• CASEY REAS in group show, Thin as Thorns, In These Thoughts in Us: An Exhibition of Creative AI and Generative Art

    September 8 – January 2021

    Common framings of emerging AI technologies are often drawn from the language of technocratic infrastructure, and from entertainment narratives that import ideas of domination and either/or logic. Either the machines win or the humans win. Either all is lost, or utopia is gained. This thinking comes from assumptions about a coming singularity, wherein AI transcends human capability, reflecting our own uses of power back to us.

    For those working within the realm of AI, the notion that we will create a computer with the capacity for genuine human-like consciousness within the next few years is still fairly unrealistic. However, there is a general consensus that we may be able to discover emergent properties within AI systems that resemble consciousness or self-awareness, and perhaps over time, suggest varying degrees of sentience. Could a machine act creatively to produce something wholly original, something that its own programmers hadn’t thought of, or programmed it to do? Many believe that to be the true test of an AI system (aka the Lovelace Test), one that is far more rigorous than Alan Turing’s eponymous challenge. Yet, as the authors of the Lovelace Test admit, no machine has yet to pass that milestone as of this writing.

    Nevertheless it is urgent that we begin developing a co-creative relationship with automated intelligence now. The vision and imagination of a diverse range of artists is essential in this cultural project. All of the artists in this exhibition have constructed such a relationship with AI systems. These practices bring forth new languages that will aid us in navigating our increasingly cybernetic world,

    Thin as Thorns; In These Thoughts In Us brings together over a dozen contemporary artists who are now using AI to explore artistic production. These artists include Memo Akten, Sougwen Chung, Chris Coy, Claire Evans, Holly Grimm, Joanne Hastie, Agnieszka Kurant, Annie Lapin, Allison Parrish, Casey Reas, Patrick Tresset, Siebren Versteeg, Christobal Valenzuela, and Tom White. The exhibition also features artwork from two of the pioneers of algorithmic and AI artworks, Roman Verostko and Harold Cohen.

    The exhibition’s title comes from a book of poems created through an AI system designed by Allison Parrish, called Articulations. Most of the artists in the exhibition, like Parrish, are assimilating machine intelligence into the framework of known artistic forms (i.e. drawing, painting, sculpture, poetry). Yet at the same time, these artists are also creating new paradigms of artmaking that upends traditional models completely, often by allowing machine systems to deliberately co-author some of their aesthetic choices.

    The Chinese-born Sougwen Chung for instance, has enacted a number of live performances with AI systems, where she performs a “duet” with a robotic drawing machine that has been trained to create drawings and paintings in her own style. For her, the process is highly collaborative and allows her to explore what she describes as the “multi-agent body,” which is often central to her practice. As she recently remarked, “This feedback loop of the human/tool/system fundamentally changes the process of making. It suggests things to you and nudges you along. It complicates authorship, and it extends beyond creative pursuits to our day to day use of technology. Depending on your perspective, that's either exciting or uncomfortable.”

    Like Chung, the Vancouver-based Joanne Hastie and the New Mexico-based Holly Grimm have also been using machine learning to teach their machines how to look at, understand, and mimic their own artistic styles—mostly by feeding their systems a vast array of their own artworks from paintings and drawings to personal photos. This represents a significant step for the field, given that previous experiments by early AI proponents have generally centered around the process of teaching a machine how to create artworks that resemble known historical paintings (i.e. van Gogh or Rembrandt). By turning the machine back on themselves, they can push their own aesthetic in ways they wouldn’t have thought of before. Hastie, for instance, often encourages the machine to paint over hand-painted backgrounds that she provides to the robot, while in other cases she allows it to suggest compositions that she then uses as inspirations for hand-painted canvases of her own. In each case she’s working in concert with a machine system that is constantly echoing her unique aesthetic choices. “I’m interested in the process of automating the ideation and composition of the painting,” she says, “and how that frees me up to explore much further.”

