Dates: April 29 - May 22, 2016
Opening Reception: Friday April 29, 6-8 pm
Saturday, April 30, 2016 at 8-10 pm
An evening of abstract music at ODETTA
Pablo Arango, Jeff Becker, Chris Kaczmarek, Tony Saunders
Artists Talk: Sunday May 1, 3-5 pm
Bushwick Hot Summer Nights and Closing Party, If This, Then What? Friday May 20, 6-9 pm
If This, Then What is an exhibition of 8 visual artists who explore cause and effect relationships through creative technology. In conjunction with the first Creative Technology Week, a city-wide festival, ODETTA is hosting a series of events to support artists who work with technology in both their concept development as well as the materials used to construct their works of art. The participating artists are Jeff Becker, Katherine Bennett, Matt Freiburghaus, Linda Herritt, Pat Lay, Will Pappenheimer, Joan Raspo, and Kirsten Kay Thoen.
Nancy Baker creates paper constructions by combining digitally printed, hand and laser cut geometric forms loosely based on machine parts. Over time, the hardware imagery has evolved into an obsessive, jewel-laden structure, that some have described as a "furious, crazy lace". Incorporated into these paper and Mylar sections is glitter, paint, modeling paste, gold leaf, and printed commercial matter. The tension of repetitive forms and loosely fabricated passages that intersect create a dynamic path of subtle color and shape change, much like the natural world, especially in rock formations and precious gems.
Paper has the most remarkable ability to be transformed radically without extensive equipment or expense, into an astonishing variety of forms and shapes. It is a humble material; it begins as the blankest of slates, allowing me to mold it, cut it, layer it, paint and spray it, rip it apart and start all over again. It is ephemeral; seemingly impermanent, but paper objects can be constructed with great strength. The way in which it accepts color pigment, in all its glorious saturation is unrivaled.
Nancy Baker was born in Brooklyn NY, and received a BFA from the School of Visual Arts. Her work has been exhibited extensively both nationally and internationally, such as Mark Moore Gallery, LA, Marcia Wood Gallery, Atlanta, Winkleman Gallery, NYC, Jancar Gallery LA, Pavel Zoubok, NY, SECCA, Winston Salem, Fundacion Casa De Mateus, Vila Real Portugal, and Maisel Museum of Judaica, Israel. She has received a Southern Fellowship award funded by the NEA. a state artist fellowship in Tennessee, and two state artist fellowship awards in North Carolina.
She is currently working on a major metal commission for two train stations in New York on the New Lots Line for MTA Arts and Design. She has completed commissions for the North Carolina Museum of Art for their Art in Park program. Her work is in many private and public collections, such as The North Carolina Museum of Art, Herman Miller, NY, The International Collage Center, and the US Embassy in Kiev.
Steven Charles’ recent paintings are the sponges they've always been. The artist moved to NYC in 1996 to see, in person, that which he had studied from a distance : art and artists. Seeing these people and things in person allowed me to turn around and look at the trees and grass, again. These paintings are the result of looking, drawing and living the success of failure and all it's rewards.
Steven Charles (b. in 1967 in Birkenhead, England) received his Bachelor of Fine Arts degree from the University of North Texas in 1994 and his Master of Fine Arts degree at Temple University in Rome, Italy in 1996.
Charles has had numerous solo exhibitions including “Things that Fell Out of my Pocket,” Associated Gallery, Brooklyn, NY; “Brooklyn Museum’s GO,” Brooklyn, NY; “Ocean Size,” NOWhere Limited, New York, NY; “New Paintings: I do not know what my life to do with,” Stux Gallery, New York, NY; “The Upstairs Room” and “Steven Charles: Thirteen Monsters for Lightning Bolt” at Marlborough Chelsea, New York, NY; and “my life is perfect and I’m always happy,” “crclgogobaroanst,” and “nowhere fast” at Pierogi 2000 Gallery, Brooklyn, NY.
