Re: [-empyre-] abstraction an multiple possiibilities

[Daniel Lichtman]

--empyre- soft-skinned space--my pleasure, and thank you!

On Tue, Apr 30, 2019 at 5:56 PM Emily V Duke  wrote:

> --empyre- soft-skinned space--
>
> Just a quick note to thank you, Daniel, for your generous,
> thoughtful words.
>
>
> I have begun to poke through your website and it looks great!
>
>
> Emily
>
>
> Emily Vey Duke
> Pronouns: she/her/hers
> Associate Professor | Department of Transmedia | Syracuse University
> --
> *From:* empyre-boun...@lists.artdesign.unsw.edu.au <
> empyre-boun...@lists.artdesign.unsw.edu.au> on behalf of Daniel Lichtman <
> daniel...@gmail.com>
> *Sent:* Tuesday, April 30, 2019 11:46:22 AM
> *To:* soft_skinned_space
> *Subject:* Re: [-empyre-] abstraction an multiple possiibilities
>
> --empyre- soft-skinned space--
> ___
> empyre forum
> empyre@lists.artdesign.unsw.edu.au
> http://empyre.library.cornell.edu
___
empyre forum
empyre@lists.artdesign.unsw.edu.au
http://empyre.library.cornell.edu

Re: [-empyre-] abstraction an multiple possiibilities

[Emily V Duke]

--empyre- soft-skinned space--Just a quick note to thank you, Daniel, for your generous, thoughtful words.


I have begun to poke through your website and it looks great!


Emily


Emily Vey Duke
Pronouns: she/her/hers
Associate Professor | Department of Transmedia | Syracuse University

From: empyre-boun...@lists.artdesign.unsw.edu.au 
 on behalf of Daniel Lichtman 

Sent: Tuesday, April 30, 2019 11:46:22 AM
To: soft_skinned_space
Subject: Re: [-empyre-] abstraction an multiple possiibilities

--empyre- soft-skinned space--
___
empyre forum
empyre@lists.artdesign.unsw.edu.au
http://empyre.library.cornell.edu

Re: [-empyre-] abstraction an multiple possiibilities

[Daniel Lichtman]

