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Beate Geissler,
Spring 2015

Beate Geissler and Oliver Sann have been active as a collaborative partnership since 1996. Their work concentrates on inner alliances of knowledge and power, their deep links in western culture and the escalation in and transformation of human beings through technology. Their work has been exhibited nationally and internationally in museums, galleries and alternative spaces including The Renaissance Society, Chicago, The Museum of Contemporary Photography, Chicago, the NGBK (New Society for Visual Arts) Berlin, and the Fotomuseum Antwerp. Currently, Geissler is an Associate Professor of Art at the University of Illinois at Chicago and Sann is Assistant Professor at the School of the Art Institute, Chicago.

http://geisslersann.com/,


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Erkki Huhtamo,
Spring 2015

Professor Erkki Huhtamo is a  media archaeologist, author, and exhibition curator. At DMA his areas are the history and theory of media culture and media arts. He is internationally known as a pioneer of an emerging approach to media studies called media archaeology. It excavates forgotten, neglected and suppressed media-cultural phenomena, helping us to penetrate beyond canonized "grand narratives" of media culture. Professor Huhtamo pays particular attention to the "life" of topoi, or clichés and commonplaces that emerge over and over again within media history and provide "molds" for new experiences. What may seem new things often prove to be just newly packaged ideas repeated during hundreds and even thousands of years.

Professor Huhtamo has applied this approach to phenomena like "peep media" (a notion he has coined), the screen, panoramas and dioramas, video games, and mobile media. He has also written about the work of many media artists, including Paul deMarinis, Rafael Lozano-Hemmer, Golan Levin, and Bernie Lubell. Professor Huhtamo's most recent books are Media Archaeology. Approaches, Applications, and Implications (ed. with Dr. Jussi Parikka, University of California Press, 2011) and the large monograph Illusions in Motion. Media Archaeology of the Moving Panorama and Related Spectacles (The MIT Press, 2013). He is currently working on a number of new books: a media archaeology of interactive media (The MIT Press, under contract), a history of mechanical theaters and a theoretical volume tentative titled “Media Archaeology as Topos Study.”

Video of presentation at Strangers: A Symposium ,


Erkki Huhtamo, Illusions in Motion Media Archaeology of the Moving Panorama and Related Spectacles, MIT press,  2013.
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Devin Kenny,
Spring 2015

Devin Kenny is an interdisciplinary artist, writer, musician, and independent curator. Hailing from the south side of Chicago, he relocated to New York to begin his studies at Cooper Union. He has since continued his practice through the Bruce High Quality Foundation University, Skowhegan artist residency, SOMA Mexico City, and collaborations with DADDY, Studio Workout, Comotroovay-sa, Adult Contemporary and various art and music venues in New York City, Chicago, Los Angeles, and elsewhere.

Video of presentation at Strangers: A Symposium, devinkenny.info,


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Rob Horning,
Spring 2015

Rob Horning is the Executive Editor of The New Inquiry and author of Marginal Utility. The New Inquiry is a space for discussion that aspires to enrich cultural and public life by putting all available resources—both digital and material—toward the promotion and exploration of ideas. 

http://thenewinquiry.com/author/rob/,


Geof Oppenheimer,
2008

Geof Oppenheimer’s practice takes up questions of civic value, the ways in which political and social structures are encoded in images and objects and how meaning is formed in the modern world. Starting from the from the proposition that formal value is a social value, his projects interrogate the forms and rules of civic discourse as a material, positing art as a space of liberated social dialogue. Trained as a sculptor, Oppenheimer works across multiple mediums including stage set video productions, and photography.

His work has been exhibited nationally and internationally at a variety of venues such as the Mary and Leigh Block Museum of Art, PS1/MOMA, The Contemporary Museum, Baltimore; The Museum of Contemporary Art, Chicago, SITE Santa Fe, The Indianapolis Museum of Art, The Aspen Art Museum, The 4th Athens Biennale and CAB Art Center, Brussels. His work has been the subject of published writings in Art in America, The Wall Street Journal, The Chicago Tribune and The New Yorker. He studied at the Maryland Institute, College of Art where he received his BFA and received an MFA from the University of California, Berkeley. He also studied at the Academia voor Beeldende Vorming in the Netherlands. Geof Oppenheimer is an Associate Professor of Practice in the Department of Visual Arts at the University of Chicago and lives and works in Chicago, Illinois.



GEOF OPPENHEIMER, “DRAMA”, 2014-2015,
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GEOF OPPENHEIMER, “DRAMA”, 2014-2015,
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GEOF OPPENHEIMER, “DRAMA”, 2014-2015,
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GEOF OPPENHEIMER, “DRAMA”, 2014-2015,
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GEOF OPPENHEIMER, “DRAMA”, 2014-2015,
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GEOF OPPENHEIMER, “DRAMA”, 2014-2015,
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Wangechi Mutu,
Fall 2014

Kenyan-born Wangechi Mutu is a Brooklyn-based artist whose sculptures, works on paper, installations, and videos explore gender, race, and sexual identity using collage and assemblage strategies that create provocative juxtapositions of the female body. Her collages are constructed using fragments from fashion and travel magazines, pornography, African art books, automotive schematics, and images drawn from science fiction as well as hand-drawn or painted elements which create a variety of new formations of the body. Photo-based collage elements are often intermixed with decorative or abstract patterns which create a simultaneous feeling of familiarity and other-worldliness to the works.