Group exhibitions include “Residue,” Kensington, MD; “Store Front Bushwick,” Brooklyn, NY; “Piping Down the Valleys Wild,” Stefan Stux Gallery, New York, NY; “There Are No Giants Upstairs,” Theodore Art, Brooklyn, NY; “USA, Hoy-Pintura y Escultura,” Galeria Marlborough, Madrid, Spain; “Open House: Working in Brooklyn,” Brooklyn Museum, Brooklyn, NY; “Prima Facia, New Abstract Painting,” Angles Gallery, Santa Monica, CA; and “Hungry Eyes,” Dalhousie Art Gallery, Halifax, Nova Scotia, Canada.
Charles is the recipient of multiple awards including the New York Foundation for the Arts (NYFA) Artists’ Fellowship and The Pollock-Krasner Foundation Grant.
Steven Charles lives and works in Brooklyn, NY.
He is represented by AmeringerlMcEnerylYohe Gallery, NYC.
Matt Frieburghaus creates sound, video, and print, using processes that manipulate recorded media. Location is a focus for gathering media and he is interested in recording newly discovered places or short events that force him to be alert and present. Midnights is a series of color bars that represent the dominant colors of a landscape as seen over many nights in northern Iceland. The slowly shifting color palette shows the changing perception of light as recorded and perceived at or around midnight from a single position. Rock, sea, distant mountains, and sky make up the four-color bar composition.
His work has exhibited at festivals, galleries, and museums including ArtsWestchester, Boston Cyberarts Gallery, Bronx Calling: The Second AIM Biennial, Everson Museum of Art, Festival Miden, Field Projects, FILE, Hudson Valley Center for Contemporary Art, Matteawan Gallery, Newhouse Center for Contemporary Art, ODETTA, Simultan Festival, and Verge Art NYC. He has exhibited at university galleries including Foster Gallery at the University of Wisconsin, Eau Claire, Hartell Gallery at Cornell University, Lowe Art Gallery at Syracuse University, and Work • Ann Arbor at the University of Michigan. Matt’s latest body of work is a response to Iceland where he spent a month long residency roaming the landscape recording video and sound.
Frieburghaus participated in the Artist in the Marketplace program at the Bronx Museum of the Arts and held residencies at the Vermont Studio Center in Johnson, Vermont and Nes Artist Residency in Skagaströnd, Iceland. He is Associate Professor of Digital Media at Marist College in Poughkeepsie, New York.
Simplicity, availability, and a minimalistic elegance are the hallmarks of solar power and of the Solar Symphony. Being powered by light energy, Solar Symphony reflects these values in both form and style. Combining science, math and music with obsessive craft and a playfully unexpected palate of materials, Solar Symphony creates new relationships with solar power through aesthetic experience.
Each solar powered sound object created for this installation has a different visual character and method of producing sound from simple oscillators chirping like digital birds or a line of eggshells tapping together, to the ring of a long recycled copper tube struck by a solar powered actuator, or the buzz of a piece of paper as it is gently vibrating. Through this work the viewer is able to both visually experience and audibly hear the presence of the energy in the space. Each circuit independently translates ambient illumination into audible indicators at a variable rate. Dictated by the natural and artificial light available in the physical space, the individual solar sound generating objects create an arrhythmic symphony of audible light energy.
Chris Kaczmarek is a New York based artist whose work spans both experimental and traditional sculptural practices, including installation, performance, video, built circuits and solar-powered objects. His work is often interactive and designed to guide the viewer towards a deeper contemplation about technology and the inhabited environment. Other works include sound scores and set design for the stage, and hand made electronic instruments.
His work has been exhibited at national and international galleries and festivals such as Art Souterrain in Montreal, Canada; the Trinity College Science Gallery, Dublin Ireland; the New York Hall of Science, Queens NY; Real Art Ways, Hartford CT; the Henry Street Abrons Art Center, New York NY; the Springfield Museum of Art, Springfield OH; the Wexner Center for the Arts, Columbus OH; and the Page-Walker Arts Center, Cary NC. Additionally he has received several grants, awards, and fellowships, including two New York State Council on the Arts grants, and served as a Fellowship artist for ArtsWestchester in Westchester county NY.
Chris Kaczmarek received an MFA in Visual Art and an MA in Modern and Contemporary Art History, Theory and Criticism from Purchase College SUNY where he is currently the Director of Instructional Support for the School of the Arts and an adjunct professor in the School of Art+Design.