 feelings and
> intimate/public encounters—particularly feminist and queer ones.
>
> How lucky to have these works and artists as models.
>
> Chantal Ackerman’s “je tu il elle” was an important text for me too. Still
> mourning her loss.
>
>
> Jessica Posner
> jessicaposner.com
>
>
> On Apr 26, 2019, at 10:21 PM, Emily V Duke  wrote:
>
> --empyre- soft-skinned space--
>
> So into this.
>
>
> Thank you for the stories.  This is the gift of these artists, to allow us
> to reimagine, repeat, repair our own stories.
>
>
> E
>
>
> Emily Vey Duke
> Pronouns: she/her/hers
> Associate Professor | Department of Transmedia | Syracuse University
> --
> *From:* empyre-boun...@lists.artdesign.unsw.edu.au <
> empyre-boun...@lists.artdesign.unsw.edu.au> on behalf of Rachel
> Fein-Smolinski 
> *Sent:* Friday, April 26, 2019 8:58:29 PM
> *To:* soft_skinned_space
> *Subject:* Re: [-empyre-] abstraction an multiple possiibilities
>
> --empyre- soft-skinned space--
> I feel privileged to be reading these descriptions of your experiences and
> relationships to these works, and I want to respond to a few things
> mentioned that I deeply connected to:
>
> As Jessica said:
>
> "The first time I saw Barbara’s work was in the year I first made love to
> another woman, and the aesthetics of her work—particularly work with
> optical printing, doubling, mirroring,layering and her playful edits—looked
> the way very good queer sex feels "
>
> I relate to this on an unbelievable level. In an anecdotal experience, I
> have been thinking about the first time that I watched Carolee Shneemann's
> Fuses. I was 14 years old and it hurt me and held me in way I never
> imagined was acceptable. This was when I started to feel less like a
> passive object when watching something, and more like a productive,
> consumption, machine. I was in Ithaca College for the New York State Summer
> School of the arts, and it was part of our nightly screenings. I sat in the
> dark of the theatre next to another student, a girl who I was supremely
> attracted to, and supremely ashamed of for desiring so genuinely.
>
> Shortly after this screening, one of the male students in the program was
> kicked out after multiple female-identifiy students in the program reported
> him to the director for repeatedly groping and inappropriately touching
> them in the darkroom. He later claimed that he was confused, because it was
> so dark. After he was asked to leave, our teacher, a powerful woman who
> intimidated me and made me feel small and big at the same time, took me,
> and the girl who I was attracted to aside, and told us that she was
> concerned that we were the only ones who didn't report his behavior, yet
> when she asked us both later, we admitted that we had experienced it, and
> hadn't said anything because it didn't feel "bad enough" to bring up.
>
> I felt like I had been told that I had a curse of quiet and was ashamed of
> it. This feels connected to something Emily said
>
> "I was so resentful then of the way that the spotlight was ceded to boys
> without question, while as a girl I felt accused of neediness for wanting
> the same thing."
>
> That night, the girl and I who were pulled aside had sex. Sex that made me
> feel the way that Fuses has. It wasn't the first time I had been with
> another girl, but something about it attached me so deeply and joyfully to
> Fuses. I thought about the unapologetic body asserting existence amongst a
> visual cacophony, the body that I was a sole owner off, and the ways in
> which my body could multiply, and lay itself upon another body, and hold on
> so deeply to this joyous queerness I was so apprehensive to acknowledge.
>
> Thanks all for the amazing reads. Continuing to catch up on the
> conversation!
>
> -
> Rachel
> _
>
> Rachel Fein-Smolinski
> Digital Services Coordinator
> Light Work
>
> 316 Waverly Avenue, Syracuse, NY 13244
> lightwork.org
>
>
> 
> From: empyre-boun...@lists.artdesign.unsw.edu.au <
> empyre-boun...@lists.artdesign.unsw.edu.au> on behalf of Emily V Duke <
> evd...@syr.edu>
> Sent: Friday, April 26, 2019 9:27:08 AM
> To: soft_skinned_space
> Subject: Re: [-empyre-] abstraction an multiple possiibilities
>
> --empyre- soft-skinned space--
> ___
> empyre forum
> empyre@lists.artdesign.unsw.edu.au
> http://empyre.library.cornell.edu
>
> ___
> empyre forum
> empyre@lists.artdesign.unsw.edu.au
> http://empyre.library.cornell.edu
>
> ___
> empyre forum
> empyre@lists.artdesign.unsw.edu.au
> http://empyre.library.cornell.edu
___
empyre forum
empyre@lists.artdesign.unsw.edu.au
http://empyre.library.cornell.edu

Re: [-empyre-] abstraction an multiple possiibilities

[Jessica Posner]

--empyre- soft-skinned space--Thank you, Rachel and Emily, for sharing these stories. It’s amazing to connect 
to these works and artists as templates for feelings and intimate/public 
encounters—particularly feminist and queer ones. 

How lucky to have these works and artists as models. 

Chantal Ackerman’s “je tu il elle” was an important text for me too. Still 
mourning her loss. 


