[-empyre-] Welcome Paul!

[empyre@cornell.edu, rtf9@cornell.edu]

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

--
Renate Ferro
Visiting Assistant Professor of Art
Cornell University
420 Tjaden Hall
<rtf9@cornell.edu>