    Like Hastie, the painters Annie Lapin and Chris Coy are also interested in the ways in which AI can work as a sounding-board/collaborator/interpreter. Coy uses an open-source neural net that has been trained to transfer the style from one source image to another. That allows him to map the decadence of the Baroque and Rococo onto later scenes of carnage as envisioned by Francisco Goya in The Disasters of War. By doing so, Coy and his team are able to explore how disparate materials can produce an echo of curious and troubling connections. The resulting images are then painstakingly re-created as oil paintings on linen. "I'm troubled by the ease with which we can set up chance operations and cannibalize the masters without the benefit of an ethics borne from accumulated effort. The fascinating logical leaps the machine makes manifest as painterly marks and create a perverse sort of new fantasy—some preemptive death rattle. A cautionary tale to be sure..."

    Meanwhile, The LA-based painter Annie Lapin has found her own inspiration in AI’s ability to mine data, and yet her approach tends to differ from others in the exhibition. “As a painter, my interest in Machine Intelligence relates to the way I think about visual memory in the process of making and perceiving a painting” she says. In her practice, Lapin reimagines art historical and other visual-cultural material in her personal memory as a decontextualized archive of forms, like training data sets that teach neural networks to identify imagery without experience of it in the real world. Importing works in progress into photoshop, she engages in a process of free association and image generation which allows forms and meaning to morph and bend in a way which she likens to “the algorithmic pareidolia generated by a convolutional neural network.” In Catnose, through this ritualized imitation of AI, she arrives at painterly choices that her conscious mind might not have foreseen.

    Other artists in the exhibition deliberately introduce more compromised data into the process to purposely affect strange aberrations and/or mistakes (Parrish, Casey Reas, Memo Akten). The LA-based Casey Reas for example uses neural networks to generate a vast number of images by carefully mutating the original source images—which are culled from specific cinematic works. The images then become a new film, which are not “edited” in a traditional, sequential way, but rather spatially, as Reas guides the system along different axes within, and through, visual elements. The end result is a record of both, the system’s attempt to reconcile the mutations Reas is interested in and the lyrical movement between data points.

    Conversely the London-based Memo Akten uses algorithms to harvest still images from the photo-sharing site flickr, which have been tagged with such words as “love,” “faith” and “God.” The resultant work, Deep Meditations, uses machine learning to look at tens-of-thousands of such images, in an attempt to see if a machine might be able to understand some of our most abstract and subjective concepts. “As [such ideas] have no clearly defined, objective visual representations,” he writes, “an artificial neural network is instead trained on our subjective experiences of them, specifically, on what the keepers of our collective consciousness thinks they look like.” The result throws the viewer directly into the “thinking process” of the machine, where it appears to be grappling with such ideas.

    Historically, literature was one of the earliest fields where computational media was exploited creatively— dating back to the 1950s (with antecedents in that many analog, chance-based, devices from the 16th century). For the better part of the past five years the New York-based Allison Parrish has been using AI to write poetry. Her process is similar to some of the artists mentioned above—beginning first with specific language models and data sets that she wants to explore (e.g., pronunciation dictionaries, historic poetry, the Bible, classic fiction, etc) and then manipulating the machine’s output through various systems of rules that she programs into the system. Most recently she’s been interested in statistical models of nonsense poetry and interpolation (which is where you create data to link two data points) to create highly expressive text and/or vectors.

    Music is another area where the automating and programming of chance combinations have a storied history within the arts, both in analog experiments (dating back to the 1600s) and digital (dating back to the 1960s). Last year, the LA-based conceptual pop group YACHT gained considerable attention by releasing one of the first commercial music albums, Chain Tripping, to be made with AI. The process involved feeding the band’s musical history and lyrical influences into a series of machine learning models, which in turn generated countless textual and melodic patterns. YACHT subsequently arranged these patterns into new songs, which they performed and sang live—an effort that Evans claims profoundly challenged the band’s embodied patterns and assumptions.

