The Art Gallery of Knoxville
By The Art Gallery of Knoxville
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Podcast Description
The Art Gallery of Knoxville is dedicated to New and Emerging Art. An open space to cultivate ideas of Art and social engagement. This podcast features videos by artists, including "video art" - interviews and documentation of exhibitions. [Note: This is a Video Podcast.]
| Name | Description | Released | Price | ||
|---|---|---|---|---|---|
| 1 | VideoSteve Kurtz, Critical Art Ensemble | Dr. Steven Kurtz is a Professor of Art at SUNY Buffalo and a founding member, with his late wife, Hope, of the internationally acclaimed art and theater collective Critical Art Ensemble (CAE). Over the past decade cultural institutions worldwide have hosted CAE’s participatory theater projects that help the general public understand biotechnology and the many issues surrounding it. In May 2004 the Kurtzes were preparing to present Free Range Grain, a project examining GM agriculture, at the Massachusetts Museum of Contemporary Art (MASS MoCA), when Hope Kurtz died of heart failure. Police who responded to Kurtz's 911 call deemed the couple's art suspicious, and called the FBI. For four years Dr. Kurtz fought a court battle, during which he was investigated for bioterrorism and indicted for mail and wire fraud. In 2008, all charges against him were dismissed. Dr. Kurtz's lecture at the University of Tennessee will recount this battle as well as issues of artistic and academic freedom. Presented by Students for the Study of Law and Culture at the University of Tennessee College of Law | 4/21/09 | Free | View In iTunes |
| 2 | POwr, broccoli and KOPIMI | As live performance and law production, Spectrial, The Pirate Bay trial, documents the new boundaries of art and cultural production. This document, created as a manifesto, was made available on February 25th as a product and extension of Spectrial. “Though seeded in prehistory, Kopimi is rooted in the future, and holds together a constantly vibrating avalanche of knowledge that forms the foundation for a discussion indifferent to the rippling changes of time and space,” reads the prelude of the manifesto. Marcin de Kaminski of the Kopimi Project - which expands way beyond TPB: “We are a close group of people, formed as a cluster - or a swarm if you prefer - which has been doing web related projects since the early 2000.” “Many people have tried to describe what kind of people we are and why we are doing all the things we do. No one has come even close. We thought it was time for an official biography of some sort, and to try to show people that we have done lots of things besides our filesharing projects.” The manifesto can be seen as a guide on how to live life as a true Kopimist, summarized in a list of 100 principles or guidelines. The Kopimi team came up with the idea on February 22. Only two days later - the Swedish version was published followed by the English translation a day later. http://trial.thepiratebay.org/ | 2/24/09 | Free | View In iTunes |
| 3 | VideoNegativland: Adventures in Illegal Art | “Adventures in Illegal Art: Creative Media Resistance and Negativland” with Mark Hosler a founding member of Negativland, at the Knoxville Museum of Art, Wednesday November 12, 5pm. Presented by Students for the Study of Law and Culture at the University of Tennessee in collaboration with COPYSHOP. Pioneers of “culture jamming” (a term they coined way back in 1984), the group Negativland have lead and defined movements against traditional copyright for decades. They became a critical, high profile example in the copyfight movement when U2 (the group with Bono) sued the band to prevent a Negativland release titled U2. In 2003, members of Negativland were asked by Lawrence Lessig to help write a new kind of copyright license for Creative Commons. This collaboration resulted in the “Sampling License” - a license that allows people to create collage art and “mash-ups” (as well as other art forms based on re-used materials) from licensed works. | 11/11/08 | Free | View In iTunes |
| 4 | VideoErik Carver | Erik Carver Erik Carver is an architect and artist. He is a founder of the Institute for Advanced Architecture (advancedarchitecture.org)-- an organization dedicated to advancing architecture through research, exchange, and exhibition-- as well as the Common Room exhibition space (common-room.net) and the interdisciplinary art group Seru. He lives in Brooklyn and teaches architecture at Rensselaer Polytechnic Institute. Erik has worked for the firms of Diller+Scofidio, Laura Kurgan, and Lyn Rice before starting his own practice. These designs have included a student center renovation, an art museum, apartment renovations, a vacation home, exhibitions, a performance space/bar, an expo pavilion, schools, offices and an interpretation center. His work has appeared in Volume magazine, Art in America, and Nature, and he has shown work and lectured at venues including Exit Art, the Ise Foundation, and Columbia's Neiman Gallery, and the Storefront for Art and Architecture (NYC), The Institute of Contemporary Art (Philadelphia), CAVS (MIT), Basekamp (Philadelphia), the Contemporary Art Center (North Adams, MA), and Pond (San Francisco). Public Collectors and SET An Exhibition at COPYSHOP / The Art Gallery of Knoxville by Marc Fischer / Erik Carver and Marisa Jahn July - August, 2008 "In the grand tradition of generals and surrealists, we have been playing games. People learn things better through the open-ended, empathetic participation in knowledge-making that games allow. Just dispensing information to people-- though at times enlightening-- can also encourage apathy or forgetfulness. Lately, we have been using games to critically examine the dynamics and assumptions of larger social givens.Our new game SET was inspired by toy collectors, tourists, and museum curators. Throughout the game, players "play" by intervening and reorganizing existing groups of objects, thus questioning categories by constructing and redrawing them. In foregrounding the player's relation to the categories, SET explores the value of one's authorship in the production of knowledge. While games often risk normalizing power relationships by setting social roles and rules in stone, we have tried here to do just the opposite." People learn things better through the open-ended, empathetic participation in knowledge-making that games allow. Just dispensing information to people-- though at times enlightening-- can also encourage apathy or forgetfulness. A project developed by Erik Carver and Marisa Jahn, SET is a game that critically examines the dynamics and assumptions of larger social givens. It's a game inspired by toy collectors, tourists, and museum curators. Throughout the game, players "play" by intervening and reorganizing existing groups of objects, thus questioning categories by constructing and redrawing them. In foregrounding the player's relation to the categories, SET explores the value of one's authorship in the production of knowledge. While games often risk normalizing power relationships by setting social roles and rules in stone, SET tries to do just the opposite. | 8/31/08 | Free | View In iTunes |
| 5 | VideoSET (Erik Carver and Marisa Jahn) | Public Collectors and SET An Exhibition at COPYSHOP / The Art Gallery of Knoxville by Marc Fischer / Erik Carver and Marisa Jahn July - August, 2008 "In the grand tradition of generals and surrealists, we have been playing games. People learn things better through the open-ended, empathetic participation in knowledge-making that games allow. Just dispensing information to people-- though at times enlightening-- can also encourage apathy or forgetfulness. Lately, we have been using games to critically examine the dynamics and assumptions of larger social givens.Our new game SET was inspired by toy collectors, tourists, and museum curators. Throughout the game, players "play" by intervening and reorganizing existing groups of objects, thus questioning categories by constructing and redrawing them. In foregrounding the player's relation to the categories, SET explores the value of one's authorship in the production of knowledge. While games often risk normalizing power relationships by setting social roles and rules in stone, we have tried here to do just the opposite." People learn things better through the open-ended, empathetic participation in knowledge-making that games allow. Just dispensing information to people-- though at times enlightening-- can also encourage apathy or forgetfulness. A project developed by Erik Carver and Marisa Jahn, SET is a game that critically examines the dynamics and assumptions of larger social givens. It's a game inspired by toy collectors, tourists, and museum curators. Throughout the game, players "play" by intervening and reorganizing existing groups of objects, thus questioning categories by constructing and redrawing them. In foregrounding the player's relation to the categories, SET explores the value of one's authorship in the production of knowledge. While games often risk normalizing power relationships by setting social roles and rules in stone, SET tries to do just the opposite. | 8/31/08 | Free | View In iTunes |
