2011 OKMOZART VISUAL ARTIST
Craig Smith is currently in residence as the 2011 OK Mozart Festival visiting artist. The festival will host an exhibition by Smith of new photomontages visually exploring competitive sports, athletic venues, and serene Oklahoma vistas. The exhibition will take place from June 10-June 18, 2011 at the Lyon Gallery in Bartlesville, Oklahoma.
EXHIBITION INFORMATION HERE
The 2011 OK Mozart Festival will also feature two live music performances including Smith:
The 2011 OK Mozart Festival will also feature two live music performances including Smith:
The Parasite: A Sound and Text Composition
Craig Smith and Dave Copenhaver
Wednesday, June 15th, 9:30pm
The Copper Bar at the Price Tower Arts Center
A live set combing original sound work by Smith and Copenhaver with adaptations of The Parasite by Michel Serres. New Album Release of The Parasite on CD and 180 Gram LP available from Lunacy Records!!!
An incredible reunion of Oklahoma musicians including former band members of Blemish and the Chainsaw Kittens.
Craig Smith and Dave Copenhaver
Wednesday, June 15th, 9:30pm
The Copper Bar at the Price Tower Arts Center
A live set combing original sound work by Smith and Copenhaver with adaptations of The Parasite by Michel Serres. New Album Release of The Parasite on CD and 180 Gram LP available from Lunacy Records!!!
Links:
LUNACY RECORDS
PRICE TOWER ARTS CENTER (COPPER BAR)
THE PARASITE BY MICHEL SERRES
The Reverand Omatic Big Band
Craig Smith, Kevin O'Brian, Mark Metzger, Dave Copenhaver, Aaron McGoldrick
Saturday, June 18th, 10:00pm
Frank and Lola's
LUNACY RECORDS
PRICE TOWER ARTS CENTER (COPPER BAR)
THE PARASITE BY MICHEL SERRES
The Reverand Omatic Big Band
Craig Smith, Kevin O'Brian, Mark Metzger, Dave Copenhaver, Aaron McGoldrick
Saturday, June 18th, 10:00pm
Frank and Lola's
An incredible reunion of Oklahoma musicians including former band members of Blemish and the Chainsaw Kittens.
Links:
THE PARASITE: ALBUM RELEASE JUNE 2011
The Parasite: A Sound and Text Composition
New Album Available in June from Lunacy Records
CD and Ltd. Edition, 180 Gram Vinyl
New Album Available in June from Lunacy Records
CD and Ltd. Edition, 180 Gram Vinyl
CRAIG SMITH : NEW YORK CITY 2011
Craig Smith will be featured with W.J.T. Mitchell, Anne Marie Oliver, Wiebke Leister, and others at the College Art Association's National Conference (NYC) in February, 2011.
The event will be entitled: "What is Visual Studies? An Open Forum"
Date and Program information to follow.
CRAIG SMITH: INTERFACE REGIONALS
Craig Smith will be presenting an illustrated lecture entitled Interface; the Move to Global Participation as part of the upcoming regional conferences of the Society for Photographic Education hosted by Western Michigan University and Florida State University.
Conference information is available at the links featured below.
SPE MW Regionals
Western Michigan University:
http://www.midwestspe.org/
SPE SE Regionals
Florida State University:
http://spese2010.blogspot.com/
CRAIG SMITH - SAN DIEGO 2010
Crowd Responsibility:
Time, Endurance, and Spectatorship in Participatory Culture
Organizer and Moderator: Craig Smith, University of Florida (c.smith@ufl.edu)
Nov. 4-6, 2010
San Diego, USA
This conference session and live, visual presentation event considers audience participation in live sporting events (i.e., organized, collegelevel sports or simultaneous displays of multiple events in one venue as is the case in athletics, swimming, gymnastics, equestrian trials, chess tournaments or high-school wrestling).
The session will focus on multiple ‘forms’ of audience participation and spectatorship as ‘usertechnology’ relations for social interactivity and most specifically those conducted through technological systems (Bijker, 1997).
