stretched, manipulated and reoriented, making the audio an actor, or a body, in its own right Using rhythmic and temporal structures that, at times, collapse in exhaustion, the sound mimics the visceral condition of the dancers as they compete in an arena that tests their boundaries and limits. In contrast, Human, Next: Phase Two renders the physical body supreme—virtual bodies “play” real by wearing realistic skin textures and attempting to mimic the choreographic desires of the physical bodies. The choreography emphasizes the emphasizes the capabilities of the physical body and its ability to direct the technology, while at the same time the dancers fetishize the technology—showcasing it, fusing with it, and competing with it. The sound score for the phase emerges exclusively from sounds recorded by the body that have been recomposed, manipulated and processed. In this way the sound mimics the fusion of the body and machine as expressed in both the choreography and video content of the work. In Human, Next: Phase Three the bodies of the dancers become fused with the virtual bodies as part of an elaborate techno-breathing machine. Unable to perform at equal capacities and with synchronicity, the system collapses and reveals the underlying interdependency between the will of the physical bodies and the desires of the technological system.
Oh When the Saints //
Five Channel Video Installation //
2014
Exhibited at the Jacqueline B. Charno Gallery, Kansas City Artists Coalition // May 9, 2014 – June 20, 2014
Oh When the Saints is a five-channel video installation exploring the collision of virtual militarism, religion, and the crisis of high-modernity. Animated soldiers perform as part of a network of actions that range from standard military to the pseudo-religious. Technology, as a key element, becomes an agent for spiritual transformation via actions that border on violent and cultish. Modernity and technology are worshipped, but also become responsible for this seemingly post-apocalyptic landscape.
While exhibiting characteristics superior to our physical bodies (they have the ability to defy the laws of physics, pass through solid surfaces, and wear constantly changing textures), these “drones” at the same time lack autonomy, and are subject to the aggressive mechanism of my system’s technological desires. In an act of programmed faith, individuals penetrate their virtual skins, becoming aware of the paradox of their tangible nonexistence—they dissolve.
MINOR PROJECTS
of slick skins and intermittent signals
Missouri Bank Artboards
Public Billboard Commision // Kansas City, Missouri // 2017
the Cube Art Project
Digital Billboard Project // 2017
These three looping video works are designed for the Cube Art Project in Lincoln, Nebraska and will be played on a large scale billboard in a highly visible downtown area adjacent to the stadium. My goal with these works (using material I have been working on across a range of projects) was to produce highly-visual pieces that push at the boundaries or acknowledge the “surface” of the screen space. All of the pieces are extremely bodily and acknowledge the body of the viewer on an immense scale. The “Hair Sequence” in a sense addresses the wave of the audience in the stadium while the “Touch Machine Array #1” literally pokes at the boundary between viewer and artwork. somewhat different, the “Fingers Probing” video digs into the surface of the screen/body.
x0000007B_SWITCH_BUFFERING_STANDBY_MODE
4 Channel Video/Media Installation // Dimensions Variable (approximately 5 hours) // 2014
0x0000007B_SWITCH_BUFFERING_STANDBY_MODE examines the legacy of the Holocaust through the critical lens of a physical/material absence and it juxtaposition with the ongoing presence of the virtual. While two of the monitors in the installation present fictional webcams of recently vacated interiors devoid of their former human occupants, their counterparts reveal virtual interiors and their respective avatars on standby—impatiently anticipating interaction from their makers that will never arrive. At moments in the installation these virtual environments threaten to break down and glitch-out, only to reenter their endless purgatory.
In building this work and in thinking about this legacy I was interested in the conversations established by the acuteness of the act of removing people from existence in relationship to the ephemera of those people that remains. Beryl Korot’s seminal piece Dachau (1974,four channel video installation)—juxtaposing the austerity of the architectural remnants of the camp against the presence of contemporary tourists—is the starting point for this investigation. In the work I look towards our virtual ephemera and the public-nature of our private experience as 21st century parallels to engage questions about the aftermath of this removal in a networked and data-driven culture.
Field Station #1
HD Video with 3D Animation // 03:48 (looped) // 2013
Field Station #1 is a virtual “installations” that I view as modified tactical landscapes—an essence, or idea of some sort of virtual militarized space. These 3D environments are plastered with changing video textures that both reference the inherent structure of the internet (with a nod to Frank Stella via the “browser”) and pull from game culture (in this case gaming through my own version of Guantanamo Bay—my Sims endure a hunger strike in isolated bunkers in the middle of the suburbs).This piece is designed to be seamlessly looped on a monitor or projection screen.