Using his inkjet printer as a paintbrush, Jeff Becker creates watercolor-like imagery without Photoshop or filters. He refers to this process of dynamic chemical processes as The Slurry Series. The Slurry Series works do not follow the traditional model of making precise reproductions as in traditional photography. In Becker’s prints, only the essence remains after the original image evolves over a period of months and finally becomes fixed. His work has been exhibited at the Housatonic Museum of Art, in Bridgeport, Connecticut, the Schelfhaudt Gallery at the University of Bridgeport, and in national and regional juried shows like The Art of the Northeast and Spectra at The Silvermine Guild in New Canaan, Connecticut. His work was also represented at the Art Silicon Valley/San Francisco, Art Miami, and the inaugural International Contemporary and Modern Art Fair on the West Coast.
Transmissions from the System (TFS) consists of an LCD screen, a typical light bulb and a breath sensor. As a breeze moves across the sensor, the LCD screen shows Google Voice Transcriptions of my voice mail, as the light bulb wavers in its illumination. The light level is mapped to the audio envelope from the actual voice mail message. Yet, no audio is present.
TFS underscores the need to develop communication tools and highlights the absence of the real thing. The viewer is left with translation artifacts and the gapping absence of the real thing. Considering these technology’s depth and extension into our lives, and our dependency upon it, what happens when our tools are inaccurate? How does this impact us?
Katherine Bennett is a media artist, programmer and interactive engineer. She utilizes sound and light to represent people, relationships and activities that happen in other spaces and times. She is fascinated by the liminal spaces created by digital communities and the culture that transpires as a result. Her latest environments investigate the development of social networks, experiment with interaction thresholds and wireless communication traffic. She earned her MFA from The School of the Art Institute of Chicago, in Art & Technology Studies.
Her work has been featured in many exhibitions including International Symposium of Electronic Art, Maryland Art Place, REVERSE Gallery, Zentrum für Kunst und Medientechnologie (ZKM), The University of Nevada, 404 Festival, SoundFjord, the ElectroFringe Festival, Indianapolis Arts Center, The Carnegie, The Contemporary Arts Center and The Eagle Works Gallery.
Bennett has won grants from The Ohio Arts Council, the Puffin Foundation, The Illuminating and Engineering Society of North America, The Applied Research Labs and Faculty Enrichment Grants from the University of the Arts. Other honors include the Cincinnati Foundation Award, Excellence in Leadership Award and an Inst-Int Fellowship. Residencies include Jentel, Vermont Studio Center and Weir Farm. She also runs the NYC-Creative & Experimental Software Meetup. She is currently a Visiting Assistant Professor in the Integrated Digital Media Program at New York University Tandon School of Engineering, where she teaches physical computing, programming and interaction design.
A Monument for Ice takes the vastness of glaciers and presents a monument that asks the viewer to look into rather than look out to the subject. It becomes a hypothetical tribute to ice as if viewed in the future during a time when glaciers have long melted into the seas. A hazy blue video and sound gives the ice model life rather than act as a screen.
Matt Frieburghaus records sensory experiences and uses digital processes to explore relationships between sight and sound. His work has exhibited at festivals, galleries, and museums including Boston Cyberarts Gallery, Bronx Calling: The Second AIM Biennial, Everson Museum of Art, Festival Miden, Field Projects, FILE, Garrison Art Center, Hudson Valley Center for Contemporary Art, Matteawan Gallery, Newhouse Center for Contemporary Art, and Verge Art NYC. He has exhibited at university galleries including Foster Gallery at the University of Wisconsin, Eau Claire, Hartell Gallery at Cornell University, Lowe Art Gallery at Syracuse University, and Work • Ann Arbor at the University of Michigan. Matt’s most recent adventure took him to Iceland where he spent a month roaming the landscape recording video and sound. He received an MFA in Computer Art from Syracuse University, a BFA in Animation from the Minneapolis College of Art and Design, and an AFA in Graphic Communications from St. Louis Community College. He is Associate Professor of Digital Media at Marist College.
New York City is a text that, once written, is rewritten as soon as the ink dries. This feature of the city, often perceived as an arc of development and gentrification, has its bones in a radical plan from 1811: a plan that erased the physical, geological features of Manhattan and superimposed a street grid onto the flattened surface to facilitate commerce and development.