| 6 | VideoMarisa Jahn | Marisa Jahn Of Ecuadorian and Chinese descent, Marisa Jahn is an artist whose work explores, constructs, and intervenes natural and social systems. In 2000, Jahn has co-founded Pond: art, activism, and ideas (www.mucketymuck.org), a non-profit organization dedicated to showcasing experimental art. Jahn has presented and exhibited work in museums, galleries, and spaces at venues such as The Institute of Contemporary Art (Philadelphia), the Asian Art Museum of San Francisco, Yerba Buena Center for the Arts (San Francisco), ISEA/Zero One 06/08 (San Jose, CA), MoKS (Estonia), the Moore Space (Miami), the Museum of Contemporary Art (North Miami), in galleries and public places in Tokyo, Honduras, Estonia, Turkey, North America, and Taiwan. Jahn's work has been reviewed in Art in America, Frieze, Punk Planet, Clamor, San Francisco Chronicle, the Fader, Artweek, Metropolis, the Discovery Channel, and Canadian Broadcasting Corporation (CBC). She has received awards and grants such as the Robert and Colleen Haas Scholarship, MIT Department of Architecture Fellowship (2005-8), CEC Artslink, and is an artist in residence at the MIT Media Lab (2007-9) and at the Headlands Center for the Arts (2008). She received her BA from UC Berkeley and an MS from MIT's Visual Arts Program. She lives between Boston and New York, where she functions as the Immediator of art-activist campaigns for The Church of Stop Shopping/Reverend Billy. www.marisajahn.com, www.mucketymuck.org Public Collectors and SET An Exhibition at COPYSHOP / The Art Gallery of Knoxville by Marc Fischer / Erik Carver and Marisa Jahn July - August, 2008 "In the grand tradition of generals and surrealists, we have been playing games. People learn things better through the open-ended, empathetic participation in knowledge-making that games allow. Just dispensing information to people-- though at times enlightening-- can also encourage apathy or forgetfulness. Lately, we have been using games to critically examine the dynamics and assumptions of larger social givens.Our new game SET was inspired by toy collectors, tourists, and museum curators. Throughout the game, players "play" by intervening and reorganizing existing groups of objects, thus questioning categories by constructing and redrawing them. In foregrounding the player's relation to the categories, SET explores the value of one's authorship in the production of knowledge. While games often risk normalizing power relationships by setting social roles and rules in stone, we have tried here to do just the opposite." People learn things better through the open-ended, empathetic participation in knowledge-making that games allow. Just dispensing information to people-- though at times enlightening-- can also encourage apathy or forgetfulness. A project developed by Erik Carver and Marisa Jahn, SET is a game that critically examines the dynamics and assumptions of larger social givens. It's a game inspired by toy collectors, tourists, and museum curators. Throughout the game, players "play" by intervening and reorganizing existing groups of objects, thus questioning categories by constructing and redrawing them. In foregrounding the player's relation to the categories, SET explores the value of one's authorship in the production of knowledge. While games often risk normalizing power relationships by setting social roles and rules in stone, SET tries to do just the opposite. | 8/31/08 | Free | View In iTunes |
| 7 | Bruno Richard: Elles Sont De Sortie (E.S.D.S.) | . All of the publications included are believed to be out of print, hard to find, and in some cases exceedingly rare or expensive to purchase on the secondary market. These materials are being made available for noncommercial and educational use only. All rights belong to the author(s). If you have complete PDFs of publications to submit for inclusion, contact Public Collectors at: marc@publiccollectors.org. If you do not have access to a scanner and are willing to loan a book, Public Collectors can scan the book for you, so long as it is not oversize and will fit on the scanner bed. | 6/3/08 | Free | View In iTunes |
| 8 | Marc Fischer: 9 Years of Mail: Bruno Richard / Marc Fischer | . All of the publications included are believed to be out of print, hard to find, and in some cases exceedingly rare or expensive to purchase on the secondary market. These materials are being made available for noncommercial and educational use only. All rights belong to the author(s). If you have complete PDFs of publications to submit for inclusion, contact Public Collectors at: marc@publiccollectors.org. If you do not have access to a scanner and are willing to loan a book, Public Collectors can scan the book for you, so long as it is not oversize and will fit on the scanner bed. | 6/3/08 | Free | View In iTunes |
| 9 | trans formation : arts communication environment, No 1. 1950 | . All of the publications included are believed to be out of print, hard to find, and in some cases exceedingly rare or expensive to purchase on the secondary market. These materials are being made available for noncommercial and educational use only. All rights belong to the author(s). If you have complete PDFs of publications to submit for inclusion, contact Public Collectors at: marc@publiccollectors.org. If you do not have access to a scanner and are willing to loan a book, Public Collectors can scan the book for you, so long as it is not oversize and will fit on the scanner bed. | 6/3/08 | Free | View In iTunes |
| 10 | Don Celender: Observations, Protestations, and Lamentations of Museum Guards Throughout the World | . All of the publications included are believed to be out of print, hard to find, and in some cases exceedingly rare or expensive to purchase on the secondary market. These materials are being made available for noncommercial and educational use only. All rights belong to the author(s). If you have complete PDFs of publications to submit for inclusion, contact Public Collectors at: marc@publiccollectors.org. If you do not have access to a scanner and are willing to loan a book, Public Collectors can scan the book for you, so long as it is not oversize and will fit on the scanner bed. | 6/3/08 | Free | View In iTunes |
| 11 | Clegg and Guttmann: The Outdoor Exhibition Space: Munich - San Francisco, 1992 | . All of the publications included are believed to be out of print, hard to find, and in some cases exceedingly rare or expensive to purchase on the secondary market. These materials are being made available for noncommercial and educational use only. All rights belong to the author(s). If you have complete PDFs of publications to submit for inclusion, contact Public Collectors at: marc@publiccollectors.org. If you do not have access to a scanner and are willing to loan a book, Public Collectors can scan the book for you, so long as it is not oversize and will fit on the scanner bed. | 6/3/08 | Free | View In iTunes |
| 12 | VideoKeep Up Your Rights Case by Case | Current debates about Intellectual Property are often focused on the level of national law - and the need for its international harmonization - and the sphere of universal rights, like freedom of speech or access to information and medicine. Still, neither the vision of globalized law nor the desire for universal human rights seem to do justice to the facts on the ground, to the specific nature of the contained and often local Intellectual Property conflicts in everyday life. These conflicts are, essentially, cases: not so much applications of universal principles or denials of abstract rights, but rather particular and often unique constellations of power. Strategies for interventions in the field of Intellectual Property may have to acknowledge that they can only operate case by case. oil21.org This work is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/1.0/ or send a letter to Creative Commons, 559 Nathan Abbott Way, Stanford, California 94305, USA. | 2/29/08 | Free | View In iTunes |