Jessica Posner
jessicaposner.com


> On Apr 26, 2019, at 10:21 PM, Emily V Duke  wrote:
> 
> --empyre- soft-skinned space--
> So into this.
> 
> 
> 
> Thank you for the stories.  This is the gift of these artists, to allow us to 
> reimagine, repeat, repair our own stories.
> 
> 
> 
> E
> 
> 
> 
> Emily Vey Duke
> Pronouns: she/her/hers
> Associate Professor | Department of Transmedia | Syracuse University
>  
> From: empyre-boun...@lists.artdesign.unsw.edu.au 
>  on behalf of Rachel 
> Fein-Smolinski 
> Sent: Friday, April 26, 2019 8:58:29 PM
> To: soft_skinned_space
> Subject: Re: [-empyre-] abstraction an multiple possiibilities
>  
> --empyre- soft-skinned space--
> I feel privileged to be reading these descriptions of your experiences and 
> relationships to these works, and I want to respond to a few things mentioned 
> that I deeply connected to:
> 
> As Jessica said:
> 
> "The first time I saw Barbara’s work was in the year I first made love to 
> another woman, and the aesthetics of her work—particularly work with optical 
> printing, doubling, mirroring,layering and her playful edits—looked the way 
> very good queer sex feels "
> 
> I relate to this on an unbelievable level. In an anecdotal experience, I have 
> been thinking about the first time that I watched Carolee Shneemann's Fuses. 
> I was 14 years old and it hurt me and held me in way I never imagined was 
> acceptable. This was when I started to feel less like a passive object when 
> watching something, and more like a productive, consumption, machine. I was 
> in Ithaca College for the New York State Summer School of the arts, and it 
> was part of our nightly screenings. I sat in the dark of the theatre next to 
> another student, a girl who I was supremely attracted to, and supremely 
> ashamed of for desiring so genuinely.
> 
> Shortly after this screening, one of the male students in the program was 
> kicked out after multiple female-identifiy students in the program reported 
> him to the director for repeatedly groping and inappropriately touching them 
> in the darkroom. He later claimed that he was confused, because it was so 
> dark. After he was asked to leave, our teacher, a powerful woman who 
> intimidated me and made me feel small and big at the same time, took me, and 
> the girl who I was attracted to aside, and told us that she was concerned 
> that we were the only ones who didn't report his behavior, yet when she asked 
> us both later, we admitted that we had experienced it, and hadn't said 
> anything because it didn't feel "bad enough" to bring up.
> 
> I felt like I had been told that I had a curse of quiet and was ashamed of 
> it. This feels connected to something Emily said
> 
> "I was so resentful then of the way that the spotlight was ceded to boys 
> without question, while as a girl I felt accused of neediness for wanting the 
> same thing."
> 
> That night, the girl and I who were pulled aside had sex. Sex that made me 
> feel the way that Fuses has. It wasn't the first time I had been with another 
> girl, but something about it attached me so deeply and joyfully to Fuses. I 
> thought about the unapologetic body asserting existence amongst a visual 
> cacophony, the body that I was a sole owner off, and the ways in which my 
> body could multiply, and lay itself upon another body, and hold on so deeply 
> to this joyous queerness I was so apprehensive to acknowledge.
> 
> Thanks all for the amazing reads. Continuing to catch up on the conversation!
> 
> -
> Rachel
> _
> 
> Rachel Fein-Smolinski
> Digital Services Coordinator
> Light Work
> 
> 316 Waverly Avenue, Syracuse, NY 13244
> lightwork.org
> 
> 
> 
> From: empyre-boun...@lists.artdesign.unsw.edu.au 
>  on behalf of Emily V Duke 
> 
> Sent: Friday, April 26, 2019 9:27:08 AM
> To: soft_skinned_space
> Subject: Re: [-empyre-] abstraction an multiple possiibilities
> 
> --empyre- soft-skinned space--
> ___
> empyre forum
> empyre@lists.artdesign.unsw.edu.au
> http://empyre.library.cornell.edu
> ___
> empyre forum
> empyre@lists.artdesign.unsw.edu.au
> http://empyre.library.cornell.edu
___
empyre forum
empyre@lists.artdesign.unsw.edu.au
http://empyre.library.cornell.edu

Re: [-empyre-] abstraction an multiple possiibilities

[Emily V Duke]

--empyre- soft-skinned space--So into this.


Thank you for the stories.  This is the gift of these artists, to allow us to 
reimagine, repeat, repair our own stories.


E


Emily Vey Duke
Pronouns: she/her/hers
Associate Professor | Department of Transmedia | Syracuse University

From: empyre-boun...@lists.artdesign.unsw.edu.au 
 on behalf of Rachel Fein-Smolinski 

Sent: Friday, April 26, 2019 8:58:29 PM
To: soft_skinned_space
Subject: Re: [-empyre-] abstraction an multiple possiibilities

--empyre- soft-skinned space--
I feel privileged to be reading these descriptions of your experiences and 
relationships to these works, and I want to respond to a few things mentioned 
that I deeply connected to:

As Jessica said:

"The first time I saw Barbara’s work was in the year I first made love to 
another woman, and the aesthetics of her work—particularly work with optical 
printing, doubling, mirroring,layering and her playful edits—looked the way 
very good queer sex feels "

I relate to this on an unbelievable level. In an anecdotal experience, I have 
been thinking about the first time that I watched Carolee Shneemann's Fuses. I 
was 14 years old and it hurt me and held me in way I never imagined was 
acceptable. This was when I started to feel less like a passive object when 
watching something, and more like a productive, consumption, machine. I was in 
Ithaca College for the New York State Summer School of the arts, and it was 
part of our nightly screenings. I sat in the dark of the theatre next to 
another student, a girl who I was supremely attracted to, and supremely ashamed 
of for desiring so genuinely.

Shortly after this screening, one of the male students in the program was 
kicked out after multiple female-identifiy students in the program reported him 
to the director for repeatedly groping and inappropriately touching them in the 
darkroom. He later claimed that he was confused, because it was so dark. After 
he was asked to leave, our teacher, a powerful woman who intimidated me and 
made me feel small and big at the same time, took me, and the girl who I was 
attracted to aside, and told us that she was concerned that we were the only 
ones who didn't report his behavior, yet when she asked us both later, we 
admitted that we had experienced it, and hadn't said anything because it didn't 
feel "bad enough" to bring up.

I felt like I had been told that I had a curse of quiet and was ashamed of it. 
This feels connected to something Emily said

"I was so resentful then of the way that the spotlight was ceded to boys 
without question, while as a girl I felt accused of neediness for wanting the 
same thing."

That night, the girl and I who were pulled aside had sex. Sex that made me feel 
the way that Fuses has. It wasn't the first time I had been with another girl, 
but something about it attached me so deeply and joyfully to Fuses. I thought 
about the unapologetic body asserting existence amongst a visual cacophony, the 
body that I was a sole owner off, and the ways in which my body could multiply, 
and lay itself upon another body, and hold on so deeply to this joyous 
queerness I was so apprehensive to acknowledge.

Thanks all for the amazing reads. Continuing to catch up on the conversation!

-
Rachel
_

Rachel Fein-Smolinski
Digital Services Coordinator
Light Work

316 Waverly Avenue, Syracuse, NY 13244
lightwork.org



From: empyre-boun...@lists.artdesign.unsw.edu.au 
 on behalf of Emily V Duke 

Sent: Friday, April 26, 2019 9:27:08 AM
To: soft_skinned_space
Subject: Re: [-empyre-] abstraction an multiple possiibilities

--empyre- soft-skinned space--
___
empyre forum
empyre@lists.artdesign.unsw.edu.au
http://empyre.library.cornell.edu
___
empyre forum
empyre@lists.artdesign.unsw.edu.au
http://empyre.library.cornell.edu

Re: [-empyre-] abstraction an multiple possiibilities

[Rachel Fein-Smolinski]

--empyre- soft-skinned space--
I feel privileged to be reading these descriptions of your experiences and 
relationships to these works, and I want to respond to a few things mentioned 
that I deeply connected to:

As Jessica said:

"The first time I saw Barbara’s work was in the year I first made love to 
another woman, and the aesthetics of her work—particularly work with optical 
printing, doubling, mirroring,layering and her playful edits—looked the way 
very good queer sex feels "

I relate to this on an unbelievable level. In an anecdotal experience, I have 
been thinking about the first time that I watched Carolee Shneemann's Fuses. I 
was 14 years old and it hurt me and held me in way I never imagined was 
acceptable. This was when I started to feel less like a passive object when 
watching something, and more like a productive, consumption, machine. I was in 
Ithaca College for the New York State Summer School of the arts, and it was 
part of our nightly screenings. I sat in the dark of the theatre next to 
another student, a girl who I was supremely attracted to, and supremely ashamed 
of for desiring so genuinely.

Shortly after this screening, one of the male students in the program was 
kicked out after multiple female-identifiy students in the program reported him 
to the director for repeatedly groping and inappropriately touching them in the 
darkroom. He later claimed that he was confused, because it was so dark. After 
he was asked to leave, our teacher, a powerful woman who intimidated me and 
made me feel small and big at the same time, took me, and the girl who I was 
attracted to aside, and told us that she was concerned that we were the only 
ones who didn't report his behavior, yet when she asked us both later, we 
admitted that we had experienced it, and hadn't said anything because it didn't 
feel "bad enough" to bring up.