Manhattan Palimpsest examines the original contours of the island based on historical documents and reconstitutes them beneath the current street grid using digital 3D modeling. Since the cartography referenced predates topographic contour maps, this project interprets different models through a series of reliefs built of text.
Linda Herritt's installations and drawings have been exhibited in one and two person exhibitions at the Boiler (Pierogi), Brooklyn; 1K Project Space, Amsterdam, The Netherlands; Pierogi, Brooklyn, New York; the San Francisco Art Institute, California; Florence Lynch Gallery, New York; The Frist Center for the Arts, Nashville, Tennessee; and Art&Idea, Mexico City, Mexico, among others. Her group exhibitions include shows at Pierogi and Valentine in Brooklyn; the Drawing Center, New York; Museum of Contemporary Art, Denver; Arti et Amicitiae, Amsterdam; and Galería OMR, Mexico City. Fellowships include a NYFA Fellowship in 2014 for Drawing, and a Pollock-Krasner Foundation Grant, a Rockefeller Foundation Grant, and a NEA Sculpture Fellowship. She participated in the International Artist in Residence Program in Vienna, with US residencies at Yaddo, the MacDowell Colony, Art/Omi, and the Marie Walsh Sharpe New York Studio Program. Her work has been reviewed in The New York Times and Art in America. She is currently participating in a Workspace Residency at Dieu Donné in New York. Herritt lives and works in Brooklyn.
In the last decade Pat Lay’s artwork has focused on technological metaphors of the human experience. In this series of digital collages, digital images scanned from computer circuit boards are printed on photo paper and then collaged and tiled into patterns that transform them into a new matrix. A place, created in response to our world of technological advancements and digital progress.
A graduate of Pratt Institute and Rochester Institute of Technology, Lay is a retired Professor of Art at Montclair State University. Lay has received two grants in sculpture from the New Jersey State Council on the Arts and a grant from the American Scandinavian Foundation. She has been awarded three public art commissions including the installation of a large-scale site-specific sculpture in the sculpture park at the Henie-Onstad Kunstsenter in Oslo, Norway. She has had solo exhibitions at the Jersey City Museum; New Jersey State Museum; and Douglass College, Rutgers University. Her work has been included in group exhibitions in Japan, Austria, Korea, China, Norway, Wales and Slovakia and at the Jersey City Museum, Newark Museum, New Jersey State Museum, The Jane Voorhees Zimmerli Art Museum, Montclair Art Museum, The Aldrich Museum of Contemporary Art, Everson Museum, and the 1975 Biennial Exhibition at the Whitney Museum of American Art. Lay’s work is featured in a number of books including Lives and Works, Talks With Women Artists, Volume II by J. Arbeiter, B. Smith, S. Swenson.
Drawing Constellations is an audience participation drawing augmented reality installation and app that uploads drawings to a constantly moving and evolving 3-dimensional “constellation” centered within and outside the gallery. Starting from nothing, gallery visitors will be encouraged to use a touch screen monitor (or cell phones and iPads) to create simple drawings with their own choices of color, brush size, etc. With a click of a button their drawing will be transferred into three-dimensional augmented reality space superimposed and sited at the gallery by GPS location. The drawing of the submitting participant will appear in the center of a rotating moving galaxy of up to 50 drawings submitted previously. Various surrounding twinkling stars will be intermixed with the drawings. A single user can change the whole galaxy by drawing multiple drawings in succession.
Pappeneheimer is a Brooklyn based artist working in new media, performance and installation with an interest in shifting spatial and object relations, often as a form of institutional or spatial intervention. His work often explores at the confluence or tension of virtual and physical worlds, as this intersection represents a particularly fruitful area of contemporary aesthetic, experiential and social exploration. He is a founding member of the Manifest.AR collective. His projects and performances have been shown internationally at Whitney Museum of American Art, LACMA, Los Angeles; San Francisco MOMA; Stedelijk Museum in Amsterdam; FACT, Liverpool, UK; Contemporary Istanbul Art Fair, Istanbul; Kunstraum Walcheturm, Zurich; Fringe Exhibitions in Los Angeles; the ICA, Boston; the Museum of Fine Arts, Boston; Exit Art and the New Museum in New York; the Corcoran Gallery of Art in Washington; the Golden Thread Gallery, Belfast; FILE, Sao Paulo, BR; Turbulance.org; Xi’an Academy of Art Gallery in China. The artist’s works have been reviewed in Christiane Paulʼs recent historical edition of “Digital Art,” a chapter of Gregory Ulmerʼs theoretical book “Electronic Monuments,” Art in America, New York Times, Hyperallergic.org, WIRED, Modern Painters, the Boston Globe, EL PAIS, Madrid, Liberation, Paris, and Art US. He is a professor and Associate Chair of the Art Department at Pace University, New York.