| 13 | VideoThe Poverty of the Small Author | In the age of digital reproduction, the problem of the “small author” remains: as the problem of the Intellectual Proprietor and his or her material reproduction, but also, and more importantly, as a problem of a specific political mentality. Among the many possible modes of production and subjectivation, the figure of the “small author” - who is always already deprived from the fruits of his hard labor, either by “the industry” or by “the pirates” - may be the most unfortunate one. But for the masses who know that they will never be part of a thriving global middle class of Intellectual Proprietors, there are other options. Not to entrench themselves against technological progress, but to radically embrace it: to explore new forms of collaboration and production beyond traditional authorship, to employ the most advanced methods of digital reproduction, and to reaffirm the instability of property relations. oil21.org This work is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/1.0/ or send a letter to Creative Commons, 559 Nathan Abbott Way, Stanford, California 94305, USA. | 2/29/08 | Free | View In iTunes |
| 14 | VideoFile Sharing as Culture Industry | Peer-to-peer networks are here to stay. Often dismissed as a mere conspiracy of teenage consumers against the media industry, these networks have become one of the most powerful and resilient environments for the collaborative production and reproduction of cultural data. Thus it seems that the question of file-sharing is no longer just a matter of identifying and routing around its corporate adversaries. Instead, it is becoming a question of organization. One can already make out a multitude of new initiatives, groups, alliances, coalitions and business entities that are heavily - and not only ideologically - invested in the future of peer-to-peer protocols and infrastructure. The next Culture Industry may already be in the making. oil21.org This work is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/1.0/ or send a letter to Creative Commons, 559 Nathan Abbott Way, Stanford, California 94305, USA. | 2/29/08 | Free | View In iTunes |
| 15 | General Rights Management | "Copyright is not a totality of rights, but a social relation between people which is mediated through rights." – Robert Luxemburg, Die Gesellschaft des Geistigen Eigentums IV Here follows some notes sprung from participation of the Berlin-based project “The Oil of the 21st Century” (www.oil21.org). During 2007 it has delved into this rather hallucinatory thing known as intellectual property, with the explicit aim to “provide fewer answers and more questions”. Rasmus Fleischer (rasmus@piratbyran.org) Berlin/Stockholm/Umeå, oct-nov 2007 Please circulate comments, copies, clips oil21.org theartgalleryofknoxville.com Layout by Harsh Patel (2008) http://www.harshpatel.com/ | 2/29/08 | Free | View In iTunes |
| 16 | VideoGeneral Rights Management | Digital Rights Management (DRM) not only a proposes a set of new technological measures against unauthorized copying. It also promotes, on a conceptual level, an idea of individual rights that are no longer declared or granted, but instead directly implemented as the functionality - or the defects - of technology. Rights Management in general appears to be one of the most far-reaching new paradigms of control. The field of rights that it promises to manage stretches far beyond the Intellectual Property of the entertainment industry. In its most general form, Digital Rights Management will lead to Political Rights Management: an entirely new framework for various forms of hidden access restrictions and censorship in an increasingly networked world. oil21.org This work is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/1.0/ or send a letter to Creative Commons, 559 Nathan Abbott Way, Stanford, California 94305, USA. | 2/29/08 | Free | View In iTunes |
| 17 | VideoSteal This Film I | The Pirate Bay is the worlds largest bittorrent tracker. Bittorrent is a filesharing protocol that in a reliable way enables big and fast file transfers. This is an open tracker, where anyone can download torrent files. To be able to upload torrent files, write comments and personal messages one must register at the site. This is of course free. The members at The Pirate Bay represents a broad spectrum of file sharers. Therefore material that seem offensive might be available. Do not contact us if there is anything you find offensive, instead focus on the material that you find positive. The Pirate Bay only removes torrents if the name isn't in accordance with the content. One must know what is being downloaded. Only torrent files are saved at the server. That means no copyrighted and/or illegal material are stored by us. It is therefore not possible to hold the people behind The Pirate Bay responsible for the material that is being spread using the tracker. Any complaints from copyright and/or lobby organizations will be ridiculed and published at the site. The Pirate Bay was started by the swedish anti copyright organization Piratbyrån in the late 2003, but is since October 2004 separated and run by dedicated individuals. Using the site is free of charge, but since running it costs money, donations are very much appreciated. On May 31, 2006, the site's servers, located in Stockholm, were raided by Swedish police, causing it to be offline for three days. Later it came online with new hosting in the Netherlands – The Pirate Bay has since taken measures to ensure a restoration time of hours rather than days. On June 14, 2006 the Swedish newspaper SvD reported that The Pirate Bay was back in Sweden due to "pressure from the Department of Justice [in the Netherlands]." Upon reopening, the site's number of visitors doubled, the increased popularity attributed to greater exposure through the recent media coverage. The raid, alleged to be politically motivated and under pressure from the MPAA, was reported as a success by the MPAA in the immediate aftermath, but with the site being restored within days and the raising of the debate in Swedish culture, The Pirate Bay and other commentators considered it "highly unsuccessful". Swedish prosecutors had announced that charges would be filed before the end of January 2008 against five individuals concerned and eventually, on January 31, 2008, they filed charges against four of the individuals behind The Pirate Bay. http://courtblog.thepiratebay.org/ | 2/10/08 | Free | View In iTunes |
| 18 | VideoSteal This Film II | The League of Noble Peers bring us a documentary about the "'battles' between old and new modes of distribution - between the pirate and the institution of copyright." http://stealthisfilm.com/Part2/ | 12/31/07 | Free | View In iTunes |
| 19 | VideoGood Copy, Bad Copy | Good Copy, Bad Copy Documentary film (Denmark, 2007) Featuring, in order of appearance: GIRL TALK, Producer DR LAWRENCE FERRARA, Director of Music Department NYU PAUL V LICALSI, Attorney Sonnenschein JANE PETERER, Bridgeport Music DR SIVA VAIDHYANATHAN, NYU DANGER MOUSE, Producer DAN GLICKMAN, CEO MPAA ANAKATA, The Pirate Bay TIAMO, The Pirate Bay RICK FALKVINGE, The Pirate Party LAWRENCE LESSIG, Creative Commons RONALDO LEMOS, Professor of Law FGV Brazil CHARLES IGWE, Film Producer Lagos Nigeria MAYO AYILARAN, Copyright Society of Nigeria OLIVIER CHASTAN, VP Records JOHN KENNEDY, Chairman IFPI SHIRA PERLMUTTER, Head of Global Legal Policy IFPI PETER JENNER, Sincere Management JOHN BUCKMAN, Magnatune Records BETO METRALHA, Producer Belm do Par Brazil DJ DINHO, Tupinamb Belm do Par Brazil Directed by: ANDREAS JOHNSEN RALF CHRISTENSEN HENRIK MOLTKE Editor: ADAM NIELSEN Facility: LITTLEMACHINE Photography: ANDREAS JOHNSEN HENRIK MOLTKE RALF CHRISTENSEN Additional material: RAMON and PEDRO LEAGUE OF NOBLE PEERS MUSIKPROGRAMMET SVT RAPPORT TOMAS LINDH BILL PLYMPTON MPAA ATMO / JOHAN SDERBERG Sound Post Production: KIM G HANSEN Music: RJD2 TRACK 72 PHOENICIA JOHN TEJADA REQ SHEX SANTOGOLD REX JIM LAWSON DR VICTOR OLAIYA PHARFAR GIRL TALK DANGER MOUSE MIKKEL MEYER GNARLS BARKLEY DE LA SOUL NWA Translations: MARIANA COBRA ANNA SBOTINOVA Graphics: REDOUANE OUMAHI Thanx to: GUSTAVO GODINHO IBIYEMI OLUFOWOBI AYO ALAO YURY YARUSHNIKOV FRED BENENSON BRIGITTE ALFTER FILIP STRUWE MARTIN VON HALLER ERIK HANSEN SHANNON HAN LINE FELDING Produced by: ROSFORTH http://www.goodcopybadcopy.net/ | 12/16/07 | Free | View In iTunes |