Accompanying this work is a grouping of drawings and a print that engage tactical ideas of the landscapes. These drawings also serve as ways of working back and forth between the physical “hand” and the hand of the computer as I strategize how these take shape. While only a single “Field Station” video has been made so far, the drawings have served as inspiration for landscapes that take place in other more developed projects.
WORK IN PROGRESS
WORKS IN PROGRESS
The following works are in various stages of completion and resolution but reflect the current state of my studio and the various directions I am looking towards as I continue to work towards my larger creative goals.
Queer Snapchat Drawings
The images to the left are examples of drawings made via snapchat using photographs sent to me on popular gay hook-up sites. Snapchat for me becomes a tool where existing emoticons can become marks and patterns, and also further obscure the identities of the sender. I am particularly interested in the fragmentation that happens via these applications where images sent between members often exist as pieces of a whole in order to protect and preserve privacy and delegitimize identity when images are circulated outside of the control of the sender (as is the case here).
Grindr Caryatids
Similarly, to the Snapchat drawings these Caryatids are based off of severed torsos sent to me via Grindr and other hook-up applications where I have interpreted my idea of the bodies in 3D sculptural form. The bodies, presented as marble are rotating and incorporate luscious hair that is both sensual and reflective or ritual and/or pageantry. Severed marble arms stroke and tease the caryatids. While the animations here are developed, they are also an example of the length of time a project may take. These animations, worked on over the course of 2016-17 may find a place in a more developed project a year or so down the road. This is similar to many of my projects where material produced and orphaned in the studio resurfaces in more developed projects once the thought process is more developed.
Seductive Bodies
These recent explorations in the studio look at the idea of flesh and touching across a broad range of bodies/parts. Fitted with skin-textures produced from my own body, these fragmented and deconstructed spaces are often outfitted with sensuous hair that responds to the probing touch by other bodies. In this way the objects reflect a queer erotic sensibility that extends beyond traditional notions of sexuality or sex-practice.
Working with more representational bodies that have been augmented with their own USB ports, I have been experimenting with taking hair to the extreme both as a seductive and ritualistic sensibility. The resulting animations, in progress towards larger more complex works, are sensual and violent, and decidedly queer.
CURRICULUM VITAE
2009-2011
University of California, Davis, MFA in Art Studio
2002-2006
Carnegie Mellon University, BFA in Art (Concentration Electronic Time-Based Media)
2005
Nagoya Zokei University of Art and Design
2018
Untitled (solo exhibition), Lawrence Art Center, Lawrence Kansas (forthcoming May 2018)
the real-fake.org.2.0, New York University, Providence, Rhode Island (forthcoming January 2018)
2017
SIGGRAPH Asia 2017, Bangkok International Trade & Exhibition Centre, Bangkok, Thailand (forthcoming November 2017)
the real-fake.org.2.0, Conversations on the Edge: School of the Art Institute of Chicago, Chicago, Illinois (forthcoming October 2017)
the real-fake.org.2.0, Rhode Island College, Providence, Rhode Island (forthcoming October 2017)
the real-fake.org.2.0, Connecticut College, New London, Connecticut (forthcoming October, 2017)
Blue Magpie Experimental Film Series, Film Center at National Chiao Tung University, Hsinchu, Taiwan(forthcoming October 2017)
North Portland Unknown Film Festival, Disjecta, Portland, Oregon (forthcoming October 2017)
Selection from: IN|DUST|REAL|Video art event, VIIIth edition, VisualcontainerTV (online), http://www.visualcontainer.net/
LINOLEUM International Contemporary Animation and Media-Art Festival, National Oleksandr Dovzhenko Centre, Kyiv, Ukraine