ASK.ME is an interactive installation housing a touch activated perceptual hologram that senses a viewer’s presence and produces an answer that hovers inside an inverted plexiglass pyramid. The illusion is refracted upon the mirrors lining the inside of a large geodesic dome— creating a multiplicity of imagery.
Visitors will be instructed to ask the “8 Ball” questions—resulting in three-dimensional holographic “answers.” The holographic “answers” reflect the lexicon of current slang— particularly words, acronyms, and symbols that have evolved through social media and the web. The holograms will reflect off the mirrors lining the dome—creating uncanny illusions. Light and space will skew to divulge a deeper strangeness. This unique take on holograms, fortune telling and divine spaces addresses our human need to foresee the future.
Californiabased artist Joan Raspo investigates the point where illusion and reality meet. She strives to influence the viewer’s perception of her work, thereby forcing them to reconsider both the reality of an art piece, their relationship to the piece, and finally their relationship with reality. Joan’s work draws on a variety of crossdisciplinary practices including painting, augmented film & theater, sculpture, and creative coding. Her intention is to create work where art and science combine and are expressed artistically. Through visceral explorations of perception, sensation, and attention, Joan explores issues and questions around identity, form, ritual, and pop culture.
In 2015, Joan was selected to be a Porter Teaching Fellow at the University of California, Santa Cruz where she taught courses on New Media Art. Prior to moving to California, Joan lived in New York City—carving out a well-recognized career in commercial directing and teaching. At heart Joan is a storyteller. Her passion is to not only make art, but to teach and mentor emerging art students. Teaching fuels her interest in combining conceptual art with new modes of storytelling. The Sundance Film Festival, Wired magazine and The New York Times are a few of many notable organizations that have profiled her work in theater, film and art.
Kirsten Kay Thoen
Kirsten Kay Thoen’s process begins with journeying into natural sites, which to date include California’s ancient Redwood Forest, Kauai’s volcanic terrain, and geothermic/glacial Iceland. As she connects with sites, extensively studying and photographing the landscapes and striking elements within them, she finds that Geometry functions as a overriding language for time, space, and matter.
Utilizing structural elements such as plexiglas, wood, and metal, and lights , help emphasize the energetic qualities of the work. Thoen is in dialogue with the abstract geologies established by earthwork artists of the 60’s & 70’s, through the lens of the Digital Era. She places a particular emphasis on Robert Smithson’s Site/Non-Site works and writings.
Crystallography, geometry, and architecture are prevalent touchstones throughout the process as while experimenting with concepts of time and space, citing Buckminster Fuller’s systemic concerns with Synergetics and Rudolph Steiner’s writings on Supersensible Phenomenae.
New York based artist Kirsten Kay Thoen is interested in the complex roles image making plays in shaping relationships to nature in contemporary culture. In May 2014, Thoen journeyed through Iceland and launched Harmonic Tremors, an ongoing project focusing her practice on the regenerative and otherworldly geology of Iceland’s volcanic/geothermal landscapes. Harmonic Tremors will develop into a series of installation experiences with photo-sculptural and video-sculptural elements.
Thoen’s first large-scale works Crystalline Pendulum & Crystalline Pyramid exhibited at Galeria Melissa Soho curated by Natalie Kates Projects. Her work has been exhibited in New York at Gallery Nine5, Bernarducci Meisel, Field Projects, Affirmation Arts, and the Chelsea Art Museum. She has had her work presented at art fairs including NEXT, Chicago’s Special Projects, NADA Miami, SCOPE Basel, SCOPE New York, and Art Southampton.