We are looking for new submissions for video art and moving images to be displayed on-loop this March. The application will close February 28th. Please use the link below to apply.
MCCALVASP – Astrid Espenhain (Copenhagen, Denmark)
MCCALVASP shows a fascinating universe of soft transitions and movements of organic shapes and changing colours. The abstract images are induced by the interplay of coloured light and a semi transparent indeterminable material. The interaction between colour, light and reflections create new compositions in continuous transformation.
Light, colours and the interplay between them are key elements in all my art works. In my videos, I explore the spatial qualities and the aesthetics in colour and light.
The Uncanny – Kailum Graves (Brisbane, Queensland, Australia)
There is authenticity in low-resolution imagery. This is how Bigfoot, UFO, and Loch Ness Monster videos uploaded to YouTube gain their validity. Similarly, the most powerful still and moving images from conflict and occupied zones are often low-resolution, heavily pixelated, and blurred. In researching this project, I began to realise how fundamental the pixel is in allowing us to cross borders in real-time through the emission and instantaneous reception of visual signals (live streaming webcams, security cameras, and mobile footage from protests, war zones and dangerous journeys). I wanted to embrace this quality—which enabled me, from Mexico City, where I was undertaking a residency—to capture beachgoers at leisure using a networked surf camera above Coolum Beach, Australia. The uncanniness of the images—at times the people documented appear more mythical creature than human—belongs to a politics of fear and threat of otherness (the pixelated face of a criminal, Bigfoot, fighter jet footage of an airstrike, or CCTV footage). These things sit at the intersection of digital and physical, and the real and imagined, where the spectacle trumps direct experience of the world, and things we recognise start to blur seamlessly into places and things that aren’t real.
Kailum is critically obsessed with the Web and born-digital content. He is particularly interested in image-rich technologies and the way global media communication—a landscape controlled by a handful of multidimensional oligopolistic corporate-run networks—can be sampled, organised, and considered in new philosophical, sociological, and political terms. Nonetheless, while these issues are political and economic in nature, Kailum believes anti-capitalist art offers no real alternative to the economic and ideological discourses of multinational capitalism. In its place, he is interested in examining the politics of the image and the construction of truth. To do this, he uses the Internet, which has normalised the act of collecting and compiling information, to preserve and curate found images and raw material. The aim is to engage with the cultural space and aesthetics of the Internet—and the vast amount of digital information it contains—as a subject, material, and tool of artistic production.
Oil Dancer – Circle – Tolmie MacRae (Köln, Germany)
Oil Dancer grew out of collaboration and experimentation with a fan dancer. The original intention was to explore a particular technique, but in trying to capture this elusive performance, the hypnotic and meditative rhythm and movements of the dancer, spiralled this piece in a completely different and unexpected direction. This piece was the genesis for my current body of work. Through constant experimentation and collaboration with a dancer I was able to explore and start to define my own aesthetic as a video artist. Video allows me to catalogue time and space into a language of frames. Once captured I would play and challenge their linear hierarchy , distorting it, pulling those moments and perspectives through each other. Like the cubists trying to represent every perspective at once, video allows me to pull each of these catalogued moments through themselves to paradoxically see each frame at once, whilst also allowing things to evolve and flow over time.
Tolmie explores the multiplicity of existence predominantly through the medium of video. Over the past five years his work has explored themes of meditation, transcendence and immanence by investigating the flow of light and time on people and landscapes. He plays with opposing ideas and then fuses them together. Rather than transcendence and immanence or creation and destruction as binary opposites the artist explores the tension of these seemingly competing states of existence as combined dualities. It is not a political or spiritual investigation for the artist but rather an individual exploration of the state of existence.
Submissions to the UMW Media Wall will re open in May 2020.
The UMW Media Wall is now accepting submissions for the 2019-2020 academic year. Videos and generative programs should be silent and formatted for a 1920×1080 display. Download the UMW Media Wall Mask to properly adjust your work to the Wall’s unique monitor configuration.
Submissions will close on September 1st 2019.
UMW Media Wall submission form.
Questions? Contact umwmediawall at gmail dot com.
Fragments of Space – Barry Anderson
Fragments of Space is a series of animations exploring imaginary architectural and psychological spaces. These minimalist works exist as endless, inescapable movements of exploration and claustrophobia.
Anderson’s work in video and photography has been featured in over 30 solo and over 80 group exhibitions around the country and abroad with recent solo exhibitions in Los Angeles and Seoul. Video art pieces are included in the permanent collections of the Everson Museum of Art, the Kemper Museum of Contemporary Art, and the Nerman Museum of Contemporary Art. He grew up in a small town in east Texas and earned a BFA in photography from the University of Texas at Austin and an MFA in photography and digital media from Indiana University Bloomington.
Crystals – Nicole Cohen (NYC)
“Crystals” is a video art work of a room of Cabinets of Curiosity (a science room in the 18th Century in France, for exploration of the natural world).