    As in music, one could argue that some of today visual experiments with AI have antecedents in some of the automatons of the 1600s, when the interest in automation led to devices, toys and musical instruments that could virtually play themselves. That took on new urgency during the Post War years, with the dawn of computational models, when artists began incorporating more technological means into their practices. The Japanese artist Akira Kanayama, who was part of the Gutai Group of the 1950s, was one of the earliest proponents of “robotic drawing” (Sougwen Chung often cites him as an inspiration). His primary tool was a small robotic drawing machine on wheels (aka a ‘turtle’). And now, some 60 years later, The Belgium-based artist Patrick Tresset is using his own combination of robotic devices and computer vision to create his own automatic drawing machines. These machines are able to draw figures in real-time, and often convey “moods” such as shyness or nervousness; and while they’re autonomous, they don’t “learn” in the true sense of AI, given that they often react to vision. But Tresset uses his practice to explore the ways in which robotic agents can act as actors with human-like behaviors. “Apart from the theatrical aspect of my work,” he writes, “the use of robots enables me to draw with varying levels of absence, distance, spontaneity and control.”

    Human-like mark-making is also central to the work of Roman Verostko, an artist who was part of the first wave of computer artists using algorithms to drive plotters (digitally controlled printers) in the 1960s. He calls his practice “Epigenetic Painting” given that his custom software allows for a painting or drawing to grow within the system, to the point where “each unfolded offspring is a variant of its predecessor,” as he writes. By doing so, his artworks often approximates the gestural, human-like qualities of human hand-movements. As he writes, “the code underlying the robotic brushworks grew from my experience with Abstract Expressionism in New York in the early 1960’s, and I have always preferred to use Chinese brushes for applying the paint, which were originally given to me when I taught in China in 1985.”

    Now, a generation later, the New York-based Siebren Versteeg explores his own algorithmic approach, often achieving an extraordinary level of complexity by creating a rich conceptual space for his algorithms to explore. He often creates systems that are able to produce an infinite number of painterly images and/or collages that announce their own somatic, gestural qualities. His approach is concerned with transmuting the static, indexical object into the realm of the ever-present, where “the artifact remains in a continuous struggle towards liberation from the corporeal,” as he writes.

    Yet it is the legacy of Harold Cohen (1928-2016) that permeates the work within Thin as Thorns more than any other. As one of England’s most promising painters in the late 1950s, he shifted his focus in the 1960s to create a computer-based system that would automate the painting process entirely. The result was AARON, an automated system that could produce unique drawings and/or paintings via different robotic arms and/or devices. AARON, which is considered to be one of the earliest uses of creative AI, was also instrumental in pushing Cohen to develop his own system for systematically comprehending and deconstructing the nature of representations. That allowed him to imbue AARON with the ability to understand such painterly notions as spatial distribution, figure-ground relationships and the integrity of individual figures. What’s more, the machine’s creative and aesthetic output was never a copy of a pre-existing artwork, but instead, culled from its own cognition. “It was intended to identify the functional primitives and differentiations used in the building of mental images,” Cohen wrote.

    Other artists within the exhibition are taking that further by exploring how algorithms are shaping our lives far more than they did in Cohen’s time. Based in New Zealand, Tom White has been attempting to teach neural networks how to draw. He does so by training them with data sets of real-world images (ie, animals, plants, tools, etc). But as they learn, he combines them with computer-vision algorithms and custom drawing systems, which allows him to produce minimalist abstractions, which may or may not resemble known objects. Yet when they are photographed and uploaded back into AI image-recognition systems (used by Google, Amazon, Facebook etc), they are “recognized” and attributed human-like legibility and definitions.

    Agnieszka Kurant explores data mining and crowdsourcing in her piece Assembly Line. For this work, the artist worked with MIT’s Artificial Intelligence Lab to mine thousands of self-portraits taken by online workers all over the world. The collection was initially amalgamated into a single image, or what Kurant describes as a “self-portrait” of the largest growing working class in the world, before finally being transformed into 3D printed, nickel-and-copper sculpture. Once the sculpture is sold on the art market, the workers will share in the profits via a bonus system. In the process, Kurant is flipping the conventional model for AI’s usage amongst corporate American, which is designed to subtract information and value from the worker/consumer.

