WITH 12 HOURS OF WORKSHOP TIME, A PRIVATE BEDROOM & STUDIO & ALL MEALS…
MAKE WORK, CONVERSE, CONVENE, PERAMBULATE, MEDITATE, EAT DELICIOUS FOOD & OTHERWISE DELIGHT…

June 30th – July 3rd
Family: Artmaking
with Nina Katchadourian

This subject is something that is often (un)comfortably close at hand, rich with potential, and complicated to work with. The workshop aims to take an objective view of the topic on one hand, by looking at the work of artists (Janine Antoni, Patty Chang, Richard Billingham, Sally Mann, Gillian Wearing and Neil Goldberg among others) who have taken it up from a variety of proximities, but also to delve into the deeply subjective. This presents challenges: how do you allow an unknown viewer access to a story you are so close to? How do you prevent the personal from becoming solipsistic and self-indulgent? Working with this subject can obviously be personal, but it can also be a way to explore broader subjects concerning genealogy, history and origin, and the question of what it means to “be related” to someone in the first place.

The workshop is not restricted to any one medium and a cross-disciplinary approach is welcomed. Although not required, participants are encouraged to bring family documents that hold particular allure from them as possible starting points to work from.

Nina Katchadourian works in a wide variety of media including sculpture, photography, video and sound. Several times, she has worked with her family directly in collaboration (such as in “Accent Elimination,” where she and her parents worked with a professional voice coach to acquire each other’s accents) or other times by examining a family document in depth (“The Nightgown Pictures,” based on a photo-document made by her grandmother about Katchadourian’s mother). Other projects, such as “The Genealogy of the Supermarket,” looks at the way family is portrayed through the images of people that appear on common grocery store products. Katchadourian was born in Stanford, California and grew up spending every summer on a small island in the Finnish archipelago, where she still spends part of each year. She is based in Brooklyn, NY. Her work has been exhibited domestically and internationally at places such as PS1/MoMA, Artists Space and SculptureCenter in New York, the Serpentine Gallery, London, and the Museum of Contemporary Art, San Diego. In 2006 the Tang Museum in Saratoga Springs, New York exhibited a 10-year survey of her work and published an accompanying monograph entitled All Forms of Attraction. Katchadourian is represented by Sara Meltzer gallery in New York and Catharine Clark gallery in San Francisco. More information on Katchadourian’s work can be found at www.ninakatchadourian.com.

The Contemporary Art Museum (CAM) dedicated Friday night to the opening of its new exhibition “Broadcast” — which employs radio and television for other forms of artistic expression.

The installations of “Broadcast” vary from flat-screen televisions showing documentary videos to nontraditional sculptures. Art and non-art majors alike can meander throughout the gallery and contemplate the exhibition’s meaning.

The multimedia art show surroundings of “Broadcast” promote visitor interaction.

The exhibition includes “WCBS Radio Caroline, The Voice of the New Free State of Caroline.” This work of art is a fully functional, legal pirate radio station — legal since it is located on USF’s property and its reach is limited to the campus.

Gregory Green, a USF art professor and the artist of “WCBS Radio Caroline,” said that his piece “challenges the power of established broadcasting channels by turning over content control to individuals.”

Visitors can become radio DJs on 99.1 FM and broadcast a free range of content.

“Anything goes,” Green said.

Anyone can sign up to broadcast. There is no fee to participate, and the only requirement is the ability to operate the turntable, tape decks and other equipment without damaging it.

Kelsey Smith, a senior majoring in international studies and a student of Green’s, took advantage of the interactive opportunity by hooking up her iPod to the piece of art.

She said playing her hip-hop music over the airwaves was empowering — and not something she would expect to do at an art museum.

Another interactive feature within “Broadcast” is “Guide by Cell,” a phone-activated tour narration voiced by Irene Hofmann, the exhibition’s curator and Baltimore Contemporary Museum’s executive director.

Visitors can call 813-282-1126 to listen to information on featured works and artists — using displays with corresponding prompt numbers.

“You’re able to walk through and listen at your leisure,” USF Institute for Research in Art associate director Alexa Favata said.

CAM has been using “Guide by Cell” for about two years on different exhibitions, and there is no charge aside from using cell phone minutes.

Don Fuller, CAM’s new media curator, said that exhibition pieces are chosen based on their relevance to students and social issues.

“It’s more than pretty pictures on a wall,” Fuller said.