WANGECHI MUTU, “FAMILY TREE”, 2012,
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WANGECHI MUTU, “FUNKALICIOUS FRUIT FIELD”, 2007,
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WANGECHI MUTU, “HOMEWARD BOUND”, 2009,
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Pinar Yoldas,
Fall 2014

Pinar Yoldas is a cross-disciplinary artist/researcher who lives and works between Durham, NC and Berlin. Pinar’s research explores the collaborative potential between art and biological sciences. Her solo shows include AlterEvolution, Ekavart, Istanbul (2013) and An Ecosystem of Excess, Ernst Schering Project Space, Berlin (2014). Her group shows include ThingWorld, NAMOC National Art Museum of Beijing (2014); Transmediale Festival, Berlin (2014); and Tiere und Menschen, Museum Ostwall, Dortmund (2014).

She is based at Duke University, where she pursues her PhD at the Center for Cognitive Neuroscience and Media Arts and Sciences.  After her undergraduate studies at Middle East Technical University and further studies at Bilgi University, she received her MS at Istanbul Technical University, BArch (METU) and her MFA at University of California, Los Angeles. Her book An Ecosystem of Excess was published by ArgoBooks in 2014.

pinaryoldas.info,


PINAR YOLDAS , “DESIGNER BABIES”, 2013,
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PINAR YOLDAS , “DESIGNER BABIES”, 2013,
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PINAR YOLDAS , “DESIGNER BABIES”, 2013,
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PINAR YOLDAS , “ARCHIPELAGO”, 2015,
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PINAR YOLDAS , “ECOSYSTEM OF EXCESS”, 2014,
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PINAR YOLDAS , “ECOSYSTEM OF EXCESS”, 2014,
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PINAR YOLDAS , “ECOSYSTEM OF EXCESS”, 2014,
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Marcos Lutyens,
Fall 2014

Marcos Lutyens has exhibited internationally, including at Documenta 13, Los Angeles County Museum of Art, the Centre Georges Pompidou, the Royal Academy, the National Art Museum of China and many other museums and institutions. He has worked with various tools and approaches to explore the processes of the mind. His work with the mind has lead him to develop events and exhibits that reflect research with specific social groups such as the Muxhe, from the Zapotec culture in Southern Mexico. Building on his investigations into consciousness and social dynamics, Lutyens has worked on large-scale projects that involve the broader surroundings. Works include data tracking or feedback from pedestrian interactions, pollution and air quality levels, brain wave monitoring, animal communication and other dynamics that are generally invisible to the casual observer, and yet as important to us as the subjective processes of the inner mind.

marcoslutyens.net,


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MARCOS LUTYENS, “IN TOUCH – A MULTIPLE PERSON HYPNOSIS TRANCE EVENT”, 2014,
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MARCOS LUTYENS, “APLHABET HUTS”, 2016,
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John Smith,
Fall 2014

Known for their formal ingenuity, anarchic wit and oblique storytelling, John Smith's films have been widely shown internationally for over 30 years. For this screening he will present a diverse program of his older films, made between 1975 and 2001. The works in the selection explore the ambiguities of language and the world around us, playfully demonstrating how meaning is shaped by filmic construction.

Since 1972 John Smith has made over fifty film, video and installation works that have been shown in independent cinemas, art galleries and on television around the world and awarded major prizes at many international film festivals. In 2011 he received a Paul Hamlyn Foundation Award for Artists and in 2013 he was the winner of Film London's Jarman Award. His work is held in numerous collections including Arts Council England, Tate Gallery, London, Ella Fontanals-Cisneros, Miami and Kunstmuseum Magdeburg, Germany.

Smith's recent solo exhibitions  include La Galerie, Noisy-le-Sec,  Paris, France (2014), Tanya Leighton Gallery, Berlin (2013), Kestnergesellschaft, Hanover (2012), Turner Contemporary, Margate (2012), Weserburg Museum for Modern Art, Bremen (2012), Uppsala Art Museum, Sweden (2011), PEER Gallery, London (2011) and Royal College of Art Galleries, London, 2010. Recent group shows include 'Invocable  Reality', Museu d'Art Contemporani de Barcelona (2014), 'Constellations', Tate Liverpool (2013-14), 'Image Counter Image', Haus der Kunst, Munich (2012), 'Descriptive  Acts', San Francisco Museum of Modern Art (2012), 'Has The Film Already Started?', Tate Britain (2011-12), Berlin Biennial (2010), 'The Talent Show', Walker Art Center, Minneapolis and MaMA PS1, New York (2010).

http://johnsmithfilms.com/,


JOHN SMITH, “SHEPHERD’S DELIGHT”,
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JOHN SMITH, “OM”,
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JOHN SMITH, “HACKNEY MARSHES – NOVEMBER 4TH 1977”,
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JOHN SMITH, “LEADING LIGHT”,
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JOHN SMITH, “ASSOCIATIONS”,
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JOHN SMITH, “BLIGHT”,
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Claire Gilman,
Spring 2015

Claire Gilman (Ph. D. Columbia University) is Senior Curator at The Drawing Center in New York where she has organized several exhibitions, including: Natalie Frank: The Brothers Grimm (April 10 – June 28, 2015), Tomi Ungerer: All in One (January 15 – March 22, 2015), and Andrea Bowers and Suzanne Lacy: Drawing Lessons (2014). Gilman has taught art history and critical theory at Columbia University, The Center for Curatorial Studies, Bard College, The Corcoran College for Art and Design, the Museum of Modern Art and the School of Visual Arts (SVA). She has written for Art Journal, CAA Reviews, Documents, Frieze and October and has authored numerous essays for art books and museum exhibitions. She was recently voted one of the top 100 most powerful women in art by Artnet news.
 

http://www.drawingcenter.org/,


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