    Finally, Christobal Valenzuela offers an artwork where viewers themselves can experience the effects of using AI, or more specifically, Generative Adversarial Networks, directly. His Generative Engine (Text2Image, 2017) allows any visitor to write textual descriptions of any scene imaginable while a machine learning model translates those records into unique machine-generated images. This piece attempts to reimagine and speculate with new creative formats and invites users to consider the role that an algorithm can play during a creative process. The grammars and primitives of digital creation are analyzed with the expectation of finding new machine-inspired formats. The piece was built with Runway, a next-generation creative machine learning platform, using the AttnGAN model created by Tao Xu, et al.

    Indeed, AI is undoubtedly operating within a complex, conflicted space within culture, which may, on occasion, raise several socio-political, ethical issues. What’s more, by introducing such tools into the realm of art, these artists are also engaging in a number of art-historical continuums as well, ranging from the rule-based systems born out of Constructivism and later Minimalism, to the chance, recombinatorial practices of early Modernists. It’s also part of a larger trend toward systems or cybernetic aesthetics, where the emphasis is as much on the receiver as the author; more on the process of navigation than determining end points; and generative of endless variation instead of individual outputs. Yet by its nature, AI cannot fit neatly or easily into art-historical models. After all, it would be difficult to define it as either a medium or a tool. Ultimately it is both—in the same way that the AI artist/designer is equal parts author and spectator. Moreover, it encompasses far too much to be reduced to such basic, a priori, deductions. After all, AI is the great disruptor of our time and complicates virtually everything it touches. Yet for the artists in this exhibition, that idea might also be its greatest asset. For them it’s a behemoth of sheer potentiality that can, and often does, engender a great degree of self-reflection and self-discovery for themselves. It forces them to reflect on their own work in ways no other tool or system can, which ultimately results in a highly human experience—even though the stakes can be extraordinarily high.

    2622 S La Cienega Blvd.
    Los Angeles, California 90034
    Tel 310.837.0191 | Fax 310.838.0191
    Tuesday – Saturday 10am – 5:30pm
    By Appointment Only

  • JENNA CARAVELLO interviewed on KCET

    Can Online Avatars Define Us? Animator Jenna Caravello Dives Into This, the Art of Online Storytelling and Pepe the Frog

    Jenna Caravello makes mind-bending video games, interactive installations and animated short films that use symbolism and metaphor to ask profound questions about memory, loss and meaning.

  • LAUREN LEE McCARTHY exhibiting new work I heard TALKING IS DANGEROUS at Gallatin Galleries, NYC

    Lauren Lee McCarthy exhibiting new work I heard TALKING IS DANGEROUS at Gallatin Galleries, NYC

    Far Away, So Close is an exploration of attempts to create intimate spaces in real life and virtually. The contemporary era has been characterized by efforts at forging real connections between distant actors in spite of distance. But physical proximity may not be required for human connections that challenge alienation and detachment.

    Far Away, So Close
    December 2, 2020 – January 20, 2021

  • LAUREN LEE McCARTHY exhibiting new work

    Lauren Lee McCarthy will exhibit Later Date, a work begun in the first month of quarantine, in two exhibitions in Shanghai, China and Amsterdam, NL and online.