| 20 | VideoCopyshop Delivers People | COPY SHOP COPYSHOP markets products that challenge the subject of intellectual property. Its inventory includes modified originals, improved copies and political anti-brands – all products that discuss the existing notion of intellectual property rights as a prerequisite for development and economic growth. Also, the COPYSHOP is a forum for diverse groups who share a critical view on intellectual property. COPYSHOP is a franchise model for likeminded shops all over the world. SUPERCOPY SUPERCOPY is a value increasing branding tool that can be applied to all kinds of copy products. By applying the SUPERCOPY stamp on an existing copy product, the consumer creates a new original – more unique and potentially more valuable than both the copy and the original product. COPY RIGHT COPY RIGHT illustrates a consumer’s right to customize rightfully purchased products. The COPY RIGHT project corrected blatant replicas of famous Arne Jacobsen chairs. The chairs were procured in low-price furniture houses and were modified to look exactly like the chairs that they imitated. By modifying the imitations, double value was created: The modified chairs are a new, unique work of art – and at the same time they convey the luxurious air of designer chairs much more precisely than the original imitation chairs. http://copy-shop.org http://www.superflex.net/ | 10/15/07 | Free | View In iTunes |
| 21 | VideoSocial Knowledge: How can we use this project? | This video documents an investigation into perception and real time informational "feedback." Children answer questions about the "Growing Tennessee" project - and how the project may be used in other contexts. It is the individual's social history of use of concepts and knowledge of exemplars which serves as socially, shared criteria for correctness of meaning. Such social knowledge is imbedded in a one's individual (private) history of sociality. Therefore knowledge of other minds is not a mystery. When evidence of the shared criteria for knowing a concept is recognized (either individually or collectively), we say that we have an "understanding" of the mind of another person at which point the distinction between subjectivity and objectivity collapses. For Wittgenstein, it is language (consensual) relationships which are paramount in defining knowledge. Knowledge is something which has political, moral, ethical, and historical purposes within the time and place of a particular society. Knowledge is not "pure" and enduring but rather serves the purposes of people within a particular society. For Foucault, it is social (power) relationships which are paramount in defining knowledge. | 8/16/07 | Free | View In iTunes |
| 22 | VideoTemporary Autonomous Space: (no good architecture) | Temporary Autonomous Space: (no good architecture) (Performer/Audience/Mirror) | 7/19/07 | Free | View In iTunes |
| 23 | Video(A) r4WB1t5 micro.Fest 2007.01.05 Knoxville TN | : jon AT selectall.org (A) r4WB1t5 micro.fest: r4wb1t5 AT gmail.com ++++++++++++++++++++++++++++++++++++++++++++ +++ (A) r4WB1t5 micro.Fest @ Pilot Light +++ ++++++++++++++++++++++++++++++++++++++++++++ * FREE + OPEN share, {exchange|distribute} ++ create crossroads of digital punk, blues musics + freak folktronics as forms of protest + resistance to current socio-economic situations + political contingencies! (A) r4WB1t5 rocks digital systems @ Pilot Light, with a realtime audio and video jamboree by r4WB1t5 participants from Knoxville, Chicago and beyond with: Curt Cloninger - lab404 (Asheville NC .US) performing realtime audio video http://lab404.com/video/francis.html Fecal Japan (Knoxville TN .US) playing experimental noise musics http://www.myspace.com/fecaljapanolecularization Cindy Latham (Knoxville TN .US) screening digital video http://www.cindylatham.com/ Operators of E.D.E.N. (Chicago IL .US) operating a utopian switch board system http://geocities.com/operatorsofeden/ AND MORE! in an open cybernated jam session including these artists as well as the r4WB1t5 micro.Fest organizers themselves, Chris Molinski, jonCates, jon.satrom and jake elliott. a folksonema screening opens the night @ Pilot Light with metatagged media from all across the global interweb super sprawl. ++++++++++++++++++++++++++++++++++++++++++++++ + (A) r4WB1t5 micro.Fest network connections + ++++++++++++++++++++++++++++++++++++++++++++++ http://r4wb1t5.org/2007.01.05/ http://www.myspace.com/pilotlightclub http://folksonema.nothingistrueeverythingispermitted.com http://www.flowerglass.net http://0p3nfr4m3w0rk.org/install http://del.icio.us/tag/0P3NFR4M3W0RK http://www.flickr.com/photos/tags/0P3NFR4M3W0RK email: play@r4wd10pl4y84ck800m80x0r.org http://r4wd10pl4y84ck800m80x0r.org/play email: play@r4wd10pl4y84ck800m80x0r.org http://del.icio.us/tag/R4WD10PL4Y84CK800M80X0R http://www.theartgalleryofknoxville.com | 4/30/07 | Free | View In iTunes |
| 24 | VideoMarked | (audio) to make a mashed up cinema machine! 0P3NFR4M3W0RK projects your digital images into an open golden frame on the Gallery wall while R4WD10PL4Y84CK800M80X0R transits your audio files on a micro.Radio station broadcasting to olde skool boomboxes! ++++++++++++++++++++++++++++++++++++++++++++++ + (A) r4WB1t5 micro.Fest network connections + ++++++++++++++++++++++++++++++++++++++++++++++ http://r4wb1t5.org/2007.01.05/ http://www.myspace.com/pilotlightclub http://folksonema.nothingistrueeverythingispermitted.com http://www.flowerglass.net http://0p3nfr4m3w0rk.org/install http://del.icio.us/tag/0P3NFR4M3W0RK http://www.flickr.com/photos/tags/0P3NFR4M3W0RK email: play@r4wd10pl4y84ck800m80x0r.org http://r4wd10pl4y84ck800m80x0r.org/play email: play@r4wd10pl4y84ck800m80x0r.org http://del.icio.us/tag/R4WD10PL4Y84CK800M80X0R http://www.theartgalleryofknoxville.com | 4/1/07 | Free | View In iTunes |
| 25 | VideoDan Sandin interview | c Visualization Lab @ the University of Illinois at Chicago http://www.evl.uic.edu/ CHI IL .US 2003.04.09 video edit by criticalartware coreDevelopers: bensyverson, jon.satrom ++ jonCates http://www.criticalartware.net this criticalartware interview is a shared cultural resource released under Creative Commons Attribution-NonCommercial-ShareAlike version 2.0 http://creativecommons.org/licenses/by-nc-sa/2.0/ | 2/8/07 | Free | View In iTunes |
| 26 | VideoProgram # 9 (Amateur TV) | Program # 9 (Amateur TV), 1979 Phil Morton and Jane Veeder produced this video as a new type of Art experiment that combines production with an instructional framework and openly collaborative techniques. The video documents the Image Processor created by Dan Sandin - and the early video movement at the School of the Art Institute of Chicago as well as different techniques of technical instruction (empowering communication through electronic tools) and the various artists involved in producing electronic social action (Amateur TV). -- Phil Morton (1945-2003) received degrees in art education and fine arts from Penn State and Purdue. He began teaching at the School of the Art Institute of Chicago in 1969. Within a year he established the first video department in the country to offer both BA and MFA degrees in video production. In subsequent years Morton continued to expand the media resources and educational opportunities at the School of the Art Institute, establishing the Video Data Bank as a collection of videotaped presentations and interviews with artists in 1972. In collaboration with Dan Sandin, Morton distributed plans for the Image Processor (IP), a modular video synthesizer based on the Moog audio synthesizer. In 1974, he established "P-Pi's" or the Pied Piper Interactioning System, a cable TV station in South Haven, Michigan. -- Jane Veeder started her career in electronic media arts in 1976 as a video artist and began working with digital computers in 1978. A member of the pioneering Chicago computer graphics community in the early 1980’s, she has produced internationally exhibited animated and interactive computer artworks and designed user interfaces for graphics software development. Her 1982 animated MONTANA was