Spring 2005 Student Work
Spring 2005 Student WorkDate posted: 2005-06-22 00:00:00
On May 1, 2005 a wall of graffiti was painted, sprayed, and wheatpasted onto the second floor wall in West Hall on the campus of Rensselaer Polytechnic Institute in Troy, NY. This effort was an experimental collaboration between graduate and undergraduate students in and outside of the Arts department, coordinated by the graduate independent study project, Curatorial Seminar. A tradition has been created: each semester, more of this work will be added to the existing wall giving participating artists a place to leave their mark.
One week later, graduate students presented their final show, MaFiA, which featured a new documentary about Femicide in Cuidad Juárez, Mexico and another about women's experiences with abortion since Roe v. Wade. Other works studied "integration and estrangement in different political and cultural environments" using video blue screen techniques, a collective project of photographic and cartographic documentation "demarcating sites of invisible boundaries of social fluidity" in the City of Troy, and a sound installation exploring personal loss through the lens of American shape note music. The show also featured a performance of improvised music, a study of "trilingual architectures and skinz" and a graffiti-writing robot.
Guest Critics at the show and final critiques were Ian Berry (Tang Museum curator) and Leah Gilliam (filmmaker, professor at Bard).
"Kissing", 90 sec.
A short video about instincts, impulses and love, sort of.
An ethnographic music and video project that reveals aspects of interactivity and process for musicians in improvised music and collective self-organization.
"Magnifying Glass in one and Pincers in the Other"
Magnifying Glass in one and Pincers in the Other is a playful site-specific installation that unfolds in and over the crude Graduate studio space. Experimenting with the modularity of World of Awe in a large unruly space, the installation samples works as early as 1995. Works that ere exhibited in the pristine white cube take on new forms. You may view a class of landscape drawing, paint and solve puzzles from an activity book, observe a treasure crumbs capsule assembly display, and more. Since 1995, World of Awe is an ongoing multi-disciplinary project. It was included in the Whitney Biennial 2002 and featured in a New York Times article in April 2004.
"Invisible Suits", single channel video, 2 min, loop, 2005
Invisible Suits are interactive suits made from special blue screen fabric (material used for work with video blue screen technique), where the blue color could be displaced by images or video footage. The intended effect is the virtual "disappearance" of the persons wearing the suits: their bodies merge with the visual environment they inhabit. The effect is achieved by the use of two cameras: one mounted on the person wearing the blue suit, and another one shooting h/er from behind. These suits allow me to explore issues of silence and absence, integration and estrangement in different political and cultural environments. While drawing from theoretical concepts like the "invisible immigrant" and the double consciousness, through this work I am also exploring the space between the objective and subjective points of view.
"Sitting Pretty", 8 channel audio/video installation
The installation is a portrait series of the living.
Jesse Pearlman Karlsberg
Lawrence mixes diary, tunebook, and recorded spoken word, creating a new home for journal entries removed from Jesse's personal website. Shade is a five-channel sound installation expressing Jesse's relationship to a shape note music song written 200 years ago. The installation is constructed out of a recording of Stephen Jenks' "Evening Shade," 1805, words by John Leland, 1796. "Evening Shade" was sung by Joanne Fuller, Caz Lewis, Bliss McIntosh, Robbie McIntosh, Jesse Pearlman Karlsberg, Pam Regan, Mary Skidmore, Claudia Smigelski, and Kerry Woods, and was recorded by Jesse, with help from Carrie Dashow and Simca Lena Horwitz.
A raw work-in-progress installation from an upcoming collaborative solo exhibition Pent-Up and Undergone, which opened on May 27 at Jessica Murray Projects in NYC. Four video monitors responding to visitors show views of an apocalyptic time of now. The people have gone, and the earth has its own utopia. Eye of Lighthouse is projected on the wall. In the final version, there will be five videos on pod like steel structures. An eleven foot fallen lighthouse (made by collaborators Bua and Bercowetz), pivots gently like a planchett in the center of the installation, its internal cavity taken over by bugs and such.
Caterina De Re
"Sparshe", video and performance art/life
This "sensation-meditation video" explores the arising of consciousness. Weaving in and out of the video fabric is the meditating female body and also MRI brain scans taken during meditation. Sparshe represents consciousness as the faculty of touch. In Tibetan iconography this is symbolized by flowing cloth. The soundtrack is composed entirely from processed field recording from sacred sites of India and vocals. Thanks to: Gene Greger, Suchira Sen, Barbara Thompson, Jim Lewis, Zoran Josipovic, Lynn Kopka.
West Hall Graffiti Wall Project
The West Hall Graffiti Wall Project is an evolving, community art project sponsored by the Rensselaer Arts Department and organized by the Curatorial Seminar. It features stencils, spray paint, mural art, and wheat-pasted posters. Twice annually, artists gather to repaint the wall – inscribing the vibrancy and continuity of the arts at Rensselaer.
"Urine to Drinking Water Conversion Jacket for Post-Apocalyptic Survival"
"The Thresholds" and "guerrillaLandmarking"
The Thresholds project points at the invisible barriers of varying permeability that occur when high income neighborhoods border low income neighborhoods. guerrillaLandmarking is the practice of "borrowing" the land marking scheme of a given municipality and creating landmarks in public space in active resistance to the collective forgetting.
March 28, 2018 7:00 PM
Experimental Media and Performing Arts Center, Studio 1
A video installation of an essay film meditating on the 1977 Oscars and a documentary on Rhodesia which aired at the same time one month and one day before the essay filmmaker, Maureen Jolie Anderson, was born.