    We=Link: Sideways
    Chronus Art Center is pleased to announce the presentation of a group exhibition titled We=Link: Sideways, featuring twenty-two works by twenty-eight artists and artist collectives, from the pioneers of net art to millennials. The works on display and online span three decades of net art practice, from arguably the first internet-era artwork of The Thing BBS in 1991 to the most current production continuing to evolve as the exhibition opens.
    Chronus Art Center (CAC)
    November 21, 2020 – May 23, 2021

    IDFA DocLab
    This year, IDFA DocLab and IDFA on Stage present do {not} touch, a special program that explores how artists across disciplines disrupt physical boundaries and challenge digital technology to seek out new forms of documentary art and human connection.
    November 20–29, 2020

  • PETER LUNENFELD talks about his new book City at the Edge of Forever

    Peter Lunenfeld was a guest at Susan McTavish Best’s POSTHOC salon, was interviewed for the California Sun podcast by Jeff Schenckman, and had a great discussion with the New Yorker’s Lawrence Weschler, all in support of his new book, City at the Edge of Forever.

  • How to Spend the Afterlife: A Dialogue with Carolyn Campbell and Michael Webb

    Thursday 11/19 - 12:30-2:00 PM

    Authors Carolyn Campbell and Michael Webb discuss the inclusivity of cemeteries in which the tastes of the living are perpetuated for all time. The inevitably of death and environmental concerns contribute to a fascinating spectrum of burial grounds across the world that are pastoral, moving or surreal. Beginning with world-famous Père-Lachaise Cemetery in Paris, based on Campbell’s bestselling book, City of Immortals, she and Webb illustrate their conversation with their personal photography collections. Within this important dialogue we will be invited to think critically about how we can simultaneously care for the deceased, the living, and our planet.
    Zoom Webinar: see link below


  • REBECA MENDEZ work, CircumSolar, Migration 1, at Anchorage Museum

    CircumSolar, Migration 1

    (Single-channel video installation. 26:20 minutes)

    Projected onto the Museum façade, this video by Rebeca Méndez, artist, designer and a professor in the department of Design Media Arts at UCLA’s School of the Arts and Architecture, follows the migration of the arctic tern, a small sea bird that has the longest migration of all living beings on earth, flying from the Arctic to the Antarctic and back again each year.

  • PETER LUNENFELD on the California Sun Podcast

    Jeff Schechtman talks to Peter Lunenfeld about his appreciation of Los Angeles as one of the world’s supercities. Even amid Covid, politics, and competition for the future from Silicon Valley, he sees a city thriving with reinvention. The metropolis he depicts in his book "City at the Edge of Forever" is certainly not your father's Los Angeles.

  • CASEY REAS and Jan St. Werner win 2020 Lumen Prize Moving Image Award for

    Los Angeles based software artist Casey Reas along with music artist Jan St. Werner received the 2020 Lumen Prize Moving Image Award at the Lumen’s Virtual Awards Ceremony on Wednesday for his audiovisual work “Compressed

    Compressed Cinema is a series of 5 audiovisual works created by deriving images from a set of film stills. Reas derived the images and Werner created the accompanying audio tracks.
    The collection of five videos are the result of over 3 years of experimentation and developing new techniques for creating cinematic media with generative adversarial networks (GANs).

    Nathan Ladd, Assistant Curator at the Tate in London and part of Lumen’s 2020 Jury Panel
    comments: “Reas works with GANs to move them away from their intended goal, instead
    exploring their ability to produce uncanny, ephemeral, transitory images. The effect is a visually
    and sonically engaging video work that presents unique images that draw you in with their
    indication towards things that are familiar whilst at the same time disorientating you. The way
    the artist has sequenced the images with sound adds to this effect.”

    The Compressed Cinema series was created in the tradition of experimental films that use existing films as raw materials. Each video distills a feature-length film into a work of less than ten minutes. The stills are an inversion of Ken Jacob’s 1969 Film, Tom, The Piper’s Son, an experimental work that expanded the short 1905 film of the same name from 8 to 115 minutes through meticulous rephotography, repetition, and editing.

    The digital videos each offer a different atmosphere derived from the unique forms and textures within each Compressed Cinema model, and therefore indirectly from each film
    Some of the images within each trained Compressed Cinema model are representational and vary little from the source material, some are completely abstract and noisy, and others are hybrids.

