Michael Bell-Smith is a media artist living in Brooklyn whose work focuses on the intersection of popular culture and technology. His video, It's Not You It's Me, was featured in the 2002 New York Video Festival at Lincoln Center.
Aram Bartholl is pleased to announce the next SPEED SHOW of the ongoing series for the first time in New York City! A great selection of Internet / browser based art from a wide range of awesome artists of different net-genres and net-’decades’.
SPEED SHOW vol.4: Super Niche Wednesday, 27th Oct. 2010, 8-11 PM 90 Bowery Internet Cafe, NY 10013 ( G-maps ) FB on.fb.me/cjevSi
Beta Launch: Artists in Residence '02
540 W. 21st St.
Beta Launch: Artists in Residence '02 is the inaugural exhibition of Eyebeam's Artists in Residence Program, a multidisciplinary initiative that supports the development, creation, and presentation of art works using new technologies and digital tools. The exhibition was on view from October 16 through December 1, 2002, at Eyebeam's Chelsea facility.
ASA Spring 2002
The Spring 2002 ASA-Program took place at Eyebeam Atelier's new West 21st Street classroom and served 30 NYC public middle and high school students, selected with the assistance of the Manhattan Superintendents Office. The 12-week program focused on the themes of teen identity and the deconstruction of media messages about teens. Students worked in a studio environment; learning different media tools via an instructor and a diverse group of guest speakers from the art and technology fields. The ASA students rotated to work with different students in small teams throughout the semester, with the ultimate goal of finishing a series of small projects for their digital portfolios. Student work was presented at the Eyebeam exhibition space during a family art and technology showcase at the end of the program.
Don't Let Me Down (2002) digital video with sound (7 minutes)
Don't Let Me Down examines contemporary American culture's tenuous relationship with popular technology [such as cell phones, ATMs, and personal computers]. Through absurd juxtapositions and surreal collages, the piece problematizes conventions and assumptions our culture holds regarding technology. Borrowing equally from a variety of ideological and aesthetic rhetorics, Don't Let Me Down leaves the viewer facing the ridiculous nature of our daily, increasingly dependent relationship with technology.