included in the NYMOMA inaugural video collection, in 1984 her interactive self-portrait game,WARPITOUT, went on permanent exhibit at the Ontario Science Center,and in 1985 Ars Electronica commissioned 4KTAPE. A longtime SIGGRAPH volunteer, she chaired two 1995 panels on the videogame industry,and spoke on a 1997 panel on Educating Animators for Entertainment. In April 1996, she gave a talk at NYMOMA on The Digital Artist and Current Tool Development Trends and presented computer animated JG3D. -- about criticalartware In the ever present techno-social fabric of operating systems, desktops and software, criticalartware seeks to examine the pre-internet era of early phase "Video Art" and the growth of software art in the channels of contemporary "New Media" theorypractices. We are interested in "software" as a construct and context during these two art historical moments and the ways in which software functions as art and art functions as software. These two moments function as brackets in frames of reference that will form the basis of our activities. We intend for our activities to facilitate further discussions and developments of criticalartware producing a feedback loop or multiple recursive code structures. As an application, criticalartware will carry out your instructions, becoming personalized to your requests, site structures modifying based on your queries and activity. In this manner, criticalartware will become a shared and open system of community resources. We will invite artists, developers and cultural agents of the two afore mentioned historical moments to join us, sharing their perspectives and contributing to discussions of the fields they are involved in formulating. Responding to their input, our contributions and your responses, criticalartware will reshape and map those outcomes, providing a resource for dynamically determining contemporary histories. http://www.criticalartware.net | 1/25/07 | Free | View In iTunes |
| 27 | VideoProgram # 7 (Revised for TV) | Program # 7 (Revised for TV), 1979 Phil Morton and Jane Veeder produced this video as a new type of Art experiment that combines production with an instructional framework and openly collaborative techniques. The video uses digital equipment and techniques to create Video Art - and combines social documentation, instruction, and layered images to create a type of open video. It documents the early video movement at the School of the Art Institute of Chicago as well as different techniques of technical instruction (empowering communication through electronic tools) and various artists involved in producing electronic social action (how art can interact with TV - Revised for TV). -- Phil Morton (1945-2003) received degrees in art education and fine arts from Penn State and Purdue. He began teaching at the School of the Art Institute of Chicago in 1969. Within a year he established the first video department in the country to offer both BA and MFA degrees in video production. In subsequent years Morton continued to expand the media resources and educational opportunities at the School of the Art Institute, establishing the Video Data Bank as a collection of videotaped presentations and interviews with artists in 1972. In collaboration with Dan Sandin, Morton distributed plans for the Image Processor (IP), a modular video synthesizer based on the Moog audio synthesizer. In 1974, he established "P-Pi's" or the Pied Piper Interactioning System, a cable TV station in South Haven, Michigan. -- Jane Veeder started her career in electronic media arts in 1976 as a video artist and began working with digital computers in 1978. A member of the pioneering Chicago computer graphics community in the early 1980’s, she has produced internationally exhibited animated and interactive computer artworks and designed user interfaces for graphics software development. Her 1982 animated MONTANA was included in the NYMOMA inaugural video collection, in 1984 her interactive self-portrait game,WARPITOUT, went on permanent exhibit at the Ontario Science Center,and in 1985 Ars Electronica commissioned 4KTAPE. A longtime SIGGRAPH volunteer, she chaired two 1995 panels on the videogame industry,and spoke on a 1997 panel on Educating Animators for Entertainment. In April 1996, she gave a talk at NYMOMA on The Digital Artist and Current Tool Development Trends and presented computer animated JG3D. -- about criticalartware In the ever present techno-social fabric of operating systems, desktops and software, criticalartware seeks to examine the pre-internet era of early phase "Video Art" and the growth of software art in the channels of contemporary "New Media" theorypractices. We are interested in "software" as a construct and context during these two art historical moments and the ways in which software functions as art and art functions as software. These two moments function as brackets in frames of reference that will form the basis of our activities. We intend for our activities to facilitate further discussions and developments of criticalartware producing a feedback loop or multiple recursive code structures. As an application, criticalartware will carry out your instructions, becoming personalized to your requests, site structures modifying based on your queries and activity. In this manner, criticalartware will become a shared and open system of community resources. We will invite artists, developers and cultural agents of the two afore mentioned historical moments to join us, sharing their perspectives and contributing to discussions of the fields they are involved in formulating. Responding to their input, our contributions and your responses, criticalartware will reshape and map those outcomes, providing a resource for dynamically determining contemporary histories. http://www.criticalartware.net | 1/25/07 | Free | View In iTunes |
| 28 | VideoGeneral Motors | General Motors, 1976 Phil Morton Phil Morton (1945-2003) received degrees in art education and fine arts from Penn State and Purdue. He began teaching at the School of the Art Institute of Chicago in 1969. Within a year he established the first video department in the country to offer both BA and MFA degrees in video production. In subsequent years Morton continued to expand the media resources and educational opportunities at the School of the Art Institute, establishing the Video Data Bank as a collection of videotaped presentations and interviews with artists in 1972. In collaboration with Dan Sandin, Morton distributed plans for the Image Processor (IP), a modular video synthesizer based on the Moog audio synthesizer. In 1974, he established "P-Pi's" or the Pied Piper Interactioning System, a cable TV station in South Haven, Michigan. He was the sole proprietor of his own independent video production company, Greater Yellowstone News, which published, among other things, video news tapes of the wildlife and people of the Greater Yellowstone area, many of which were shown on Tom Weinberg's PBS program "The 90s." General Motors, 1976 [General Motors] is a response to the inability of his local General Motors dealer to fix Morton's 1974 Chevy van to his satisfaction, this tape blends experimental image-processing techniques with documentation of the faulty vehicle. Morton states that he is upset primarily because General Motors "can't get their tech together," and as a video producer involved with using and maintaining high-tech equipment, this strikes Morton as especially bothersome. The tape reads like a consumer's manifesto, and addresses the popular notion that video could be used to reconfigure power relations, for example, between manufactures and consumers. Morton delivers his psychedelically-inflected performance with humor and the conviction of an embattled consumer. The tape was produced at the School of the Art Institute of Chicago. - Video Data Bank, Chicago about criticalartware In the ever present techno-social fabric of operating systems, desktops and software, criticalartware seeks to examine the pre-internet era of early phase "Video Art" and the growth of software art in the channels of contemporary "New Media" theorypractices. We are interested in "software" as a construct and context during these two art historical moments and the ways in which software functions as art and art functions as software. These two moments function as brackets in frames of reference that will form the basis of our activities. We intend for our activities to facilitate further discussions and developments of criticalartware producing a feedback loop or multiple recursive code structures. As an application, criticalartware will carry out your instructions, becoming personalized to your requests, site structures modifying based on your queries and activity. In this manner, criticalartware will become a shared and open system of community resources. We will invite artists, developers and cultural agents of the two afore mentioned historical moments to join us, sharing their perspectives and contributing to discussions of the fields they are involved in formulating. Responding to their input, our contributions and your responses, criticalartware will reshape and map those outcomes, providing a resource for dynamically determining contemporary histories. http://www.criticalartware.net | 1/18/07 | Free | View In iTunes |