“Broadcast” explores the theme of mass media’s power. Fuller said some of the featured artwork undermines the authority that television and radio have within society.

Nam June Paik, one of the first artists to use video camera material as art, challenges the authority of late-’60s presidential news conferences in “Video Tape Study No. 3.”

Siebren Versteeg’s piece “CC” mocks the self-importance of evening news broadcasts by using Internet chat room dialogue as closed-captioned text beneath a muted Anderson Cooper.

Versteeg and Green were both present at Friday’s opening to talk about their work.

“We embrace the fact that we can have access to living artists,” Favata said. “It is fine to read about art, but the opportunity to question an artist about what he or she does — and find out what motivates them and what issues are important to them — is an invaluable opportunity.”

Favata said that CAM hopes to increase its prominence on campus. She said she wants students other than art majors to be aware of the museum’s exhibitions and events.

“Many students do not even know where CAM is located,” Favata said.

Yet Favata also said that participating in the Week of Welcome, along with using sites like Facebook and Twitter, has proven successful in spreading the word across campus.

“Broadcast” is a traveling collection from Independent Curators International (iCI), who work with practicing artists all around the world.

It will be on display at CAM until Aug. 7, and the museum’s hours are 10 a.m. to 5 p.m. Monday through Friday and 1 p.m. to 4 p.m. on Saturday.

CAM is located near the Marshall Student Center, between the Fine Arts and Dance buildings.

For more information on the exhibition, call CAM at 813-974-4133 or visit ira.usf.edu.

free103point9 defines “Transmission Arts” as a conceptual umbrella that unites a community of artists and audiences interested in transmission ideas and tools. The genre is informed by an intentional use of space—often the airwaves. Transmission Art manifests in participatory live art or time-based art including radio, video, light, installation, and performance.

Schedule & Fees

The 2010 deadline is July 15th. Fellowships span an 10-month period, and take place September 2010 through June 2011. Fellows will participate in the WGXC/Prometheus Radio Project Station Barnraising, September 24 -26, 2010, as well as have an opportunity present/perform/exhibit their completed projects in the spring of 2011. This program is designed to accommodate artists who have other committments during the fellowship period; specific scheduling of research trips and public programs will be determined in collaboration with successful Fellows after the selection process.

Each AIRtime Fellow is awarded an artist fee of $1,000. At this time additional funding for travel expenses is unavailable.

Eligibility

This is an international open call for proposals. Artists pursuing an AIRtime Fellowship should either posses a significant body of past transmission-based work, or a compelling argument in support of their future work within the transmission art genre.

Full-time students without a significant history of artmaking outside their studies are considered ineligible.

Requirements

Fellows will be given the opportunity to present their work in at least two public settings. Presentations may include workshops, artist talks, performance, and/or installation. Applicants should be committed to participating in this aspect of the program.

Review Process

Applications will be reviewed by free103point9 staff for completeness and guideline compliance.

All eligible applications will then be reviewed by a review panel comprised of free103point9 staff, Board members, and past AIRtime artists. The review panel convenes in July, with grantees announced in August. The names of the panelists for each cycle remain confidential until after the grants are announced.

More information and online application: http://www.free103point9.org/apply/airtime/

Do you want to spend 10 weeks in Seattle, the “City of Music,” working with a dynamic team at one of the most cutting-edge public radio music stations in the country?  AIR is so pleased to be working in partnership with KEXP-FM to offer two producers a shot at AIR’s “Live Interactive” residency. We’ll choose one resident for fall 2010, and another for early 2011.

The residency comes with a $5600 stipend for ten weeks.

Are you the one?
We’re looking for someone who is primed to experiment with new ways to take sound, music, and story beyond the broadcast signal. The producer, once chosen, will work with AIR and KEXP staff to hone a project they’ll focus on. The ideal Live Interactive candidate is:
•   Passionate about learning
•   An outstanding team player
•   Looking for the next step in his/her career
•   Someone whose friends say “you’re so creative!”
•   Passionate about “ear” work and the craft of sound
•   Experienced producing for radio, or public media venue
•   Recognized for having high standards in ethics and work quality
•   Able to work both independently and as part of a tight team
•   Comfortable with learning through his/her mistakes
•   Flexible and knows how to roll with the punches

We encourage the AIR resident to:
•   Collaborate with producers throughout the world via AIR’s social network, the AIRDaily
•   Experiment with bringing live broadcast material to other platforms
•   Invent new, deeply engaging ways to tell story and present sound
•   Blog about their experience

When: Fall 2010, Early 2011
Duration: Ten weeks

How to Apply:
Fill out an application form. THE APPLICATION DEADLINE IS JUNE 11, 2010. We will review every application we receive. Because of the volume of responses, we may not be able to contact every applicant personally. If we are interested in a follow-up interview, we will contact you by mid-July. If you have questions, you may contact AIR at erin@airmedia.org.