Missouri Bank Artboards Commission, Kansas City, MO (public billboard commission, September, October, November 2017)
Venice Film Week, La Casa del Cinema, Venice, Italy
Annual Faculty Exhibition, Art & Design Gallery, University of Kansas, Lawrence, KS (forthcoming August 2017)
Lisbon International Film Festival, (Summer 2017)
The Cube Art Project, UBT Union Bank Cube, Lincoln, NE (digital video billboard project)
Against the Screen, La Esquina, Kansas City, MO (curated by Lynnette Miranda)
Open Fracture: Catalina Ouyang and Benjamin Rosenthal, Plug Projects, Kansas City, MO ( Two-Person Exhibition)
The Palace International Film Festival, Blue Flamingo Cinema, Otmuchow, Poland
Social Photography V, Carriage Trade, New York, NY
Contemporary Landscape, CICA Museum, Gimpo-se, South Korea
IN|DUST|REAL| Video Art Event, VIIIth Edition, Museum of Ţǎrii Crişurilor, Oradea, Romania
Frame & Frequency 3 Volume II, VisArts, Rockville, Maryland
Filmideo 2017, Index Art Center, Newark, New Jersey
Spam’s the Internet: The Restaurant, The Museum of Human Achievement Studio, Austin, Texas
from this side of space to the other side of the signal, Building Imagination Center, Turlock, California (solo exhibition)
12th Athens Animfest, Trianon, Athens, Greece
Portrait, CICA Museum, Gimpo-se, South Korea
The Anti-Inauguration: An Emergency Cabaret, High Concept Labs at Mana Contemporary, Chicago, Illinois
2016
the real-fake.org.02, Bronx Art Space, Bronx, NY (forthcoming, November 2016-December 2016)
I Mostra Internacional de Dança Imagens em Movimento a Céu Aberto, Centro Cultural Palace, Ribeirão Preto, Brazil
Artist Video International: AVI Festival, Jerusalem, Israel
Intermediaciones: Muestra de Videoarte y Video Experimental, Platohedro, Medellín, Columbia
Ciclo de Cine El Páramo, El Páramo Cineclub, Paracho, Michoacán, Mexico
University of Kansas Faculty Exhibition, Lawrence Arts Center, Lawrence, Kansas
2016 Kansas City Flatfile | Digitalfile, H&R Block ARTSPACE, Kansas City, Missouri
17th cellu l’art intertnationales kurzfilmfestival, Jena, Germany
BODY + : New Works in Dance & Technology, High Concept Labs at Mana Contemporary, Chicago, Illinois
ZOOM: International Film Festival, BWA Gallery, Jelenia Góra, Poland
2015
MONS 2015 European Capital of Culture: Transnumérique Digital Culture Biennial, Mons, Belgium
ESPACIO ENTER: Festival Inernational Creatividad, Innovacíon y Cultural Digital, TEA Tenerife Espacio de las Artes, Tenerife, Canary Islands
Festival Internacional de Videodanza de Chile, Centro Cultural de España de Santiago, Santiago, Chile
Intermediaciones: Muestra de Videoarte y Video Experimental, Cámara de Commercio, Medellín, Columbia
Festival Internacional del Cortometraje FIC, Bella Vista, Argentina
Festival de Cine Experimental de Bogotá, Bogota, Colombia
Festival de Cine de Paracho, Paracho Michoacán, Mexico
Festival Internacional de Cine de Villavicencio FICVI, Villavicencio, Colombia
7th Picknic Film Festival, Santander, Spain
FILE 2015 – Electronic Language International Festival, Art Gallery of SESI at FIESP, Ruth Cardoso Cultural Center, São Paulo, Brazil
VIDEOFORMES 2015: Transnumérique Awards, Maison de la Culture, Clermont-Ferrand, France
Internationale Kurzfilmwoche Regensburg: Plattenfilme, Ostentor Kino, Regensburg, Germany
2014
222Lodge #25: The Drift, Singel 222, Dordrecht, NL
University Dance Company, Fall Concert, Lied Center for the Performing Arts, Lawrence, KS
Social Photography IV, Emily Harvey Foundation, New York, NY
Presentazione Festival Video Arte Viareggio, La Galleria d’Arte Moderna e Contemporanea Lorenzo Viani, Viareggio, Italy
Annual Faculty Exhibition, Art & Design Gallery, University of Kansas, Lawrence, KS
art+science: Collaborative research at the University of Kansas. KU Libraries, Watson Library Gallery, Lawrence, KS
Toronto Urban Film Festival, St. Andrews Station TTC, Toronto, Canada
Future Identities – Bodies . Places . Spaces, Palazzo Albrizzi, Venice, Italy
Speculation(elation) 5: Tooth and Nail, Parsons Hall Project Space, Holyoke, MA
Backup_festival, Bauhaus-Universität, Weimar, Germany
Oh When the Saints, Charno Gallery—Kansas City Artists Coalition, Kansas City, MO (solo)
