[-empyre-] Welcome Paul!

Tim and I are thrilled to welcome Paul Vanouse whose artistic work we greatly admire and whose friendship we cherish. Paul Vanouse has been working in emerging media forms since 1990. Inter-disciplinarity and impassioned amateurism guide his art practice. His electronic cinema, biological experiments, and interactive installations have been exhibited in 19 countries and widely across the US. Venues have included: Walker Art Center, Carnegie Museum, Andy Warhol Museum, New Museum, Museo Nacional de Bellas Artes in Buenos Aires, Louvre in Paris, Haus Der Culturen Der Welt, Berlin, Zentrum fur Kunst und Medientechnologie in Karlsrhue, Centre de Cultura Contemporania in Barcelona, and TePapa Museum in Wellington, New Zealand. His work has been discussed in journals including: Art Journal, Art Papers, Flash Art International, Leonardo, New Art Examiner, AfterImage, and New York Times.

Vanouse is an Associate Professor of Art at the University at Buffalo, NY. He has been a Foreign Expert at Sichuan Fine Arts Institute, China (2006) Honorary Research Fellow at SymbioticA, University of Western Australia (2005), Visiting Scholar at the Center for Research and Computing in the Arts, UC San Diego (1997), and Research Fellow at the Studio for Creative Inquiry, Carnegie Mellon University (1997-2003). He holds a BFA from the University at Buffalo (1990) and an MFA from Carnegie Mellon University (1996).

For the past several years, Vanouse has been specifically concerned with forcing the arcane codes of scientific communication into a broader cultural language. In The Relative Velocity Inscription Device (2002), he literally races DNA from his Jamaican-American family members, in a DNA sequencing gel, in a installation/scientific experiment that explores the relationship between early 20th Century Eugenics and late 20th Century Human Genomics. The double entendre of race highlights the obsession with "genetic fitness" within these historical endeavors. Similarly his latest endeavor the Latent Figure Protocol (2007), utilizes DNA sequencing technologies to create emergent representational images in which there is a tension between that which is portrayed and the DNA materials (from the specific individual or specific species) used to generate it.

Please join in our discussions of Techno Panic with Paul Vanouse!

Renate Ferro
Visiting Assistant Professor of Art
Cornell University
420 Tjaden Hall

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