Contact:
Erin Mishkin, Membership Director
Association of Independents in Radio, Inc.
erin@airmedia.org

About KEXP:
KEXP is an influential, non-commercial radio station based in Seattle and supported through financial contributions from listeners worldwide. Over the last three decades, KEXP has built a reputation as a purveyor of new and emerging artists and musical forms. Today, KEXP programs a rare mix of music spanning multiple genres and brings listeners more than 400 live, in-studio performances each year.

Recommended listening:
Live:  http://www.KEXP.org
KEXP documentaries: http://www.kexp.org/learn/documentaries.asp

Links:
Application: www.airmedia.org/PageInfo.php?PageID=571
AIR: www.airmedia.org

+++AIR is everywhere.+++
www.airmedia.org

Support for AIR comes from the Corporation for Public Broadcasting, the John D. and Catherine T. MacArthur Foundation, Recovery.gov, the National Endowment for the Arts, The Robert Davoli and Eileen Mc Donagh Charitable Foundation, and the members of the Association of Independents in Radio, Inc.

Featuring presentations by Julia Weist, Public Library of American Public Library Deaccession and Andrew Beccone, Reanimation Library with a group discussion afterward, moderated by Emily Drabinski.

Julia Weist will discuss her project The Public Library of Public Library Deaccession, an artistic attempt at documenting and re-purposing information about 5,000 books deselected from public
libraries between 2005-07. Consisting of both a physical library and an online database, the P.L.P.L.D., sought to highlight the obscure, trivial and misleading so as to better understand the relevant, the beautiful and the true. The presentation will also include a screening of Weist’s short film by the same name, in which withdrawn books were reintegrated in Brooklyn communities through mobile library units stationed in municipal spaces.

Andrew Beccone is the founder and director of the Reanimation Library, a small, independent library in Brooklyn. The Reanimation Library is a collection of books that have fallen out of mainstream circulation. Outdated and discarded, they have been culled from thrift stores, stoop sales, and throw-away piles across the country and given new life as resource material for artists, writers, and other cultural archeologists. Beccone will provide a general overview of the library and will also address the social value of salvaging, re-cataloging, and making available materials that might otherwise be forgotten.

Emily Drabinski is an instruction librarian at Long Island University. She is co-editor of Critical Library Instruction: Theories and Methods (Library Juice Press, 2010).

http://radicalreference.info/brechtforum/spring10/discards

13. – 16. May 2010
(Thursday: 2 to 7 p.m., Friday 4 to 8 p.m.,
Saturday/Sunday: 11 a.m. to 6 p.m.)

Ages: 13 to 100,
Contribution/person: 5 – 15 €
Transmission at UKW 106.5 or online at www.oeins.de:
Sunday 3 to 4 and 5 to 6 p.m.

This year’s International Museum Day is themed “museums for social harmony”. This claim and the events taking place in and around the Edith Russ Site for Media Arts is our starting point for a radio workshop. Within 4 days young adults and adults learn how to create and produce an interactive radio show. The show will be broadcasted on Sunday on the local radio station Oeins and can be received directly in the Edith Russ Site for Media Arts as well as at home. The radio program may be a mixture of reports, interviews, music, phoning-in activities, sound collages and mediation experiments.

All visitors of the museum are invited to bring their own (if possible battery-powered) radios and to listen to the program and eventually follow the broadcasted instructions. It is possible to participate in several ways and consequently “social harmony” can be tested and altered. You can also borrow radios in the museum.

Contact: vermittlung-erh@web.de or Tel. 0441-2353208

*************************************************************************

Edith-Ruß-Haus für Medienkunst
Katharinenstraße 23
D-26121 Oldenburg
fon: +49 (0)441 – 235 25 68
fax: +49 (0)441 – 235 21 61
info@edith-russ-haus.de
www.edith-russ-haus.de

Tuesday May 25, 2010 21.30-22.00: Audio visual television performance within the program “Sound and Television“. On Danish nationwide digital television on the regional channels. Copenhagen: Kanal Hovedstaden. Fyn: TV Fyn. Midtvest: TV Midtvest. Bornholm: Kanal Bornholm. Nord: Kanal Nord. Syd: Kanal Syd. Øst: Kanal Øst. Østjylland: Kanal Østjylland.

