----------empyre- soft-skinned space----------------------
my bio as well:
Nell Tenhaaf is an electronic media artist and theoretician whose practice
focuses on intersections of art, science and technology, with a particular
interest in the biosciences and artificial life. Her artworks integrate
elements from these different fields in the form of lightbox displays and
interactive sculptures. Tenhaaf recently exhibited the interactive works
Push/Pull in thelivingeffect group exhibition at the Ottawa Art Gallery in
Ottawa, Canada (November 2010 – January 2011) and WinWin at Paul Petro
Contemporary Art in Toronto (June – July 2012). In March 2013, she delivered
the lecture “When Materialities Multiply: Chaos and Promise between the
Computational and Biological Arts” in the Hexagram-Concordia Centre for
Research-Creation in Media Arts and Technologies Distinguished Speakers Series,
in Montreal. Tenhaaf has been jury chair for the VIDA Alife art competition
since its inception.
On 2013-07-01, at 10:15 AM, Paul Vanouse wrote:
> ----------empyre- soft-skinned space----------------------
> Hi Renate and empyre,
> hope this is ok.
> cheers,
> paul
>
> Paul Vanouse has been working in emerging media forms since 1990.
> Interdisciplinarity and impassioned amateurism guide his art practice. His
> electronic cinema, biological experiments, and interactive installations have
> been exhibited in over 20 countries and widely across the US. Venues have
> included: Walker Art Center, Albright-Knox Art Gallery, Carnegie Museum, Andy
> Warhol Museum, New Museum, Museo Nacional de Bellas Artes in Buenos Aires,
> Louvre in Paris, Haus Der Kulturen Der Welt, Berlin, Zentrum fur Kunst und
> Medientechnologie in Karlsrhue, Centre de Cultura Contemporania in Barcelona,
> and TePapa Museum in Wellington, New Zealand.
>
> Recent solo exhibitions include: Schering Foundation in Berlin (2011),
> Kapelica Gallery in Ljubljana (2011), Muffathalle in Munich (2012), and Beall
> Center at UC Irvine, California (2013). This work has been discussed in
> journals including: Art Journal, Art Papers, Art News, Flash Art
> International, Leonardo, New Scientist, New Art Examiner, New York Times and
> numerous academic books on art and technology.
>
> Vanouse’s artworks have been funded by Renew Media Arts Fellowship (formerly
> known as Rockefeller New Media Fellowship, 2008), Creative Capital (2006),
> New York State Council on the Arts project grant (2000, 2005), New York
> Foundation for the Arts Fellowship (2002), Pennsylvania Council on the Arts
> project grants (94, 95, 98), PCA Fellowship (98), Mellon Charitable Trust
> (98), Heinz Foundation (98), Pennsylvania Humanities Council (98), Sun
> Microsystems equipment grant (2000), National Science Foundation (1997). He
> has received awards at festivals including Prix ARS Electronica (2010 and
> 2007) in Linz, Austria, and Vida, Art and Artificial Life competition (2002,
> 2011), in Madrid, Spain. Museum commissions include the Walker Art Center
> for “The Consensual Fantasy Engine online” (1998), and the Henry Art Gallery
> in Seattle for “The Relative Velocity Inscription Device” (2002).
>
> Vanouse is a Professor of Visual Studies at the University at Buffalo, NY. He
> has been a Senior Artist at Banff Center, Alberta, Canada (2011), 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 decade, 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 recent projects, “Latent Figure
> Protocol” (2007), “Ocular Revision” (2010) and “Suspect Inversion Center”
> (2012) use molecular biology techniques to challenge “genome-hype” and to
> confront issues surrounding DNA fingerprinting.
>
>
> On Jun 29, 2013, at 10:45 PM, Renate Ferro wrote:
>
>> ----------empyre- soft-skinned space----------------------It has been
>> incredibly great to read about so many of your projects. We are hoping that
>> many of you will take this last day of June to respond to our call.
>> Whether you are a participant or a lurker please let us know what your
>> current projects are and post a short bio. Thanks to all of you this month
>> who have shared. Thanks. Renate
>>
>>
>> --
>>
>> Renate Ferro
>> Visiting Assistant Professor of Art
>> Cornell University
>> Department of Art, Tjaden Hall Office #420
>> Ithaca, NY 14853
>> Email: <r...@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
>>
>> _______________________________________________
>> empyre forum
>> empyre@lists.cofa.unsw.edu.au
>> http://www.subtle.net/empyre
>
> _______________________________________________
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