video

Today we shifted to the virus-making portion of Gift Horse, where anyone can assemble a virus sculpture to be placed inside the belly of the Trojan Horse. The gesture is to gather people in real space, give them a way to hand-construct their “artwork” and to hide hundeds of the mini-sculptures inside the horse.

The first virus to go inside, the Rat of the Chinese zodiac, was The Andromeda Strain, an imaginary virus from the film. This father-daughter team cut, folded and glued the paper sculpture together and she did the honors of secreting it inside the armature.

 

Before we can assemble the horse, we have to build that cart that it will be wheeled around on.

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The cart is rated to hold 2000 lbs, which hopefully will be over-engineered since I’m not sure of the exact weight of the horse. With 8 casters on the bottom and trying to figure out a good wagon assembly, it took us a while to get a basic form assembled (a shout out here to our friends Brett Bowman and Zarin Gollogly who helped make this possible). By the end of the day, we were close but still not finished.

 
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Joanna Spitzner is an artist whose recent work seeks to make direct connections between everyday experiences and larger social issues. It often takes the form of experimental organizations as artworks, including The Art School in the Art School, The Joanna Spitzner Foundation, Inc., The Union of Undercover Artists, CoAct, and the Urban Art Rangers. The forms her work takes are temporal; employing performances, exchanges, discussions, video, audio, and documentation. She has been has involved in several collaborative projects with artists in the UK, including Exit Review in Liverpool, UK; Exit Cork in Ireland; Press Corps at Static Gallery in Liverpool, UK; Prime: Part-Time; and Hen Weekend. She works with the Red House Arts Center in Syracuse as director of programming for Red House Art Radio, and internet radio station that produces and presents experimental audio, interviews, and independent music.

Eyebeam CV
2008FExhibiting Artist
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Marisa Olson's work combines performance, video, drawing & installation to address the cultural history of technology, the politics of participation in pop culture & the aesthetics of failure.

Her work has recently been presented by the Whitney Museum of American Art, Centre Pompidou-Paris, New Museum of Contemporary Art, 52nd International Biennale di Venezia, National Museum of Contemporary Art (Athens, Greece), Edith Russ-Haus fur Medienkunst, Nederlands Instituut voor Mediakunst/ Montevideo, the British Film Institute, the Berkeley Art Museum/Pacific Film Archive, the Sundance Film Festival, and elsewhere.

 

Eyebeam CV
2009FExhibiting Artist
S
 
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Ten Thousand Cents is a digital artwork that creates a representation of a $100 bill. Using a custom drawing tool, thousands of individuals working in isolation from one another painted a tiny part of the bill without knowledge of the overall task. Workers were paid one cent each via Amazon's Mechanical Turk distributed labor tool. The total labor cost to create the bill, the artwork being created, and the reproductions available for purchase (to charity) are all $100. The work is presented as a video piece with all 10,000 parts being drawn simultaneously. The project explores the circumstances we live in, a new and uncharted combination of digital labor markets, "crowdsourcing," "virtual economies," and digital reproduction.

 

Project Created: 
May 2008
 

Aspect 15: Influence and Reference

ASPECT v. 15, “Influence and Reference” includes video documentation of AfterSherrieLevine.com. The original project is from 2001, the video documentation was made in 2009. As ASPECT is a DVD publication they use the audio commentary tracks for a critical analysis of the works. I was very fortunate: Marita Sturken gave an awesome audio commentary.

 

A walk-through of my show in Portland at PNCA’s Feldman Gallery. More photos here.

 

It’s 1980, the Diamond Crystal Salt Company operates a salt mine underneath Lake Peigneur in Louisiana, Texaco drills for oil downward from the surface of the lake, the two mines meet and flush the entire lake…

 

Shot in Brooklyn in Fall of 2009 and Winter of 2010 in the midst of The Great Recession

 
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