    Projected at wall scale, the conceptual images and audio are experienced in an abrupt manner as intended by the artist.
    Each Compressed Cinema film is a collaboration between Casey Reas and Jan St. Werner. The technical work of wrangling and writing custom machine learning software was led by Hye Min
    View the works here

  • RAMESH SRINIVASAN speaks on Democracy Now!

    Ramesh Srinivasan appearance on Democracy Now! Available online. It was a great conversation. He discussed the intimate and alarming relationship between tech platforms and the forthcoming election as well as the administration's posturing toward big tech as Tuesday nears. Below is the link to the segment.

  • DON EDLER work "2020 Tablet" at Hunter Shaw Fine Art

    Opening Saturday October 31, all day 11am-6pm.
    Exhibition is on view through Dec 20th at Hunter Shaw Fine Art, Los Angeles.

    The group show featuring work responding to 2020.Hunter Shaw Fine Art presents XX:XX, a group exhibition reflecting on the themes that have shaped 2020. This year has been characterized by contradiction, presenting states of extreme polarity: connection and alienation, acceleration and stagnation, hope and hopelessness. A pervasive cognitive dissonance has emerged as we attempt to make sense of our place at the threshold between the historic and the unprecedented. Society is confronted by the emanant consequences of compounded traumas which have been mostly ignored or repressed for decades: colonialism, capitalism, climate change, white supremacy. It is hard to ignore the intersectional nature of these problems any longer. The pandemic spawned from the confluence of these forces and has brought into sharp focus the dire fact of our interconnectedness at every level: socially, economically, biologically, existentially. The pensive months of lockdown injected new urgency into the studio practice of many artists. The pain and uncertainty of the pandemic and social uprising have generated artworks which reflect the conditions of a rapidly changing world. Many of the works on view in XX:XX were created in quarantine and have not yet been seen outside of the studio. Although the subject matters respond to specific events of this year, the underlying themes have been present in the past works of the participating artists including interrelated topics such as property law, housing, healthcare, police violence, ecological collapse and systemic racism. Together these works articulate the zeitgeist of 2020: widespread dissatisfaction with the status quo. Throughout XX:XX this dissatisfaction is transmuted into an attitude of defiance and resistance through a diverse range of strategies including painting, textile design, witchcraft, research, graffiti, sculpture, social media, and animation. Across the exhibition, stress is manifest in both content and form with materials pushed to their limits. Yet this strain refuses a collapse into apathy, pointing instead towards breakthrough. This exhibition recognizes that the issues at hand won’t be solved by any single election, but rather through a sustained and multifarious effort to dismantle and transform the systems and institutions that reinforce a toxic and hierarchical worldview. In the words of Octavia Butler, “Tolerance, like any aspect of peace, is forever a work in progress, never completed and, if we’re as intelligent as we like to think we are, never abandoned.” *
    Hunter Shaw Fine Art
    5513 W Pico Blvd
    Los Angeles, CA 90019

  • JULIETA GIL winner of the Lumen Prize Gold Award

    The Lumen Price is the global prize for art & technology.

    The Lumen Prize for Art and Technology is open to artists from around the world. All artists selected for the longlist, shortlist as well as the award winners are eligible for opportunities with Lumen Art Projects, our parent company.

    See Julieta’s award winning work here.

  • IMAN PERSON recently received The ACT Award from STRP

    Iman Person was recently awarded the ACT Award and will be participating in the 2021 STRP Festival next April.

    April 8th-11th,2020
    STRP Festival 2021, Eindhoven, Netherlands

    The ACT Award, STRP supports artists and makers not only with the budget to realize a project plan, but also with guidance in the development, production, presentation, and distribution of the work. The jury picked the two ACT winners, Iman Person and Liam Young, out of 123 submissions from 24 different countries. Both artists will receive the prize money of 25,000 euros that will enable them to realize their submitted project proposals. The two new works will première, online and onsite, during STRP Festival 2021 from 8-11 April in Eindhoven.