I felt like I had been told that I had a curse of quiet and was ashamed of it. 
This feels connected to something Emily said

"I was so resentful then of the way that the spotlight was ceded to boys 
without question, while as a girl I felt accused of neediness for wanting the 
same thing."

That night, the girl and I who were pulled aside had sex. Sex that made me feel 
the way that Fuses has. It wasn't the first time I had been with another girl, 
but something about it attached me so deeply and joyfully to Fuses. I thought 
about the unapologetic body asserting existence amongst a visual cacophony, the 
body that I was a sole owner off, and the ways in which my body could multiply, 
and lay itself upon another body, and hold on so deeply to this joyous 
queerness I was so apprehensive to acknowledge.

Thanks all for the amazing reads. Continuing to catch up on the conversation!

-
Rachel
_

Rachel Fein-Smolinski
Digital Services Coordinator
Light Work

316 Waverly Avenue, Syracuse, NY 13244
lightwork.org



From: empyre-boun...@lists.artdesign.unsw.edu.au 
 on behalf of Emily V Duke 

Sent: Friday, April 26, 2019 9:27:08 AM
To: soft_skinned_space
Subject: Re: [-empyre-] abstraction an multiple possiibilities

--empyre- soft-skinned space--
___
empyre forum
empyre@lists.artdesign.unsw.edu.au
http://empyre.library.cornell.edu

Re: [-empyre-] abstraction an multiple possiibilities

[Emily V Duke]

--empyre- soft-skinned space--Just wanted to share my story about Carolee Schneeman, as I have been so moved 
by what others have presented:


When I was an undergraduate student at the Nova Scotia College of Art and 
Design, many years ago, in the mid 1990s, somebody managed to organize a visit 
from Carolee Schneeman.  It’s hard to describe the wave of excitement that 
rippled through the art scene in that little city by the sea.  This was the 
mother of performance art!  For us it was like Lady Gaga and Beyonce and Glen 
Close and Aunt Lydia from The Handmaid’s Tale were all converging into one 
great, stern being, and she was descending upon us. And we would array 
ourselves before her like gems on velvet.  We hoped.  We hoped we would shine 
like that. I hoped, fiercely.


She spoke twice, first at the Mount Saint Vincent Art Gallery and then again in 
the big auditorium at my school.  I went to both talks.  This was a person I 
had patterned myself after—strong, with a reputation for spotlight-seeking, and 
best of all, a way to achieve sanction for seeking that light.  It was what I 
wanted too.  I was so resentful then of the way that the spotlight was ceded to 
boys without question, while as a girl I felt accused of neediness for wanting 
the same thing.  There was something ugly, appetite-riddled, when a girl wanted 
the spotlight.  For boys it wasn’t even a thing, the wanting.  They just strode 
in.


But there was Schneeman, earning it.  Refusing to shirk the mantle, to shy or 
shimmy out of it.  Refusing to be coy about her place there.  Demanding and 
rigourous and militant and blazing glory!  In my hometown!


Not only that, she also liked cats.  I myself was cat-mad.


My practice then was telling lies persuasively.  I told one about the curator 
from a local gallery getting a long shard of wood lodged in her eye and having 
to leave it there because to remove it would damage the eye further, so 
attending openings with the spear jutting out, surrounded by a donut-bandage.  
Another one was about attending a fancy cat show at the civic center.  I had 
photographs.  They came from a book I had of cat breeds.  I’d rephotographed 
them on the copy stand at school.


When Schneeman spoke at the gallery, I approached her afterwards and told an 
incredibly improbable tale about my cat, Turbine, finding an injured baby bird 
at the base of a tree across the street from my house and bringing it to me in 
her mouth unharmed.  She carried it, I told her, like a little egg.  Schneeman 
seemed at first skeptical, but then delighted.  She allowed herself to be 
carried away by the image of this white cat gleaming in the light, carrying a 
bird in its mouth like an egg.