| 29 | VideoLiken and You | criticalartware introduces liken, the new substructure of the criticalartware.net [application/platform]. liken stores criticalartware's growing database of information, resources + discourse as a collection of self-connecting nodes that anyone can add to [+/or] comment on. the pathways connecting these nodes slowly change based on use; more popular paths grow stronger, while weaker paths fade away. these relationships are also described in a public XML file, making it possible for anyone to develop alternate [interfaces/interpretations] of liken's unique + ever-changing content + structure. liken departs from a hierarchical site structure which over-categorizes information, relinquishing some of the supremacy of "hard-coding" links between documents. part discussion platform, part [plastic/collaborative] site structure, + part [iterative/genetic] search engine, liken [encourages/ necessitates] a more [subjective/personalized] form of navigation. unlike anonymous "browsing," the paths that liken users follow can be [stored/reviewed/discussed], + affect the structure of the [application/platform] itself, creating a [literal/cybernetic] feedback loop in which less-used paths wither away, well-used paths are strengthened, + entirely new paths grow + crisscross recursively in response to discussion + new resources. Like lichen, itself a composite meta-organism resulting from the symbiotic growth of algae + fungus, liken's [form/structure/body] is [a/an] [product/agent] of criticalartware's resources that grows symbiotically with related discourses. furthermore, by using a publicly-accessible XML file to describe these [pathways/relationships] of liken, criticalartware [invites/encourages] users to develop [alternate/critical/"new"] ways of [imagining/visualizing/navigating] liken's [pathways/relationships]. liken could easily be traversed as a 3D video game, a mindmap, a soundEngine, or a Flash animation. in this way, liken is the beta version of a criticalartware operating system, for which anyone can develop compatible [applications/plug-ins/skins/filters]. upload new person ? [Y/N] In the ever present techno-social fabric of operating systems, desktops and software, criticalartware seeks to examine the pre-internet era of early phase "Video Art" and the growth of software art in the channels of contemporary "New Media" theorypractices. We are interested in "software" as a construct and context during these two art historical moments and the ways in which software functions as art and art functions as software. These two moments function as brackets in frames of reference that will form the basis of our activities. We intend for our activities to facilitate further discussions and developments of criticalartware producing a feedback loop or multiple recursive code structures. As an application, criticalartware will carry out your instructions, becoming personalized to your requests, site structures modifying based on your queries and activity. In this manner, criticalartware will become a shared and open system of community resources. We will invite artists, developers and cultural agents of the two afore mentioned historical moments to join us, sharing their perspectives and contributing to discussions of the fields they are involved in formulating. Responding to their input, our contributions and your responses, criticalartware will reshape and map those outcomes, providing a resource for dynamically determining contemporary histories. http://www.criticalartware.net | 1/16/07 | Free | View In iTunes |
| 30 | VideoDistribution Religion | Temporary Autonomous Space: (no good architecture) (Performer/Audience/Mirror) | 1/14/07 | Free | View In iTunes |
| 31 | Video5 Minute Romp Through the IP (1973) | 5 Minute Romp Through the IP, 1973 Dan Sandin In 1973, Dan Sandin designed and built a comprehensive video instrument for artists, the Image Processor (IP), a modular, patch programmable, analog computer optimized for the manipulation of gray level information of multiple video inputs. Sandin decided that the best distribution strategy for his instrument "was to give away the plans for the IP and encourage artists to build their own copies. This gave rise to a community of artists with their own advanced video production capabilities and many shared goals and experiences." In this segment, Sandin demonstrates the routing of the camera signal through several basic modules of the IP, producing a "primitive" vocabulary of the effects specific to video. - Video Data Bank Inventor and practioner of the Image Processor (IP), Dan Sandin is a seminal figure in the technological development of the video medium. In 1973 Sandin successfully designed and built the first Image Processor (IP) as a modular, patch programmable, analog computer optimized for the manipulation of gray level information of input video signals. The IP allows artists to freely play with the color and composition of a video image. Trained in nuclear physics, Sandin first became interested in video in 1967 while helping organize student demonstrations on the University of Illinois campus. He considers his career has having three main thrusts: "the design of electronic instruments for visual performance and personal growth; the development of educational facilities and programs related to the use of electronic screens (electronic visualization); and the production and exhibition of visual works for personal expressive reasons." "About creativity—my personal view of it is kind of like I'm a pipe or conduit. And all this stuff just happens to be flowing through me because I've chosen to position myself in that flow. I have no problem with the word Ôcreation' as long as people don't lay too much molasses on it." —Dan Sandin about criticalartware In the ever present techno-social fabric of operating systems, desktops and software, criticalartware seeks to examine the pre-internet era of early phase "Video Art" and the growth of software art in the channels of contemporary "New Media" theorypractices. We are interested in "software" as a construct and context during these two art historical moments and the ways in which software functions as art and art functions as software. These two moments function as brackets in frames of reference that will form the basis of our activities. We intend for our activities to facilitate further discussions and developments of criticalartware producing a feedback loop or multiple recursive code structures. As an application, criticalartware will carry out your instructions, becoming personalized to your requests, site structures modifying based on your queries and activity. In this manner, criticalartware will become a shared and open system of community resources. We will invite artists, developers and cultural agents of the two afore mentioned historical moments to join us, sharing their perspectives and contributing to discussions of the fields they are involved in formulating. Responding to their input, our contributions and your responses, criticalartware will reshape and map those outcomes, providing a resource for dynamically determining contemporary histories. http://www.criticalartware.net | 1/14/07 | Free | View In iTunes |