    Iman Person will realize the artwork NewAir, an installation that considers interspecies and interspatial communication through the medium of wind data, sculpture, video, and sonic exploration. With her work, Iman engages with the soft boundaries/boundarylessness that exist within nature, the mind, and organisms of memory.



    Kristin McWharter would like to invite you to the upcoming exhibition RARA hosted by Langer Over Dickie Gallery in Chicago. Featuring a series of digital web performances throughout the month of November. RARA is available to view and participate remotely each Saturday at 5pm central.

    October 31, 2020 - November 29th, 2020

    Exhibition Opening: October 31st, 5pm central
    Public performances on Saturdays in November, 5pm - 5:15pm central
    Enter the Exhibition here

  • MINDY SEU facilitated The New Museum Cyberfeminism Index

    The New Museum just premiered the Cyberfeminism Index, an in-progress online collection of resources for techno-critical works from 1990–2020, gathered and facilitated by Mindy Seu, DMA BA 2013.

  • REBECA MENDEZ uses her ‘superpower’ of design to encourage women to vote

    Rebeca Méndez is an artist, designer, professor of design media arts and director of the CounterForce lab at UCLA. She’s also an activist who frequently advocates for a sustainable future, and in this presidential election year she’s had her sights set on the November election. As part of the League of Women Voters’ and the American Institute of Graphic Arts’ effort to empower the women’s vote, Méndez created an art poster called, “There is More Space For Change And Growth.”

    UCLA Newsroom spoke with Méndez about this work, the superpower of design and how we might begin to move forward from the divisiveness of the past few years.

  • FLAT Journal Workshop for Vancouver Art Book Month "Art Books for the Browser"

    Wednesday, October 21st, 1PM PST

    FLAT Journal Workshop for Vancouver Art Book Month
    "Art Books for the Browser"

    How is the art book as an object, and publishing as a medium, evolving in the context of the web? FLAT Journal will be hosting a presentation and workshop about rethinking the art book through online, interactive, and experimental means. Come learn how to code a basic website using Bindery.JS that becomes an interactive, printable book, no coding experience necessary!


  • What’s Wrong With Art? an online panel discussion

    SOUR and bluenectar cordially invite you to What’s Wrong With Art? an online panel discussion happening on
    Tuesday, October 27, 2020

    What's Wrong With Art?
    When we talk about what’s wrong with art, we’re talking about what’s wrong with our society at-large. The issues of race, identity, housing insecurity, job insecurity in a digital age, nationalism, xenophobia, inclusion/exclusion and many others are all coming to a boil now as the heat has been turned up by an invisible contagion that has exposed burns we thought had been healing. What’s wrong with art is a problem of institutionalization, of a scaffolding that’s been built on a shaky foundation, of a kind of monolithic gate-keeper that can be exclusionary and elitist, and of a dusty, colonial art history narrative that has lionized white European creativity and diminished anything Other.

    We will have a diagnostic panel discussion and Q&A on current and future trends in the arts by bringing together four professionals, to have a collaborative ideation on solutions for a sustainably better future with:

    Rebecca Hui / Founder / Roots Studio
    Damien Davis / Artist / Damien Davis Studio
    Joel Bergner / Founder / Artolution
    Ryan Stanier / Founder / The Other Art Fair

    Date: Tuesday, October 27, 2020
    Time: 3 - 4 pm EST | NOON PST
    Platform: Zoom (link shared on the day of the event)

    What’s Wrong With Art? is co-organized by SOUR and bluenectar.

    For more information and registration, click on the link below.

    Please feel free to circulate this invitation within your network, and see you online soon!



    Our first Sequencing publication is now live on the Fulcrum Arts website! Visit the link below to view Sarah Rosalena Balbuena-Brady’s essay ABOVE BELOW, the first contribution to our new interdisciplinary, transmedia online space.