“As a Transmission Art series, Sound & Television invites artists who work with the materiality of audiovisual flows to realise performances exploring the performativity of television: not live on TV, but live as TV. During six half-hour long television transmissions, a group of Danish and International artists develop performances where the transmission itself becomes the artwork. The performances all reflect on different significant aspects of the changing conditions of broadcasting. In the new DVB-T (digital terrestrial television) environment, the very transmission format of TV has changed, from symmetric analog to asymmetric data flows, encoded in the MPEG format and decoded through software implemented in everything from flat-screen TV’s, set-top-boxes and PC’s. “The cracking of LCD screens”…all is not smooth in this world of digitally compressed TV, as ROSA MENKMAN shows in a performance based on her Glitch Studies Manifesto, creatively appropriating the hidden error-spaces accidentally opened up in new forms of encoding-decoding.”

27-04-2010___AYMERIC MANSOUX
04-05-2010___DEMOCRATIC INNOVATION feat. LAMBURG TONY
25-05-2010___ROSA MENKMAN
01-06-2010___SVEN KÖNIG
08-06-2010___JACOB KIRKEGAARD
15-06-2010___VICKI BENNETT aka PEOPLE LIKE US

Sound : [Slides] : Sounds Elemental
Apply for AIR’s June and November Sounds Elemental producer intensives.
Slots limited. Move now.

We have a new and exciting addition to our upcoming Sounds Elemental: Earth intensive with Harvestworks in New York City. Guest instructor Amy O’Leary, new media editor at the New York Times, will drop by for an afternoon mini-dive into audio slideshow production. She’ll take the class through the basics of tools and techniques, building out the sound the of earth assemblage to another, increasingly popular media platform. Read on for more details about our popular week-long intensives and information on how to apply.

We’re looking for 10 producers to step into the void as AIR, in conjunction with Harvestworks Digital Media Arts Center in New York City, once again offers two week-long intensives for mid to advanced level audio producers. You do not have to be a member of AIR to apply. This opportunity may be especially appealing to those working primarily in traditional narrative and documentary formats eager to experiment with unconventional approaches to assembling sound and telling story.

This program, entering its 4th year, boasts a diverse and exciting roster of alumni working across a broad range of disciplines, from ATC and Marketplace reporters to musicians and sound artists.

We will accept 10 students through a competitive application process for each class: Sounds Elemental: Earth, to be held June 21-25, 2010, and Sounds Elemental: Sky, to be held November 15-19, 2010 at Harvestworks in New York City. The cost is $650. AIR members living outside of New York City who are accepted are eligible for a small stipend to help underwrite the cost of the intensive and travel to NYC.

We will accept applications for both sessions now.

>> THE DEADLINE FOR APPLYING FOR THE JUNE SESSION, SOUNDS ELEMENTAL: EARTH IS MONDAY, MAY 3. <<

Producers benefit from intensely individualized attention from renowned sound artists-teachers, NYC-based composer and performer Michael Schumacher, Harvestworks’ Hans Tammen, New York Times new media editor Amy O’Leary, and AIR member Brenda Hutchinson who teaches and performs extensively around the U.S. and overseas.

Visit our website to learn more and apply.

Links:
AIR: www.airmedia.org
Harvestworks: www.harvestworks.org
To apply: www.airmedia.org/PageInfo.php?CatID=5&PageID=562

“We are pleased to announce our first summer lab for interactive media in performance to be held August 16-22, 2010. Directed by Johannes Birringer and Mark Coniglio, the workshop offers intensive training and possibilities for experimentation with mixed reality and real time architectures, programmable environments, interactive design and the integration of time-based media into live performance and installation. The workshop addresses emerging and professional art practitioners, scientists, researchers, and students from different backgrounds in performance and new media committed to sharing their interest in developing a deeper understanding of composing work focused on real time, interactive or time-based experiences and multidisciplinary collaborative processes (video, sound processing, projection design, lighting, choreography, and directing). Résumé and informal letter of application are due by June 30, 2010. More information on this workshop can be found on the EMPAC website.“