Franklin Furnace: The Art of Performance Documentation
Martha Wilson in person
Thursday, December 12 at 7:00 p.m., Albin O. Kuhn Library Gallery, UMBC
Martha Wilson is an artist and the founding director of Franklin Furnace. Wilson’s own work in photography, performance, and video art explores female subjectivity through role-playing, costume transformations, and “invasions” of other people’s personas. She was also a member of DISBAND, an all-female performance group; it is in this context that she developed the character of Alexander M. Plague, Jr., one of several personas (both fictional and real; including that of Barbara Bush) that she has adopted over the years.
Revolution of the Eye: Modern Art and the Birth of American Television, a forthcoming project from the Center for Art, Design and Visual Culture, UMBC and its Project Director, Dr. Maurice Berger are the recipient of a 2013 Planning Grant from the National Endowment for the Humanities. The $40,000 grant, awarded under the Endowment's America's Historical & Cultural Organizations Grant program, will assist in the planning of an exhibition, book, and website. Revolution of the Eye represents the first collaborative institutional effort between the CADVC and the Jewish Museum in New York, where Dr. Berger holds the title of Consulting Curator. He is Research Professor and Chief Curator at CADVC. The grant will be administered through the Jewish Museum.
This is the third NEH grant awarded to Dr. Berger since 2008 in his capacity as project director at CADVC. An earlier project, For All the World to See: Visual Culture and the Struggle for Civil Rights received planning ($40,000) and Implementation ($400,000) grants from the NEH in 2008 and 2009. Additionally, For All the World to See was selected by the Endowment as the eleventh exhibition of the NEH on the Road initiative. NEH on the Road is designed to create wider national access to the ideas, themes, and stories explored in major grant-funded NEH exhibitions. Under Dr. Berger's direction, the initiative adapted the exhibition in a smaller, lower security version and will travel it to 25 additional venues, mostly smaller and mid-size institutions across the country over a five year period from 2012 to 2017.
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The Center for Art, Design and Visual Culture presents Spectrum, a Visual Arts Faculty Exhibition organized by the CADVC and featuring work by six faculty from UMBC’s Department of Visual Arts: Kelley Bell, Lynn Cazabon, Viviana Cordova, Neal McDonald, Lisa Moren and John Sturgeon. Spectrum will feature works from a range of disciplines including photography, printmaking, graphic design, film, video, sculpture and computer animation.
The Center for Art, Design and Visual Culture is proud to host a free opening reception for SPECTRUM: 2013 UMBC VISUAL ARTS FACULTY EXHIBITION on Thursday, September 5 from 5 to 7 p.m.
A faculty Lecture for each artist will take place in the gallery from 12pm - 1pm on the day indicated.
Monday, September 9, John Sturgeon
Wedndesday, September 18, Lynn Cazabon
Monday, September 23, Viviana Cordova
Wednesday, September 25, Kelley Bell
Wednesday , October 2, Lisa Moren
See the UMBC Arts Calendar entry for this event
Facebook Event Page for SPECTRUM
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CADVC welcomes guest curator Joanna Raczynska for her 2013 / 2014 film series, Jump Over Time: Using Documentation Video.
Jump Over Time: Using Documentation Video presents a series of films and videos that utilize the subjective as well as mediated experiences of performance, exploring some of the many uses of video, film and audio documentation by artists, organizations, and collectives since the late 60s. The film and video presentations will contextualize questions regarding the concept of live performances and subjective experience; actions by Activist-Artists; histories of artist-run experimental media spaces and happenings; “professional” and “amateur” documentation and their purposes; copyright, archives, access and video format migration; and the experiences of projectionists, media arts curators and artists performing multiple roles in the making of meaning and history, among other concepts. The series will also work towards provoking a more active participation in the documentation of current artistic practices, organizations, and events.
Jump Over Time looks at some creative uses of video documentation as an idiom and form used by media artists. When does the video documentation of an event shift from witness to evidence? If a performance is designed for the camera is the urgency, the live-ness, of the performance obliterated? When the video maker’s intent is to re-present a specific historic period, action, or happening, can reenactments be considered documentation? Selected works as well as visiting artists and archivists will speak to the many ways archives—brimming with mediated experiences—are critical to cultural determination, memory, and practice.
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Baltimore community arts activist and UMBC’s curator of collections and outreach for the Center for Art, Design and Visual Culture, Sandra Abbott, was sworn in to the board of the Baltimore City Public Art Commission on Monday, June 10, 2013 by Mayor Stephanie Rawlings-Blake.
As a member of the board of the Public Art Commission, Abbott juries public art projects along with eight other members under the City’s 1% for Art Program. The program enhances the cityscape, quality of life, and artistic and creative climate in Baltimore. The 1%-for-Art Ordinance requires at least one percent of the City's capital construction project's eligible funds be used for the selection, acquisition, commissioning, fabrication, placement, installation, display, and maintenance of public fine artwork. The program is administered through the Baltimore Office of Promotion & The Arts (BOPA).