The image of the room is scanned and looks as if you enter into it. Layered and integrated into the image are natural objects, i.e. Roses, gems, diamonds, and more, that are made in 3D animation, and float and travel through space that appear more like a dream state or meditation room.
The room is from a French interior book of a Palace in France that still exists. The contrast of natural objects to digitized ones, makes this digital art, and reveals human needs to connect with nature and even design it by mimicking it with technology. There are a lot of layers at an interplay here that alter ones reality, however makes it believable by the realism of the composition and atmospheric perspective.
NICOLE COHEN received her BA from Hampshire College and her MFA from the University of Southern California in Los Angeles. She has exhibited at the Brooklyn Museum of Art, Los Angeles County of Art, Williams College Museum of Art, Shoshana Wayne Gallery, La B.A.N.K Galerie in Paris, France , at the J. Paul Getty Museum in Los Angeles, the Autostadt, Wolfsburg, Schloss Britz in Berlin, Germany, American University Museum at Katzen Art Center in Washington D.C., Wave Hill Public Gardens and Cultural Center in the Bronx, and traveling exhibitions in Asia. She has lived in Los Angeles and in Berlin, Germany, in New York City. She lives in New Jersey and her studio is in New York City.
“Her work is positioned at the crossroads of contemporary reality, personal fantasy, and culturally constructed space. Although trained in painting and drawing, Cohen most frequently uses video as her medium, playing upon its intrinsic capacities to manipulate time, distort scale and environment, and overlay imagery. Consistently interested in engaging her audience and challenging notions of lifestyle, domesticity, celebrity, and social behavior, Cohen also uses the surveillance camera to involve her viewers in their own voyeurism. Her work projects serve as some of the most paradigmatic and successful examples.”, Getty catalogue 2009
Caves – Dan Rule (New Orleans, LA)
These landscapes are fabricated from YouTube videos, online photos, nature desktop wallpapers and some ‘real life’ shooting. They were made without visiting anyplace worth seeing. Using the visual conventions of landscape painters throughout time, the surreal combinations emphasize our idealized visions of particular landscapes. The Cave, the Waterfall, the Valley, etc. as ideas are made into places both pastoral and unsettling.
The video and animation collage works are fictitious landscapes fabricated from YouTube videos, online photos, nature desktop wallpapers and some ‘real life’ shooting. They were made without visiting anyplace worth seeing. Using the visual conventions of landscape painters throughout time, the surreal combinations emphasize our idealized visions of particular landscapes. The Cave, the Waterfall, the Valley, etc. as ideas are made into places both pastoral and unsettling.
Dan Rule was born in Belleville, IL in 1977. He studied printmaking at Southern Illinois University Carbondale (BFA) and Northern Illinois (MFA). He works primarily in drawing, prints, video and animation, often focusing on topics that are scientific and philosophical in nature. Dan is currently an Assistant Professor of Art at the University of New Orleans, where he teaches Printmaking, Photography and Digital media. He has exhibited nationally and in Japan, Canada and Europe. Dan currently resides in New Orleans with his wife Kaori, son Sean and daughter Hana. Recent and upcoming exhibitions include the International Print Center in NYC, Jonathan Ferrara Gallery in New Orleans and the Lawndale Art Center in Houston TX.
Luminare – 2017 – Tom Bridgman, Genna Duberstein, Scott Wiessinger
The sun is not a static ball in space. It is constantly moving, and its behavior is relevant to both art and science. Every twelve seconds, NASA’s Solar Dynamics Observatory images the sun in ten wavelengths of invisible ultraviolet light. Each wavelength is represented in a unique color and every frame is eight times the resolution of HD video. After an event occurs on the sun, a team of media specialists works about ten hours to create one minute of footage.
Data visualizer Tom Bridgman and multimedia producers Genna Duberstein and Scott Wiessinger at NASA’s Goddard Space Flight Center are this team. They create media for the public about the sun and its influence on the solar system. Their content has been featured by every major news outlet, in print and online, and shown internationally. Solarium, the team’s first immersive video installation, has previously been exhibited at The American Museum of Natural History, The Center for Creative Photography, The Louisiana Museum of Art and Science, Baltimore’s Artscape, USD Filmatic Festival, and the GSU Window Project.
Sisyphus the Tank Pusher- Tiger Chengliang Cai (NYC/Shanghai)
Tiger Chengliang Cai is a video artist, filmmaker and photographer based in both New York City and Shanghai. He was initially trained as an art historian, but later devoting himself into fine art practice. His works include video arts, experimental films, photographs, drawings and installations. Through his artwork, Tiger focuses on topics like politics, history, city, revolution, Sci-Fi, also the boundary between dreams and reality, and more important, how individual human deals with all these challenges. His video arts and films have been frequently exhibited in museums and festivals in Asia, Europe and North America.