    Sequencing.beta is a virtual locale for critical conversations and expressions centered around the convergence of art, science, and social change, with a particular focus on the Pacific Rim.

    Our first contributor Sarah Rosalena Balbuena-Brady’s practice focuses on Indigenous scholarship and mentorship in STEAM. Her work creates new narratives for hybrid objects, which function between human/nonhuman, ancient/future, biological/technological, handmade/autonomous to override power structures rooted in colonialism. They collapse binaries and borders, allowing for new opportunities in matter and digital futures on Earth or Space.


    "Colonialism is rooted in the planetary imagination which fails to account for histories of structural racism based on geologic relations and the violent dispossession of indigenous lands."

    -Sarah Rosalena Balbuena-Brady

    Image: ABOVE BELOW, AI-generated textile, cotton, training: Mars Reconnaissance Orbiter satellite images, 2020 (front view)

    Upcoming Sequencing.beta artists include:

    November, 2020
    Phillip Birch lives and works in New York. His work utilizes computer and traditional animation, video game design, sculpture, and performance. Focusing on technology and history, Birch’s work traces a possible trajectory of human development by analyzing the past. His work and research explore topics such as schizophrenia, mental illness, body horror, secret societies, Catholicism, divisions of labor, and game theory.

    December, 2020
    Felipe Meres was born in Rio de Janeiro, Brazil in 1988 and currently lives and works in New York. Solo exhibitions include The Telomeric Cut at Mendes Wood DM, São Paulo (2017) and Fsision at Company Gallery, NY (2016). His work has been shown in venues such as the Ljubljana Biennial, Slovenia (2019); Cuenca Biennial, Ecuador (2018); GAMeC, Italy (2018) and the Cisneros Fontanals Art Foundation, FL (2016). He was an artist in residency at Casa Wabi, Mexico (2018); ArtCenter/South Florida, FL (2016) and Escola de Verão, Capacete, Rio de Janeiro (2012). He holds an MFA from the Milton Avery School of the Arts at Bard College, NY and is currently pursuing a PhD in Anthropology at The New School, NY. He is the recipient of the 2016 Cisneros Fontanals Art Foundation Grants & Commissions Award and of the 10th Tom of Finland Foundation Emerging Artist Grand Prize.

    January, 2021
    Colleen Hargaden is a Los Angeles based artist working in film/video, sculpture, and installation. Her work uses time-based media to explore future-thinking and issues of ecology, art, and utility. Employing the forms and techniques of contemporary “survivalist” culture and the DIY “maker movement,” Hargaden’s work responds to ongoing developments in technology, as well as the systemic social, ecological, and economic pressures that prompt their creation. Parallel to her artistic practice, Hargaden’s teaching contains a similar disciplinary blend, spanning STEAM, rocketry, and time-based media courses for middle and high school students. Her recent exhibitions include solo show Strategies for Inhabiting a Damaged Planet at Hunter Shaw Fine Art, Los Angeles, CA (2020), Say Ever Moves, Bard College Exhibition Center, UBS Gallery, Red Hook NY (2019); Pilot, Elephant, Los Angeles CA (2018). Hargaden is co-founder of Roger’s Office, an artist-run gallery in Highland Park, Los Angeles (2017-2019).

  • LESLIE FOSTER in group show, A Borrowing of Bones Group

    "A Borrowing of Bones Group" at Flatline Gallery, Group Exhibition

    October 17 - October 31

    - A Borrowing of Bones is inspired by Pablo Neruda’s poem October Fullness, "In the end, everyone is aware of this: nobody keeps any of what he has, and life is only a borrowing of bones." The exhibition aims to present death positive art, which allows the viewer to both appreciate the work and their lives in relation to the artwork. The show includes work by DMA MFA student Leslie Foster, Alonso Garkhan, Frankie Orozco, Hope Ezcurra, Marcus Sendlinger, Mika Chante, and Scotty Drumheller.

    - 6023 Atlantic Ave, Long Beach, CA 90805 (Viewings available per appointment)

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