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UMBC’s Department of Education joins the Center for Art, Design and Visual Culture (CADVC) to celebrate their year long K-12 educational outreach collaboration with an art exhibition by students from their partnership schools.
The exhibition is featured at the UMBC Commons Mezzanine Gallery beginning with an artist’s reception Thursday, April 11, 6 – 8 pm.
The installation features original artwork by three Baltimore City schools (Augusta Fells Savage Institute of Visual Arts High School, Baltimore City College High School, and Digital Harbor High School), Mt. Hebron High School in Howard County, and Hugh M. Cummings High School in North Carolina. Baltimore City College High School, Digital Harbor High School, and Mt. Hebron High School are Professional Development School partners with UMBC’s Department of Education. After experiencing the CADVC gallery and/or virtual exhibition, For All the World to See: Visual Culture and the Struggle for Civil Rights, the students were invited to create visual artwork, poetry, or prose for display at UMBC as well. Their work, a creative interpretation of the interaction between visual culture and social justice, will be on display to the public through May 23, 2013.
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Maurice Berger, Chief Curator of the CADVC, has written his third essay for “Race Stories,” an ongoing series for the New York Times Lens Blog. The essay focuses on Ken Gonzales-Day’s important "Lynchings in the West Project."
Read the full article here:
"Lynchings in the West, Erased From History and Photos"
The previous two entries in the “Race Stories” series are also available on the Lens Blog:
"A Radically Prosaic Approach to Civil Rights Images"
"Malcolm X as a Visual Strategist"
Command Z: Artists Working with Phenomena and Technology curated by Lisa Moren, presented by the Center for Art, Design and Visual Culture last spring was featured today as one of the top ten art exhibitions of 2012 by City Paper.
The show, described as one that “reawakened our sense of wonder and possibility,” was alongside exhibitions presented by the Contemporary Museum, Open Space, Nudashank and others. Command Z also made the top ten list of Baker award-winning artist, Gary Kachadourian.
See the list here: “2012 Top Ten Art Shows.”
The Andy Warhol Foundation for the Visual Arts has awarded CADVC Research Professor and Chief Curator Maurice Berger a $50,000 curatorial research fellowship award for his forthcoming curatorial project Revolution of the Eye: Modern Art and the Birth of American Television. This exhibition and publication project represents the first collaborative institutional effort between the Center for Art, Design and Visual Culture and the Jewish Museum in New York, where Dr. Berger holds the title of Consulting Curator. The grant will be administered through the Jewish Museum.
From the early-1940s through the mid-1960s, a dynamic new visual medium emerged in the United States that, in its risk-taking and aesthetic experimentation, paralleled the cutting-edge nature of modern art: television. The revolutionary and uncharted medium attracted younger television executives, writers, producers, and directors. Scores of socially and culturally progressive and predominantly Jewish network executives, producers, directors, art directors, and writers—figures such as Paddy Chayefsky, William Golden, Leonard Goldenson, Robert Kintner, Ernie Kovacs, Dan Melnick, William S. Paley, David Sarnoff, Frank Stanton, David Susskind, and Rod Serling—mined the aesthetic, stylistic, and conceptual possibilities of a new and powerful technology. These innovators worked in a cultural milieu far less constricted by the competition for box office revenue and the censorious production codes then preoccupying the motion picture industry.
As the geographic focus of the networks shifted from the Hollywood movie studios to a television industry initially centered in New York, the proximity of these innovators to the city's dynamic artistic and cultural community—particularly the avant-garde art and philosophies of the New York School, an artistic milieu also with a significant Jewish presence—would result in a powerful conceptual and stylistic synergy between modern art and early television. American television and avant-garde art capitalized on the “modernist visual revolution,”
Revolution of the Eye: Modern Art and the Birth of American Television is currently scheduled to be presented at the Jewish Museum during the spring of 2016 and follows up at the CADVC / UMBC in 2017.
The Andy Warhol Foundation for The Visual Arts has awarded the Center for Art, Design and Visual Culture $50,000 for the upcoming project, Visibility Machines: Harun Farocki & Trevor Paglen.
The project, headed by Visiting Curator to the CADVC, Niels Van Tomme, is a traveling exhibition and publication project which explores the unique roles Harun Farocki and Trevor Paglen play as meticulous observers of the global military industrial complex. Investigating forms of military surveillance, espionage, war-making, and weaponry, Farocki and Paglen each examine the deceptive and clandestine ways in which military projects have deeply transformed, and politicized, our relationship to images and the realities they seem to represent. The exhibition initiates critical questions about the crucial part images play in revealing essential but largely concealed governmental information, and places the oeuvres of Harun Farocki and Trevor Paglen within the broader cultural and historical developments of the media they are creatively working with, namely photography, film, and new media.
Visibility Machines is scheduled to be presented next fall, mid-October through December, 2013.