| 32 | VideoRadio Net (1977) | Radio Net, 1977 Max Neuhaus "The Networks propose the self-evolution of new musics. Their premise is a form of music-making which remains now only in societies untouched by modern civilization. Rather than something to be listened to, music in these cultures is an activity open to the public at large – a dialogue with sound rather than a performance. I believe this to be the original impulse for music in mankind." - Max Neuhaus Max Neuhaus has worked in the fields of contemporary art and music for more than 40 years. He is credited with being the first to extend sound as a primary medium into the field of contemporary art. His work has been exhibited internationally in museums and galleries, including exhibitions at the Dia Art Foundation, New York; the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Musée d'art moderne de la ville de Paris; and the Kunsthalle, Bern. This video is a document taken in 1977 of the Radio Net project "a two-hour nationwide radio event where ten thousand people played a cross-country instrument with their voices" facilitated by NPR. Max Neuhaus: "It grew out of an interest of mine in the potential of music-making with the lay public over networks. The first realization in this direction was Public Supply in 1966. … Over the next decade, I gradually developed this concept with other realizations and finally in 1977 realized Radio Net … In 2000 I realized that I could do it on the web…." An exhibition of these Networks, featuring the online tool Auracle, was on display during the month of December at the Art Gallery of Knoxville. The Networks (or broadcast works) are systems, " virtual architectures," which act as a forum open to anyone for the evolution of new musics. Auracle, the most recent Neuhaus network, is an online tool available at Auracle.org - visitors to the Auracle website may experience the artwork 24 hours a day, seven days a week. During the month of December Auracle was broadcast through the Art Gallery of Knoxville space. Radio Net Video produced by Margaret Gregg (with supplementary video by Ron McCoy and Steina Vasulka) A Production of Broadside Television, 1977 http://www.max-neuhaus.info | 1/11/07 | Free | View In iTunes |
| 33 | VideoMax Neuhaus, Networks | Max Neuhaus, Networks Exhibition Views, December 2007 The Art Gallery of Knoxville | 12/29/06 | Free | View In iTunes |
| 34 | VideoThe Knoxvilles that Never Were | "The Knoxvilles that Never Were" Jack Neely The Art Gallery of Knoxville: "Building Communities," an exhibit done in coordination with the Center for Urban Pedagogy (CUP), Brooklyn, NY. The show, which was on exhibit from November 1 to November 25, considered a number of development plans, some enacted, others proposed, that have impacted how Knoxvillians experience their city and search for new ways to create communities, from urban renewal to Universe Knoxville. This video was taken from a public talk given at The Art Gallery of Knoxville November 10, 2006. Jack Neely is a Knoxville-based writer and historian. He is a columnist for the Metro Pulse weekly, and the author of several books on Knoxville history, including "Knoxville's Secret History." Talk organized by Angela Starita Video by Richard Bennett | 12/21/06 | Free | View In iTunes |
| 35 | VideoBuilding Communities | Building Communities The Center for Urban Pedagogy / AGoK Exhibition Views, November 2006 The Art Gallery of Knoxville | 12/7/06 | Free | View In iTunes |
| 36 | VideoThat's Painting | XV BIENNALE DE PARIS Faced with international exhibitions such as the Biennales at Sao Paulo and at Venice, which paid tribute to established artists, in 1958 Raymond Cogniat,(at the time commissioner of the French pavilion in Venice), suggested to André Malraux that an exhibition should be organised in Paris. The aim was to present a panorama of young international creation. The Biennale de Paris was thus created in 1959. Almost fifty years after it was first celebrated, the XVth Biennale de Paris will be held in Paris, France and abroad, mostly between 1 and 31 October 2006. Nearly 100 projects from more than 20 countries will take part : 58 projects in Paris and its surrounding areas, 11 in the provinces and 29 in foreign countries. The approaches presented speak for themselves. The Biennale de Paris no longer imposes objects, works, professionals artists or ideas. That’s Painting Productions House painting company created by Bernard Brunon: “Maybe one of the roles of the artist is to provide a link with reality, proposing the experience of a direct link, unmediated to the real. The practice of house painting as an artistic activity, as a kind of painting freed from representation, can seem to be rather limited. But conceptually that's a very enriching activity I have been working on for more than ten years Getting out of the canvas and giving up paintings has enabled me to exceed the formal level and to open my practice to other fields such as the economic and the social ones, with an activity that is part of everyday life. House painting may not fulfill the same aesthetic demands as abstract painting, nevertheless quality is essential for its production. Stressing the process instead of the result and the presence instead of the representation, and emphasizing the here and now, I have exceeded the issues of form/substance. I can address other kinds of questions, related to everyday life." http://www.biennaledeparis.org/ | 12/2/06 | Free | View In iTunes |
| 37 | VideoXV Biennale de Paris | XV Biennale de Paris Exhibition Views, November 2006 The Art Gallery of Knoxville | 10/28/06 | Free | View In iTunes |
| 38 | VideoMotor Karaoke | Motor Karaoke by MEC http://www.myspace.com/mecmecmec Installation in the art gallery "GLASSBOX" / Paris 2 helmets are on 2 mic stands, there is a mic inside each helmet. Mics gets inside a computer, a Max/msp/jitter patch has been built and is running on this computer. This patch commands a video sequence reproduced 2 times. The louder you scream, the faster the video runs. You have to make 5 laps to win, the louder, the faster! | 9/14/06 | Free | View In iTunes |
| 39 | VideoKaraoke | The Art Gallery of Knoxville is proud to present « Karaoke » an exhibition of artwork by John Baldessari, Bryan Baker, jonCates, Rineke Dijkstra, Marisa Olson, Abe Linkoln, MEC, Red 76, Pipilotti Rist, Karaoke Smashup, and Casey Wooden This exhibit frames artworks that address the use or influence of Karaoke. As a tool, Karaoke enables an individual to form systems of ownership - it is an assertion of property and rights. Eleven pieces of Video Art will be on display September 1 - 23. "The power to control a portion of the material objects is the very foundation of power and authority. Ownership of property is therefore a source of power and the realization of the human will, human ego and human desires. Human life involves the use of material resources and as such some form of property relations is a necessity for life." http://www.geography.ccsu.edu/kyem/GEOG473/4thWeek/What_is_Private_Property.htm Exhibition Views, November 2006 The Art Gallery of Knoxville | 8/31/06 | Free | View In iTunes |
| 40 | VideoT.I.R.E. aka The International Revolutionary Elite | THE FAULTLESS lives by the motto: pink is not red! THE FAULTLESS performs lo-rez, lo-fi, lo-bit, ascii punk + digital system crashes. the faultless performances combine electro punk errorism, the spirit of digital hardcore + remixes of sampled memories from various punk hystories. T.I.R.E. aka The International Revolutionary Elite Presented as part of the exhibition "Karaoke" at The Art Gallery of Knoxville, September 2006 THE FAULTLESS presents "The International Revolutionary Elite", a [performance/project] that digitally samples + remixes [audio/video] from punk bands that the faultless was formerly in as a teenager (1988) + texts from World Revolutionary Elites: Studies in Coercive Ideological Movements (1966). http://www.thefaultless.info | 8/29/06 | Free | View In iTunes |
| 41 | VideoLou Mallozzi | Lou Mallozzi The Art Gallery of Knoxville Lou Mallozzi (b. 1957) is an audio artist in Chicago who dismembers and reconstitutes sound, language, gesture, and image in various media. He works in live performance, radio art, sound installation, CD recording, soundtrack design, and visual art. He has presented works at numerous festivals, concerts, galleries, and broadcasts since 1986, including the Bludenz Festival for Contemporary Music (Austria), the TUBE Audio Art Series (Munich), Fylkingen (Stockholm), The Museum of Contemporary Art (Chicago), The Fort Wayne Museum of Art (Indiana), Podewil (Berlin), The PAC/edge Performance Festival (Chicago), Aetherfest Radio Art Festival (Albuquerque), The Resonance FM Radio Festival (London), Bayerischer Rundfunk (Munich), The Chicago Cultural Center, The Donald Young Gallery, Corbett vs Dempsey, and many others. | 5/25/06 | Free | View In iTunes |
