[-empyre-] Welcome Christiane Paul to empyre Week 4:Rethinking Curatorial Options: Globally

[Renate Ferro]

A huge welcome to Christiane Paul as well.  I made a mistake and
failed to add Chrisitane's name and biography to this week's line up.
My
apologies to her once again.  I mistakenly announced her last week and
indeed she will be joining us this week.  So now I have made the same
mistake
twice.  My sincere apologies to her and our subscribers.

Christiane Paul (US)

Christiane Paul is the Director of Media Studies Graduate Programs and
Associate Prof. of Media Studies at The New School, NY, and Adjunct Curator
of New Media Arts at the Whitney Museum of American Art. She has written
extensively on new media arts and lectured internationally on art and
technology. Her recent books are Context Providers – Conditions of Meaning
in Media Arts (Intellect, 2011), co-edited with Margot Lovejoy and Victoria
Vesna; New Media in the White Cube and Beyond (UC Press, 2008); and Digital
Art (Thames and Hudson 2003; expanded new edition 2008). At the Whitney
Museum, she curated the shows “Cory Arcangel: Pro Tools” (May 2011),
"Profiling" (2007), and “Data Dynamics” (2001); the net art selection for
the 2002 Whitney Biennial; the online exhibition "CODeDOC" (2002) for
artport, the Whitney Museum’s online portal to Internet art for which she
is responsible; as well as "Follow Through" by Scott Paterson and Jennifer
Crowe (2005). Other recent curatorial work includes "Eduardo Kac: Biotopes,
Lagoglyphs and Transgenic Works" (Rio de Janeiro, Brazil, 2010); Biennale
Quadrilaterale (Rijeka, Croatia, 2009-10); "Feedforward - The Angel of
History" (co-curated with Steve Dietz; Laboral Center for Art and
Industrial Creation, Gijon, Asturias, Spain, 2009-2010) and INDAF Digital
Art Festival (Incheon, Korea, Aug. 2009).