When she spoke at the auditorium at my school, she spotted me in the crowd and 
after her talk she called me up to the mic.  She asked me to tell the assembled 
students and faculty about my cat, the bird.  She reminded me to tell the part 
about the egg.


I felt like I’d been knighted.  I felt seen.  I felt the heat of the spotlight 
on my shoulders, and god, it felt great.


I wouldn’t be the artist I am if it weren’t for that visit.  She was an idol 
and she showed me kindness.  She knew I was lying, this scrappy, star-struck 
art-school girl with a story, but she gave me what I hungered for.  She put me 
before an audience.  It was an act of sheer generosity.  She could have shut me 
down.  She could have been indifferent.  But she saw my appetite and thought 
“That’s good,  She should be hungry.  She should be hungry and she should get 
dinner.”  She nourished me.


Such a tiny moment, but with such a great effect for me.  How many times did 
she do this?  How many of us are there, I wonder, fed from her hand like this?


If people are interested in taking a look at what I do, this is my most recent 
work, finished just last month.


It’s called You Were an Amazement on the Day You Were Born.


https://vimeo.com/311950513

password: lenore



Emily Vey Duke
Pronouns: she/her/hers
Associate Professor | Department of Transmedia | Syracuse University

From: empyre-boun...@lists.artdesign.unsw.edu.au 
 on behalf of Rachel Fein-Smolinski 

Sent: Thursday, April 18, 2019 6:38:51 PM
To: soft_skinned_space
Subject: Re: [-empyre-] abstraction an multiple possiibilities

--empyre- soft-skinned space--
First of all, I want to thank Renate for the invite to participate in this 
discussion. I am humbled to be privy to such thoughtful dialogue that 
intersects with the work that I make.

As an artist raised in Buffalo, NY, Renate’s earlier mention of Hallwalls 
Contemporary Arts Center and Squeaky Wheel moved me. I was raised going to 
openings at Hallwalls, processing super 8 in the basement of Squeaky Wheel as a 
13 year old intern, and spending summers through the New York State Summer 
School of the Arts at Ithaca College learning from Ghen Dennis

Re: [-empyre-] abstraction an multiple possiibilities

[Rachel Fein-Smolinski]

--empyre- soft-skinned space--
First of all, I want to thank Renate for the invite to participate in this 
discussion. I am humbled to be privy to such thoughtful dialogue that 
intersects with the work that I make.

As an artist raised in Buffalo, NY, Renate’s earlier mention of Hallwalls 
Contemporary Arts Center and Squeaky Wheel moved me. I was raised going to 
openings at Hallwalls, processing super 8 in the basement of Squeaky Wheel as a 
13 year old intern, and spending summers through the New York State Summer 
School of the Arts at Ithaca College learning from Ghen Dennis, and Tania 
Palacios. I moved to San Francisco to go to art school when I was 17, and then 
back East to Syracuse, NY for graduate school in the Transmedia Dept. at 
Syracuse University where I now teach.

I make installations that include videos, photographs, and objects about 
courage and pain using bio-medical imagery. I integrate appropriated materials 
from hospital archives into my work, and use the sci-fi format to explore pain, 
sex, power, and neuroses through the lens of science.

I have been thinking about being queer, and femme, and sick in the context of 
this conversation. I have a lot of thoughts that I want to expand upon about 
influence, but for now I want to say that I’m thankful for the link to Barbra 
Hammer’s performance/lecture at the Whitney The Art of Dying: 
https://www.youtube.com/watch?v=FMeoAx9dZkI, and last Sunday, I sat in a 
library, with the intention of doing some work with her voice playing in the 
background. I ended up raptly watching the lecture twice through and openly 
weeping. How vital it is to feel validated by the affective presence of others. 
The privilege of the intimacy of the public utterance of the phrase “I love you 
with all my heart.” This stunning metaphorical organ.

I have been remiss in writing as I have been preparing an installation for a 
group show honoring the recipients of a Wynn Newhouse Award for artists who 
have disabilities: https://www.wnewhouseawards.com/Pages/Awards.html

The works of the other five recipients feel particularly relevant to the use of 
the body within the history of feminist interventions on public understandings 
of subjective experiences.