| 42 | VideoNato Thompson | Nato Thompson The Art Gallery of Knoxville Wednesday, February 15 Nato Thompson is a writer, activist, and curator at MASS MoCA in North Adams, Massachusetts. The MASS MoCA describes itself as an open platform, a welcoming place that encourages dynamic interchange between making and presenting art, between the visual and performing arts, and between our extraordinary historic factory campus and the patrons, workers and tenants who again inhabit it. Nato is a co-organizor at the Department of Space and Land Reclamation and strong believer in radical practice. His writings on art and politics have been published in Parkett, New Art Examiner, the College Art Association Art Journal and In These Times. He is also contributing writer to the Journal of Aesthetics and Protest. | 4/20/06 | Free | View In iTunes |
| 43 | VideoShaking Ray Levis | SHAKING RAY LEVIS Live at The Art Gallery of Knoxville (Dennis Palmer, Bob Stagner, and Erik Hinds) The Shaking Ray Levis is an ongoing collaboration of musicians with a common interest in free improvisation. The project was conceived and led by the Chattanooga, Tennessee-based team of Dennis Palmer and Bob Stagner. They use storytelling, synthesizers, samplers and percussion to achieve their distinctive sound. They are the first American group to have recorded for Incus Records, the record label of British free improvisational guitarist Derek Bailey. Additionally, they have performed and recorded with John Zorn, David Greenberger, Fred Frith, Min Tanaka, Amy Denio, and Derek Bailey, as well as with many other critically acclaimed artists. Featured here is a performance in December 2005 at The Art Gallery of Knoxville featuring Erik Hinds. www.shakingray.com www.erikhinds.com | 3/16/06 | Free | View In iTunes |
| 44 | VideoJaime Bravo | Jaime Bravo Exhibition Views, February 2006 The Art Gallery of Knoxville | 2/24/06 | Free | View In iTunes |
| 45 | VideoRobby Herbst: Examining a Global Glitch | Robby Herbst: Examining a Global Glitch January 2006 http://www.journalofaestheticsandprotest.org/ Presented as part of the exhibition: Global Groove (Nation Building As Art) Robby Herbst is interested in the networks of visual media that foster the development of intersubjective power. His new-genres practice explores, initiates, and enacts democratic negotiations with culture. Since 1996 Robby has been around the creation of several autonomously run media collectives (Radio Dumbo, Indymedia Seattle and Los Angeles, Journal of Aesthetics and Protest). Currently he is excited about the Journal of Aesthetics and Protest's slide library. The library attempts to address the many problems of LA's gallery and academic art systems by unveiling "dark matter", accomplished through the creation of a publicly accessible archive. | 2/18/06 | Free | View In iTunes |
| 46 | VideoThe Shiwiars Project | The Shiwiars Project Valery Grancher www.theshiwiarsproject.org The Shiwiars Indians live on the western slope of the Andes cordillera, in High-Amazonia, in one of the zones of the planet the most isolated and in which the biodiversity is largest. It is however with them that the French artist Valery Grancher chose to establish a direct and creative bond and to divide it within the framework of its project for the Palais de Tokyo, Paris. Valery Grancher "A priori"d be taken of it. White chart is thus given to the artist to try the experiment of the bond, the total cultural immersion and, in the name of a project for the Palais de Tokyo whose forms of appearance are to be invented, to put it into practice "how to live together". In the heart of this human group hedonist, in whom each act is a concrete bond with the cosmology of surrounding nature, with the natural reports/ratios with the life and death, the chamanic magic and the conversations with the spirits, Valery Grancher will have to learn how to move, to create an open and subtle dialogue so that each one finds its account there and that a new bond is woven between universes that all seems to oppose - a priori. | 2/9/06 | Free | View In iTunes |
| 47 | VideoJohn Perreault: Globalization and Art | The Art Gallery of Knoxville John Perreault: Globalization in Art Presented as part of the exhibition: Global Groove (Nation Building As Art) John Perreault is an Art critic, curator, poet and artist. From 1966 to 1974 he was the Art critic for the Village Voice and then from 1975 to 1983 the senior Art critic and Art editor at the Soho News. His writings on Art have appeared in Art in America, Artforum and numerous Art journals and anthologies. From 1978 to 1981 he was the president of the American section of the international association of Art critics. He currently writes regularly for NY Arts Magazine where he is also a contributing editor. He is a recent recipient of the Penny McCall Foundation award for Art criticism. His Art Blog, Artopia, may be found at: http://www.artsjournal.com/artopia/ | 1/16/06 | Free | View In iTunes |
| 48 | VideoThe Land Foundation | The Land Foundation: www.thelandfoundation.org Presented on the occasion of the Art Gallery of Knoxville, January 2006 exhibition: Global Groove (Nation Building as Art). The Land was initiated in 1998 and includes work by artists Rirkrit Tiravanija, Superflex, and Carl Michael von Hausswolff. The Land is a place dedicated to the merging of ideas by different artists to cultivate a place of and for social engagement. Though initially the action to aquire the rice fields were initiated by two artists from Thailand, the land was initiated with anonymity and with out the concept of ownership. The land was to be cultivated as an open space, though with certain intentions towards community, towards discussions and towards experimentation in other fields of thoughts. The Land Foundation reflects an honest attempt by artists to create open systems for new art. This video is a walk around the Land Foundation showing the artwork happening through this project. In this exhibition, the Art Gallery of Knoxville reflects on how ideas of "global" are influencing artwork. The phrase "Global Groove" was introduced by pioneer video artist Nam June Paik in 1973 as a title for his own view of social communication after the influence of television. The idea of a "Global Groove" extended the phrase "global village" put forward by media theorist Marshall McLuhan. | 1/8/06 | Free | View In iTunes |
| 49 | VideoGlobal Groove (Nation Building as Art) | Global Groove (Nation Building as Art) Sarawut Chutiwongpeti, Valéry Grancher, CM von Hausswolff, Leif Elggren, Gordon Matta-Clark, Phill Niblock, Superflex (with a further discussion of work by Nam June Paik) Exhibition Views, February 2006 The Art Gallery of Knoxville | 12/31/05 | Free | View In iTunes |
| 50 | VideoPhill Niblock: The Movement of People Working | The Movement of People Working by minimalist composer, film maker and photographer Phill Niblock portrays human labor in its most elementary form. It is the combination of his slowly evolving harmonic music that creates an otherworldly masterpiece. The films and the music combine elements that seem contradictory, creating tension as a result. Impersonal motion patterns filmed in vibrant 1970s Kodachrome move side by side with glorious sounds that are caused by an acoustic phenomenon. Phill Niblock is an Indiana-born (1933) New York-based avantgarde composer and multimedia artist, founder of Experimental Intermedia. Niblock's program is, fundamentally, to create music without rhythm or melody, by slow accumulation of microtones. Niblock's droning soundscapes originate from the superimposition and juxtaposition of sustained sounds which are, in turn, obtained from reprocessing acoustic instruments. Since this requires a competent manipulation of the sounds actually produced by the instruments, Niblock's music is often eventually refined by the composer while sitting in front of an electronic or digital tool. Extreme Records: http://www.xtr.com/ Phill Niblock: http://www.phillniblock.com/ | 12/3/05 | Free | View In iTunes |
| 51 | VideoBuilding an Archive | Building an Archive Exhibition Views, November 2005 The Art Gallery of Knoxville | 10/31/05 | Free | View In iTunes |
| Total: 51 Episodes |
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