SATURDAY, DECEMBER 6, 2014
All panels meet at MFA Art Criticism & Writing
132 West 21st Street, 6th Floor
All events are free and open to the public
Respondent: Kaitlyn A. Kramer (Student) and Dejan Lukic (SVA Faculty)
Space, both public and private, physical and virtual, is an integral factor in understanding how history, culture, and politics converge and evert. Through specific examples in film, technology, and urban structures, this panel will discuss the various means in which we are able to engage with and within these diverse spaces, anticipating the repercussions of these mediations.
- Nabeeha Chaudhary, “This is Where You Belong”– Representations of the Ideal Woman in Pakistani Television Serials from the 1980’s to the Present (University of Washington, Henry M. Jackson School of International Studies, MA 2013)
- Jesse Cumming, The Spiderweb over Paris: Space, Narrative, and Degenerate Itineraries in Jacques Rivette’s Le Pont Du Nord (York University, Communications & Culture, First Year Graduate Student)
- Divya Gaitonde, Are You Still There? Tools for Interpersonal Negotiation (Art Center College of Design, Media Design Practices, MFA)
- Etienne Tremblay-Tardif, Signage Matrix for Turcot Interchange Refection (Concordia University, Department of Studio Arts, MFA 2013)
Fragmentation and Trauma
Respondent: Cynthia Cruz (Student) and Nancy Princenthal (SVA Faculty)
This panel will explore the connections between trauma and fragmentation by looking at the ways film and TV, racism and censorship can manifest in trauma and fragmentation. Bebe Nodjomi will examine the state of Iranian identity through the lens of Jafar Panahi’s documentary, This is Not a Film. Aurore Spiers will explore TV bodies and Hyper-Embodiment in the films Poltergeist, Willy Wonka and the Chocolate Factory and Benny’s Video. Chigbo Anyaduba, our third panelist, who had planned to present his paper on Steve McQueen’s 12 Years a Slave, did not participate in the conference to protest the Missouri Grand Jury’s decision not to bring criminal charges against the policeman who shot and killed 18 year old Michael Brown. Chigbo’s statement was read in place of his original paper. Link to Chigbo Anyaduba’s withdrawal statement
- Chigbo Arthur Anyaduba, Cinephilia and the Historical Trauma Film: Reanimating the Repressed in McQueen’s 12 Years a Slave and Spielberg’s Schindler’s List
(University of Manitoba at Winnipeg, English, Film, and Theatre Department, PhD Candidate)
- Bebe Nodjomi, The Film as Essay: Jafar Panahi’s Search for Self in This is Not a Film (Columbia University, School of the Arts – Film Division, MA Candidate)
- Aurore Spiers, TV Bodies, Media Physicality, and Hyper-Embodiment in Willy Wonka and the Chocolate Factory (Mel Stuart, 1971), Poltergeist (Tobe Hooper, 1982), and Benny’s Video (Michael Haneke, 1992), (Columbia University, School of the Arts – Film Division, MA Candidate)
Respondent: Michael Johnson (Student) and Debra Bricker Balken (SVA Faculty)
This panel will be organized around a discussion of the value of interdisciplinary studies as a form of conviviality.
- Mor Cohen, Hacking Borders: Examining Virtual and Physical Borders in Tactical Media (Bezalel Academy of Art and Design, Policy & Theory of the Arts Department, MA Candidate)
- Robin Graham, See Also: Between Print and Image in Indexical Media (Concordia University, Department of English, Graduate Student)
- Zamila R. Karimi, Breaking with Fluency: Irreconcilability of Words and Worlds in Contemporary Art (McGill University, School of Architecture, 2013)
- Rebecca Noone, The Analogue Internet: Mail Art and the Comedy of Futility (University of Toronto, PhD Candidate)
The Art and Poetics of Technical Production
Respondent: Emmanuel Iduma (Student) and Jennifer Krasinski (SVA Faculty)
This panel will assemble wide-ranging ideas on the impact of artwork produced through technical means, and consider the poetic ways in which multiple, even cacophonous practices are blended on the internet. The internet is treated by each panelist as an element of larger question: how does the work of art operate and assert its aura in a digital age?
- Eileen Isagon Skyers, A Critique of the Interface: Internet Art in the Era of Imperceptibility (Pacific Northwest College of Art, Critical Theory and Creative Research, MA Candidate)
- Lauren Palmer, Morphing Magazines: Arts Publishing as Practice/Performance/Experience (School of Visual Arts, Design Criticism, MFA Candidate)
- Angelica Vergel, Towards a Digital Corporeality (The New School, Media Studies, MA 2014)
Respondent: Amelia Rina Sechman (Student) and Charles Stein (SVA Faculty)
At the height of human technology, we are on the precipice of irreversibly becoming the victims of our own advancements. Through the bureaucratization of our identities, our capricious misuse of the natural environment, or the interfaces with which we communicate, it becomes clear that we are in need of radical re-examinations of the ways we interact with each other and the world.
- David Ayala-Alfonso, The Suspension of Privilege: Notes on Interfacing (School of the Art Institute of Chicago, Visual and Critical Studies, MA Candidate)
- Harsha Biswajit, In Search of the ‘Anti-Environment’: Breaking the ___________ distance (School of Visual Arts, MFA Computer Art, 2014)
- Jesse Chun, On Paper (The School of Visual Arts, MFA Photography, Video and Other Related Media Department, 2014)
Respondent: Elizabeth Sultzer (Student) and Susan Bee (SVA Faculty)
Through artists and writers such as Rafael Lozano-Hemmer, Micha Cárdenas and Noam Chomsky, as well as panelists’ own work, this discussion will explore the mediation of various realities and its impact on concrete experience. The limina of digital and real, center and margin, and public and private are central currents that run through the individual projects, and will be the focus of discourse.
- Orr Menirom, Limited Speech Holds Endless Misunderstandings (School of the Art Institute of Chicago, Film Video New Media and Animation, MFA 2014)
- Sierra Rooney, Socialibility Giganticus: Rafael Lozano Hemmer’s Open Air and Self-spectacle in Age of Social Media (Stony Brook University, Art History, PhD Candidate)
- Dorothy Santos, The Narratives of Marginalized Bodies: Exploring Third Space in Contemporary New Media and Digital Art (California College of the Arts, Visual and Critical Studies, MA 2014)
- Elizabeth Shores, The Lomas On-Site Listening Station (LOLS): Infrastructure and Visibility in Public Space (The University of New Mexico, Electronic Art/Art & Ecology, MFA Candidate)
Distinguished Professor of Russian and Slavic Studies at New York University and Senior Research Fellow at the Karlsruhe University of Arts
Art on the Internet
At least since the beginning of the 20th century, art of the historical avant-garde tried to reveal the factual, material, non-fictional dimension of art. Through the Internet this avant-garde impulse finds its realization, its telos. The Internet user is informed about art as a specific kind of reality: as a working process or even life process taking place in the real, off-line world. This does not mean that the aesthetic criteria do not play any role in the presentation of data on the Internet. However, in this case we have to do not with art but with the data design–with the aesthetic presentation of documentation about real art events.
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