I also wanted to share my most recent video Referred Pain: 
https://vimeo.com/323993856, shown as part of the Video in America exhibition 
at The Everson, another CNY institution Renate mentioned: 
https://www.everson.org/explore/current-exhibitions/archives-video-america

I look forward to talking more about my relationship to the work of these four 
incredible artists.

_

Rachel Fein-Smolinski
Digital Services Coordinator
Light Work

316 Waverly Avenue, Syracuse, NY 13244
lightwork.org



From: empyre-boun...@lists.artdesign.unsw.edu.au 
 on behalf of Timothy Conway Murray 

Sent: Thursday, April 18, 2019 8:43:51 AM
To: soft_skinned_space
Subject: Re: [-empyre-] abstraction an multiple possiibilities

--empyre- soft-skinned space--
For those of you who happen to be in the Central New York area today, I invite 
you to join us today, Thursday, at 4:30 p.m. in Willard Straight Hall for an 
event to pay homage to the late filmmaker Agnès Varda. A free screening of 
Varda's La Pointe courte will be followed by a roundtable discussion featuring 
Laurent Dubreuil, Claire Ménard, Tim Murray, and Marie-Claire Vallois.

Timothy Murray
Director, Cornell Council for the Arts and Curator, CCA Biennial
http://cca.cornell.edu
Curator, Rose Goldsen Archive of New Media Art
http://goldsen.library.cornell.edu <http://goldsen.library.cornell.edu/>
Professor of Comparative Literature and English

B-1 West Sibley Hall
Cornell University
Ithaca, New York 14853



On 4/17/19, 12:59 PM, "empyre-boun...@lists.artdesign.unsw.edu.au on behalf of 
Renate Ferro"  wrote:

--empyre- soft-skinned space--
Interesting video featuring Barbara Hammer on Art Forum


https://www.artforum.com/video/excerpts-from-an-interview-with-barbara-hammer-71388

Living within abstraction and multiple possibilities.

Renate Ferro
Visiting Associate Professor
Director of Undergraduate Studies
Department of Art
Tjaden Hall 306
rfe...@cornell.edu



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Re: [-empyre-] abstraction an multiple possiibilities

[Timothy Conway Murray]

--empyre- soft-skinned space--
For those of you who happen to be in the Central New York area today, I invite 
you to join us today, Thursday, at 4:30 p.m. in Willard Straight Hall for an 
event to pay homage to the late filmmaker Agnès Varda. A free screening of 
Varda's La Pointe courte will be followed by a roundtable discussion featuring 
Laurent Dubreuil, Claire Ménard, Tim Murray, and Marie-Claire Vallois.

Timothy Murray
Director, Cornell Council for the Arts and Curator, CCA Biennial
http://cca.cornell.edu
Curator, Rose Goldsen Archive of New Media Art 
http://goldsen.library.cornell.edu 
Professor of Comparative Literature and English
 
B-1 West Sibley Hall
Cornell University
Ithaca, New York 14853
 
 

On 4/17/19, 12:59 PM, "empyre-boun...@lists.artdesign.unsw.edu.au on behalf of 
Renate Ferro"  wrote:

--empyre- soft-skinned space--
Interesting video featuring Barbara Hammer on Art Forum


https://www.artforum.com/video/excerpts-from-an-interview-with-barbara-hammer-71388

Living within abstraction and multiple possibilities. 

Renate Ferro
Visiting Associate Professor
Director of Undergraduate Studies
Department of Art
Tjaden Hall 306
rfe...@cornell.edu
 
 

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empyre forum
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[-empyre-] abstraction an multiple possiibilities

[Renate Ferro]

--empyre- soft-skinned space--
Interesting video featuring Barbara Hammer on Art Forum

https://www.artforum.com/video/excerpts-from-an-interview-with-barbara-hammer-71388

Living within abstraction and multiple possibilities. 

Renate Ferro
Visiting Associate Professor
Director of Undergraduate Studies
Department of Art
Tjaden Hall 306
rfe...@cornell.edu
 
 

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