PrintScreen Festival 2014: Forgetting in the Age of New Media, Holon Mediatheque, Holon, Israel
Looking At After: Four Contemporary Artists Reflect on Legacy, Epsten Gallery – Kansas City Jewish Museum of Contemporary Art, Overland Park, KS
Tooth and Nail, Vanity Projects, New York, NY
9th Athens Animfest – International Animation Festival, the Greek Film Archive, Athens, Greece
Project LALO: Hello, L.A., studio 1.1, London, United Kingdom
the CURRENT SESSIONS: Volume IV, Issue 1, the wild project, New York, NY
2013
PaperTrail, Asnuntuck Community College, Enfied CT
University Dance Company, Fall Concert, Lied Center for the Performing Arts, Lawrence, KS
ESPACIO ENTER: Festival Inernational Creatividad, Innovacíon y Cultural Digital, TEA Tenerife Espacio de las Artes, Tenerife, Canary Islands
Annual Faculty Exhibition, Art & Design Gallery, University of Kansas, Lawrence, KS
Digital Art: Printmaking 2013, Lowell Technology Corporation, Lowell, MA
VIAL, Museo de Arte de Puerto Rico, San Juan, Puerto Rico
2012
Web Biennial 2012: Occupy Content, online (via Istanbul Contemporary Art Museum, Is.CAM)
Annual Faculty Exhibition, Lawrence Arts Center, Lawrence, KS
FILE 2012 – Electronic Language International Festival, Art Gallery of SESI at FIESP, Ruth Cardoso Cultural Center, São Paulo, Brazil
Re: REFERENDUM, New Media Gallery, Stara Gradska Vijecnica, Split, Croatia
25th Stuttgarter Filmwinter: Festival for Expanded Media, Filmhaus Stuttgart, Stuttgart, Germany (catalog)
2011
15th International Video Festival VIDEOMEDEJA, Museum of Contemporary Art of Vojvodina, Novi Sad, Serbia
Social Photography II, Carriage Trade, New York, NY
I am not a Poet, TotalKunst Gallery, Edinburgh, UK
The House of Others: 2011 MFA Exhibition, The Nelson Gallery, Davis, CA (catalog)
2010
Great Expectations, University Club, Davis, CA
The TV Show, Tangent Gallery, Sacramento, CA
DA Fest 2010, National Academy of Art, Sofia, Bulgaria
Videopolis, The Metro Gallery, Baltimore, MD
2nd Viareggio Art Project, Villa Paolina Bonaparte Museum, Viareggio, Italy
2009
Found Footage!, VideoChannel Cologne
2008
Here Today, Gone Tomorrow, FstForward>>, Antwerp, Belgium
Caught Looking, PNC Park, Pittsburgh, PA
2007
Web Biennial 2007, Presented by the Istanbul Contemporary Art Museum (IsCAM)
2006
ARTSCOOL, Regina Gouger Miller Gallery, Carnegie Mellon University, Pittsburgh, PA
VIPER International Festival for Film, Video, and New Media, Kunsthalle Basel, Basel, Switzerland
2005
InExchange, Olive Tjaden Gallery, Cornell University, Ithaca, NY
A Mnemonic Device, ModernFormations Gallery, Pittsburgh, PA
Snapshots, The Frame Gallery, Pittsburgh, PA
Re: Public Works, Goodwill 6 (and other locations), Nagoya, Japan
12 Quarters Video Festival, The Tannery, Milwaukee, WI
Untitled (Collaboration With Josh Atlas), Ellis Gallery, Carnegie Mellon University, Pittsburgh, PA
2004
Revolutions (Performance), Skibo Gymnasium, Pittsburgh, PA
Believe in Things and They Will Believe in You, Ox Bow Gallery, Saugatuck, MI
Presence, Ellis Gallery, Carnegie Mellon University, Pittsburgh, PA
2017 Rocket Grant, Charlotte Street Foundation (semi-finalist)
2017 Roger Shimomura Fund – Exhibition in Turlock, CA ($1400)
2017 College of Liberal Arts and Sciences Travel Fund Award – Exhibition in Turlock, CA ($1200)
2015 College of Liberal Arts and Sciences Travel Fund Award – Fjúk Arts Centre Residency ($1200)
2015 KU International Travel Fund Award – Fjúk Arts Centre Residency ($1000)
2015 College of Liberal Arts and Sciences Travel Fund Award – FILE Festival, São Paulo, Brazil ($1200)
2015 Laureate/Winner: Transnumérique Awards, VIDEOFORMES 2015
2014 Best Experimental Film Award, Toronto Urban Film Festival
2013 New Faculty General Research Fund Grant, University of Kansas ($8000)
2013 Interdisciplinary Collaborative Seed Grant, Hall Center for the Humanites, University of Kansas ($15,000)
2012 Expanded Media Prize for Network Culture (1st place) –25th Stuttgarter Filmwinter, Stuttgart, Germany – Jury: René Bauer, M+M, Sandra Fauconnier
2011 The Pixelstorm-Award (3rd Place) for www.administrativemaximum.net
2011 Nelson ARTfriends Award, Nelson Gallery, University of California, Davis