> Welcome to Calin Man, Arshiiiya Lokhandwala, Jolene Rickard, Beryl
> Graham, Elvira Dyangani, and Sarah Cooke to the fourth week of our
> discussion on Rethinking Curatorial Options: GLobally.
> Each of our guests we  have met and worked with personally.  They all
> bring diverse approaches to curating and new media art.  Our emphasis
> this week will continue to tease out several questions Tim and I asked
> earlier this month that we feel have only begun to be discussed:
>
> "How do curatorial and social considerations impact the cultural,
> political, and theoretical reception of artistic practice?  What role
> does positioning work within the sanctioned spaces of museums and
> galleries or the non-sanctioned public or personal spaces have on both
> artistic and curatorial practice? How do global histories, customs,
> and politics inform this positioning? What paradoxes or tensions
> present themselves when the role of the curator and the artist are
> combined?  Finally, how might artistic practice itself be understood
> as a curatorial intervention in conceptual art?"
>
> Tim and I are looking forward to our last week of discussion and
> really welcome all of our guests and subscribers. Best to all of our
> empyre subscribers.  Renate
>
> Calin Man (RO)
> b.: 1961; place of residence: Arad, Romania.
> education: B.A. in literature, Timisoara University, Romania;
> chief-editor and designer of intermedia magazine; member of kinema ikon group.
> curator for kinema ikon projects. net.works and digital installations
> exhibited at various important new media shows
>  (i.e. Venice Biennial, Sao Paulo Biennial, FILE, Centre G. Pompidou,
> Contact Zones: The Art of the cd-rom).
>
> Arshiya Lokhandwala (IN)
> Arshiya Lokhandwala is an art historian (Ph.D, Cornell University,
> USA), Curator (M. A., Goldsmiths College, London) Gallerist, Lakeeren
> Art Gallery (1995-2003 and 2009-ongoing) in Mumbai, presenting over 70
> exhibitions of the Indian contemporary art. She also curated
> Rites/Rights/Rewrites: Women's Video Art that traveled to Cornell,
> Duke and Rutgers's Universities from 2003-06. She was also a
> participant of the Documenta 11 Education program in Kassel in 2002,
> under the artistic curator Okwui Enwezor. She areas of work include
> Biennales and Large-scale exhibitions, globalization, feminism,
> performance and new media art practices. Her recent curatorial project
> has been Against All Odds: A Contemporary Response to the
> Historiography of Archiving, Collecting and Museums in India, Lalit
> Kala Academy, Delhi January 2011 and Of Gods and Goddesses. Cinema.
> Cricket : The New Cultural Icons of India at the Jehangir Art Gallery
> in February in 2011. She is the curator of The Rising Phoenix: A
> Conversation between Modern and Contemporary Indian Art, Queens
> Museum, New York, 2014. She has curated over 75 exhibitions at
> Lakeeren and continues her gallery program at Lakeeren along with her
> practicing as an independent curator and art historian.
>
> Jolene Rickard ( US, Tuscarora)
> Jolene Rickard, Ph.D. is a visual historian, artist, and curator
> interested in the issues of Indigeneity within a global context. She
> is the Director for the American Indian Program at Cornell University,
> an associate professor in the History of Art and Visual Studies and
> Art Departments. Recent essays include “Visualizing Sovereignty in the
> Time of Biometric Sensors,” in The South Atlantic Quarterly:
> Sovereignty, Indigeneity, and the Law, 110:2, Spring 2011, “Skin Seven
> Spans Thick,” in Hide: Skin as Material and Metaphor, NMAI: DC, 2010,
> “Absorbing or Obscuring the Absence of a Critical Space in the
> Americas for Indigeneity: The Smithsonian's National Museum of the
> American Indian,” in RES: Anthropology and Aesthetics, No. 52, Autumn,
> 2007, and Rebecca Belmore: Fountain by Jolene Rickard and Jessica
> Bradley, Morris and Helen Belkin Gallery and Kamloops Art Gallery,
> Canada, 2005.
>
> Recent projects include; Consultant to the National Gallery of
> Canadian Art in preparation for an international survey of Indigenous
> art in 2013, also identified as the first Quinquennial (Ottawa), a
> participant in the Cornell/Duke 54th Venice Biennale Dialogue (Italy)
> 2011 and she was a co-curator for the inaugural exhibition for the
> Smithsonian’s National Museum of the American Indian (Washington,
> D.C.) 2004.
>
> Jolene is from the Tuscarora Nation territories in western New York.
>
> Beryl Graham (UK)
> Beryl Graham is Professor of New Media Art at the School of Arts,
> Design and Media, University of Sunderland, and co-editor of CRUMB.
> She is a writer, curator and educator with many years of professional
> experience as a media arts organiser, and was head of the photography
> department at Projects UK, Newcastle, for six years. She curated the
> international exhibition Serious Games for the Laing and Barbican art
> galleries, and has also worked with The Exploratorium, San Francisco,
> and San Francisco Camerawork.
>
> Her book Digital Media Art was published by Heinemann in 2003, and she
> coauthored with Sarah Cook the book Rethinking Curating: Art After New
> Media for MIT Press in 2010. She has chapters in many books including
> New Media in the White Cube and Beyond (University of California
> Press), Theorizing digital cultural heritage (MIT Press) and The
> 'Do-It-Yourself' Artwork (Manchester University Press). Dr. Graham has
> presented papers at conferences including Navigating Intelligence
> (Banff), Museums and the Web (Vancouver), and Decoding the Digital
> (Victoria and Albert Museum). Her Ph.D. concerned audience
> relationships with interactive art in gallery settings, and she has
> written widely on the subject for books and periodicals including
> Leonardo, Convergence, and Art Monthly.
>
> Elvira Dyangani Ose (Spain/Guinea Equatoria)
> Elvira Dyangani Ose (1974, Spain / Guinea Equatorial) is Curator,
> International Art at Tate Modern, supported by Guaranty Trust Bank
> Plc. She is an art and architecture historian, currently completing a
> PhD in History of Art and Visual Studies at Cornell University, New
> York. She is as well Artistic Director of Picha Reencounters 2012, the
> third edition of the Lubumbashi Biennial. As an independent curator,
> she has developed different interdisciplinary projects, focusing on
> recovering collective memories, urban ethnography, and artists’ role
> in the process of history-making. Her most significant projects are:
> Olvida Quién Soy/Erase Me from Who I am,  Africalls?,  Nontsikelelo
> Veleko/Welcome to Paradise, and Carrie Mae Weems: Social Studies.
> Elvira Dyangani Ose  has worked as curator in several institutions in
> Spain. She was general curator of Arte inVisible, AECID, in 2009 and
> 2010.
>
>
> Sarah Cooke (UK)
> Sarah Cook is a curator and writer based in Newcastle upon Tyne, UK
> and co-author (with Beryl Graham) of the book Rethinking Curating: Art
> After New Media (MIT Press, 2010) and co-editor (with Sara Diamond) of
> Euphoria & Dystopia: The Banff New Media Institute Dialogues. She is
> currently a Reader at the University of Sunderland where she
> co-founded and co-edits CRUMB, the online resource for curators of new
> media art and teaches on the MA Curating course. She is a member of
> the advisory board of the Journal of Curatorial Studies and co-chaired
> Rewire, the Fourth International Conference on the histories of media
> art, science and technology with FACT in Liverpool (2011).
>
> Having grown up in Canada, Sarah has a longstanding association with
> The Banff Center where she has worked as a guest curator and
> researcher in residence for the Walter Phillips Gallery, the
> International Curatorial Institute and the New Media Institute,
> developing exhibitions, summits, residencies and publications. After
> completing her PhD in 2004, Sarah worked as adjunct curator of new
> media at BALTIC  Centre for Contemporary Art funded by the AHRC. In
> 2008 Sarah was the inaugural curatorial fellow at Eyebeam Art and
> Technology Center in New York, where she worked with the artists in
> the labs to develop exhibitions of their work. Sarah has curated and
> co-curated international exhibitions including Database Imaginary
> (2004), The Art Formerly Known As New Media (2005), Broadcast Yourself
> (2008), Untethered (2008) and Mirror Neurons (2012).
>
>
>
> Renate Ferro
> Visiting Assistant Professor of Art
> Cornell University
> Department of Art, Tjaden Hall Office #420
> Ithaca, NY  14853
> Email:   <rtf9 at cornell.edu>
> URL:  http://www.renateferro.net
>       http://www.privatesecretspubliclies.net
> Lab:  http://www.tinkerfactory.net
>
> Managing Co-moderator of -empyre- soft skinned space
> http://empyre.library.cornell.edu/
> http://en.wikipedia.org/wiki/Empyre



-- 

Renate Ferro
Visiting Assistant Professor of Art
Cornell University
Department of Art, Tjaden Hall Office #420
Ithaca, NY  14853
Email:   <rtf9 at cornell.edu>
URL:  http://www.renateferro.net
      http://www.privatesecretspubliclies.net
Lab:  http://www.tinkerfactory.net

Managing Co-moderator of -empyre- soft skinned space
http://empyre.library.cornell.edu/
http://en.wikipedia.org/wiki/Empyre