Cats Under The Skin – Angela Lopez (Chicago, IL)
Angela Lopez is an interdisciplinary artist based in Chicago. Her work investigates the human condition through corporeal, psychological, and animal relationships. Her work explores touch as a way to try to physically grapple with what cannot be seen or touched, such as, the murky parts of ourselves that we repress. These explorations are a way of trying to understand the visceral, the uncanny, and the self. Lopez has exhibited her drawings, videos and sculptures in solo exhibitions at Charlotte Street Foundation (KS) and the Howard L. Schrott Center for the Arts at Butler University (IN). In addition she has taken part of group exhibitions at art spaces across the Midwest and in South America, including the Mary & Leigh Block Museum of Art, Defibulator Gallery, and Centro de Produccion y Edicion Grafica de Buenos Aires in Argentina. She holds an MFA from Northwestern University, and a BFA from The Kansas City Art Institute. Lopez currently teaches art at Carthage College in Kenosha. lopezangela.com
Climb- Laura E. Dickey (Spruce Head, ME)
Laura E. Dickey grew up amid conifers within the historic town of coastal Searsport Maine. She studies Art and New Media with a focus in Animation at the University of Maine at Farmington. Once she has earned her Bachelor’s degree, Laura wishes to attend Graduate School, and beyond that she hopes to find her place within the animation industry.
Laura uses her work to explore the development of meaning as it occurs through childhood, the systems and structures that manipulate that development, and the affect this development of meaning has on our perception of and interactions with the world and people around us.
See Memory – Viviane Silvera (New York, NY)
After receiving her B.S. from Tufts University in Cognitive Psychology and Political Science, Silvera went on to receive her MFA at the New York Academy of Art.
Recent exhibitions include solo exhibitions at the Edward Hopper House, the Cell Gallery and 511 Gallery and group exhibitions at Marymount California University, the Albright Knox Gallery, The Dahesh Museum, The Masur Museum and the Museo de la Cuidad – Mexico. Her work is held in the Clinton Presidential Library & Museum, Tribeca – Flashpoint Media Academy and The Ziff-Davis Corporate Collection in Hong Kong and has been written about in the Art Daily, The Wall Street Journal, Time Out New York, Fine Art Connoisseur magazine and The New York Times. She received the Award of Excellence in Painting at the Edward Hopper House in 2013.
Submissions to the UMW Media Wall are now closed for the 2016-2017 academic year. Selected artists will be notified during the first week of August 2016. Submissions will reopen in May 2017.
Electric Fields – Jeremy Rotsztain (Portland, Oregon, USA)
Electric Fields is a series of three software-generated animations that blend virtual worlds and abstract painting. Each animation embarks on a slow, meandering trip through an infinite world filled with colorful software-generated forms. Morphing and expanding, the gesture-like forms simultaneously appear as brush strokes and fields of digital information. Virtual cameras, cartesian perspective, parallax and atmospheric perspective elicit the sensation of floating through a painterly environment.
One Way In / One Way Out – Jean-Michelle Rolland (Marseille, France)
A generative animation built with Processing. 20 wormlike colored shapes draw a strange geometric network as the rebound endlessly inside the borders of the Media Wall .
Jean-Michel Rolland is a French digital artist born in 1972. He produces experimental videos, generative animations, audiovisual performances, interactive installations and VJ sets.
Myers Playground – Shannon Novak (Auckland, New Zealand)
In 1913 Arthur Thomas Myers bought the land between Greys Avenue and Queen Street and gifted this to Auckland city, New Zealand, land he developed into an inner-city park with a free kindergarten and playground. The park was named “Myers Park” in his honour. Myers transformed the neglected land into a space that supported the safety, development, and dreams of many young children. The animated work, Myers Playground, explores this playground as an incubator of ambition, imagination, and confidence, each musical note and accompanying geometric form a synesthetic rendition of a childhood memory.
Shannon Novak is an artist based in Auckland, New Zealand. He works in painting, sculpture, and installation, with a focus on using geometric forms to explore his deep and abiding interest in the interrelationships between sound, colour, form, time, space, and social context. http://www.shannonnovak.com
Field #2 – Will Hurt (Norwich, Norfolk, UK)
One of a series. A single, simple, geometric shape, hanging in and repeated across space. At irregular intervals, in unison, each shape gracefully rotates to a new randomised orientation. Deliberate pacing foregrounds both the act of looking, and our experience of time passing, inviting us to explore a fluctuating digital space.
Will Hurt – Artist Statement
I use computers to create abstract digital spaces containing digital objects ranging from single, minimal, geometric forms to complex masses of thousands of objects. My work is resolved as generative animations, interactive apps and digital prints.
I make work to explore the nature of and relationship between digital space, digital objects and time. How does an objects sit in digital space? How does an object navigate digital space? How do multiple objects interact in digital space? Can you fill a digital space? How does a digital object differ from a physical object? How can a digital object change over time yet still be recognised as the same object?
Computers, programming and 3d graphics are central to my practice, I create work in realtime graphics engines and often show the work running in the engine rather than a recording of it. This allows me to create work that has indefinite run times and never repeats exactly, both qualities specific to the medium. As itâ€™s not always possible to show the work live I do make screening versions for festivals, tending to create a different take for each event.