2010 Freemon P. Gadberry Award, University of California, Davis 2009 Freemon P. Gadberry Award, University of California, Davis
2009 Graduate Scholars Fellowship, UC Regents & University of California, Davis
2006 Andrew Carnegie Scholar, Carnegie Mellon University
2004 Ox-Bow School of Art Fellowship Recipient, Carnegie Mellon University
2003 SURG Summer Fellowship, Carnegie Mellon University
2002 Dedalus Foundation Scholarship for Art History
2016-2018 Charlotte Street Foundation Studio Residency (September 2017-August 2018)
2017 Signal Culture Artist in Residence – Owego, New York (July 2017)
2016-2017 Charlotte Street Foundation Studio Residency (September 2016-August 2017)
2015 Signal Culture Artist in Residence – Owego, New York (December 2015)
2015 Fjúk Arts Centre – Husavík, Iceland (June 2015-August 2015
2017 – Moderator for Crit Night, Plug Projects, Kansas City, MO
2017 – Video Production Workshop, Charlotte Street Foundation Studio Residency Program, Kansas City, MO
2017 – Artist Talk, Building Imagination Center at Art Space on Main, Stanislaus State University, Turlock, CA
2016 – Slide Slam, Charlotte Street Foundation Residency Program, La Esquina Gallery
2015 – Practice-Based Project Speaker, human, next, “Hybrid practices in the arts, sciences, and technology from the 1960s to today.” Conference, Spencer Museum of Art, University of Kansas – March 2015
2015 – Practice-based Projects: human, next, “Hybrid practices in the arts, sciences, and technology from the 1960s to today.” Conference, Spencer Museum of Art, University of Kansas – March 2015
2015 – Discussant, “Hybrid practices in the arts, sciences, and technology from the 1960s to today.” Conference, Spencer Museum of Art, University of Kansas – March 2015
2013 – “All Quiet on the [Virtual] Front: Traversing the Physical/Digital Divide,” – Digital Humanities Seminar, Hall Center for the Humanities, University of Kansas – February 2013
2012 – Lecture and Workshop, New Media Classes and Graduate Seminar—Professor Rachel Clarke, Sacramento State University – March 2012
2012 – Gallery Talk, 25th Stuttgarter Filmwinter, Filmhaus, Stuttgart – January 2012
2011 – Gallery Talk at The House of Others, The Nelson Gallery, Univ. of California, Davis – June 2011
2017 – Founding Member: Kansas City Queerlective (KCQ), an alliance/community of LGBTQIA+ artists in the Kansas City region.
2016 – Regional Juror – Rocket Grants, Charlotte Street Foundation
2014-15 – Planning Committee – Spencer Museum of Art/ARC Project – Conference [Hybrid practices in the arts, sciences, and technology from the 1960s to today] – Arts Research Collaboration Initiative.
2014 – Peer-Reviewer, University of Missouri Research Board
Newspapers
Self, Dana. “Four Jewish artists reflect on the Holocaust in exhibit at Epsten Gallery” 0x0000007B_Switch_Buffering_Standby_Mode, The Kansas City Star. Kansas City, MO, United States. Newspaper. http://www.kansascity.com/entertainment/visual-arts/article346368/Four-Jewish-artists-reflect-on-the-Holocaust-in-exhibit-at-Epsten-Gallery.html#/tabPane=tabs-7c214ad6-1 (April 23, 2014)
Haasis, Bernd. “Staub wird zu Sternschnuppen” “Administrative Maximum: Towards the End of the Broadcast” Stuttgarter Nachrichten. Stuttgart, Germany. Newspaper. http://www.stuttgarter-nachrichten.de/inhalt.filmwinter-staub-wird-zu-sternschnuppen.dae55ce1-cddf-4e19-b713-0a511cf9c1e0.html (January 23, 2012)
Websites/Blogs
Gardner, Phillip. “The Currents Sessions: Volume IV, Issue 1” human, next, Oberon’s Grove. blog. http://oberon481.typepad.com/oberons_grove/2014/03/the-current-sessions-volume-iv-issue-1.html (March 10, 2014)(NOTE: Author name not listed in blog)
August 2012-Present – Assistant Professor of Expanded Media (tenure-track) – University of Kansas, Dept. of Visual Art
Courses Taught: Video and Time-Based Media I/II, Fundamentals of Expanded Media, Performance Art I/II, Special Topics: Technoscientificultural Fusion: Interdisciplinary Collaboration in the Expanded Field, Special Topics: Culture Out of Bounds: Creative Production Outside of the Frame, Special Topics: Technocultural Tactics: Experimental Approaches to Animation, Performance and Hybrid Media.
Graduate Thesis Committees:
FY 2017–2018
Juan José Castaño Márquez – M.F.A. Expanded Media (CHAIR)
Spencer Dickerson – M.F.A. Metalsmithing and Jewelry (CHAIR)
Fuko Ito – M.F.A. Printmaking
Leigh Kaulbach – M.F.A. Printmaking
Renee Springer – M.F.A. Painting and Drawing
FY 2016–2017
Sydney Jane Brooke Campbell Maybrier Pursel – M.F.A. Expanded Media (with distinction)
Erick Morales Scholz – M.F.A. Metalsmithing and Jewelry (with distinction)
Myles Dunigan – M.F.A. Printmaking (with distinction)
FY 2015–2016
Jason Zeh – M.F.A. Expanded Media (with distinction)
Trish Nixon – M.F.A. Painting and Drawing
FY 2014–2015
Greg Stone – M.F.A. Printmaking
Ella Weber – M.F.A. Printmaking (with distinction)
FY 2013–2013
Rebecca Blocksome – M.F.A. Expanded Media
Brian Hawkins – M.F.A. Printmaking (with distinction)
Dan Lowe – M.F.A. Expanded Media
Graduate-Individual/Independent Study Advisor
- Leigh Kaulbach, M.F.A. – Printmaking, Spring 2017
- Juan José Castaño Márquez, M.F.A. – Expanded Media, Spring 2017
- Fuko Ito, M.F.A.- Printmaking, Spring 2017
- Allison Sheldon, M.F.A. – Textiles, Spring 2017
- Renée Springer, M.F.A. – Painting and Drawing, Fall 2016
- Erick Morales Scholz, M.F.A. – Metalsmithing and Jewelry, Spring 2016
- Juan José Castaño Márquez, M.F.A. – Expanded Media, Spring 2016
- Trish Nixon, M.F.A. – Painting and Drawing, Spring 2016
- Myles Dunigan, M.F.A. – Printmaking, Fall 2015
- Trish Nixon, M.F.A. – Painting and Drawing, Fall 2015
- Trish Nixon, M.F.A. – Painting and Drawing, Fall 2014
- Greg Stone, M.F.A. – Printmaking, Spring 2014
- Ella Weber, M.F.A. – Printmaking, Spring 2014
- Anna Youngyeun, MFA – Textiles, Spring 2014
- Rebecca Blocksome, M.F.A. – Expanded Media, Spring 2013
- Dan Lowe, M.F.A. – Expanded Media, Spring 2013
- Steven Prochyra, M.F.A. – Painting and Drawing, Spring 2013
- Steven Prochyra, M.F.A. – Painting and Drawing, Fall 2012
Summer 2011 – Lecturer Beginning Video – University of California, Davis, Dept. of Art Studio
Spring 2011 – Teaching Assistant Beginning Photography – University of California, Davis, Dept. of Art Studio (Professor: Matthias Geiger)
Winter 2011 – Teaching Assistant Introduction to Experimental Digital Cinema – University of California, Davis, Dept. of Technocultural Studies (Professor: Julie Wyman)
Fall 2010 – Associate Instructor (solo) Beginning Video – University of California, Davis, Dept. of Art Studio
Summer 2010 – Teaching Assistant Beginning Video – University of California, Davis, Dept. of Art Studio (Professor: Darrin Martin)
Spring 2010 – Teaching Assistant Introduction to Experimental Video and Film (non-studio) – University of California, Davis, Dept. of Art Studio (Professor: Darrin Martin)
Winter 2010 – Teaching Assistant Introduction to Experimental Digital Cinema – University of California, Davis, Dept. of Technocultural Studies (Lecturer: Katrina Fullman)