Audience participation in the time and space of a sports event will be considered for its affective capacities and integration into the manner and results of the events. Presentations will establish distinct theoretical positions for: (a) the reification of passive, beholden viewing at live sports events; (b) physical engagement and technologically mediated interactivity for spectators; and/or (c) technologies of immersion and interactivity for contemporary sports venues and installations of art exhibitions.
Participants Include:
Craig Smith (University of Florida)
Goetz Bachmann (University of London) and Rufus Weston (BBC, UK)
Colin Beatty (PricewaterhouseCoopers)
Sam Morris (the Ohio State University)
The event is hosted by the North American Society for the Sociology of Sport.
Event Information:
http://www.nasss.org/
CRAIG SMITH: SYDNEY 2010
Talking HEADS
An exhibition by Craig Smith
Opening Tuesday evening April 13th, 2010
(Oratory in gallery on April 12th.)
SCA Gallery, Sydney College of Arts
Rozelle, Sydney
Australia
Smith's exhibition will include an installation of photographic 'lyrics' in the basketball court of a former state mental asylum (now the campus of the Sydney College of the Arts) and a live action 'on court' throughout the day on the 12th of April.The exhibition will use both printed and time-based media which combine human-performed oratories with computer-moderated language systems. An installation of small books created by the artist while in residence at ARTSPACE (2010) will be used to create a unique ‘reading’ of lyrical verses featuring didactic and motivational aphorisms. A selection of these lyrical verses will also be included as 2-D printed works installed on the walls of the SCA Gallery. The lyrics in both book and 2-D media attempt to classify the potential and necessity of social engagement in cultural production.
Photograph by Sach, 2010
CRAIG SMITH: HONG KONG 2010
Monday, March 22, 2010
"How Do We Recognize Interactivity?"
A lecture by the artist Craig Smith hosted by the School of Creative Media, City University of Hong Kong.
"How Do We Recognize Interactivity?"
A lecture by the artist Craig Smith hosted by the School of Creative Media, City University of Hong Kong.
Saturday, March 20, 2010
On the Subject: The Photographic in Digital Culture
A workshop led by Dr. Craig Smith and hosted by the School of Creative Media, City University of Hong Kong.
On the Subject: The Photographic in Digital Culture
A workshop led by Dr. Craig Smith and hosted by the School of Creative Media, City University of Hong Kong.
FAILURE IN THE ARTS: Buffalo NY USA
What: A Conference on Failure In The Arts
Who: Colin Beatty, Karen Lewis, Gary Nickard, Craig Smith, Ben Van Dyke, & Gayle Young,
Where: The CFA 112 (Screening Room) - State University of New York at Buffalo
When: Friday, February 12
10:30AM Panel Discussion
12:00 PM Lunch Break
1:30 Keynote Presentation
In a culture seemingly enthralled by the mythology of Horatio Alger and Cinderella stories, “failure” has become a dirty word. The American Dream is predicated upon “success” in all things especially in the realms of business and celebrity. The arts are not immune to this obsessive pursuit and since the “boom years” of the 1990’s, many artists have adopted a business model for their practice and have embraced ambition and careerism as a central tenant of their art.
What do radioactivity, stainless steel and penicillin all have in common? They were discovered as a consequence of accident and the failure of the original planned outcome. In the world of science it is well recognized that monumental disasters can lead to unbelievably important discoveries. Science is based upon the idea of the experiment – and intrinsic to the experiment is the possibility of failure! If success was to always be expected scientists wouldn’t use the term experiment – they would call it “engineering.” Yet in the arts why is there no similar embrace of not only the possibility of failure, but also its enormous potential as a creative act?
It takes a creative and critical mind to see the possibilities of something wonderful in failure. In the past avant-garde and conceptual Artists have embraced the possibility of error and failure – examples range from Jean Tinguley’s self-destructing sculptures to Bruce Nauman’s futile attempts to levitate off the floor of his studio.
Can failure be embraced as a creative act? Why is failure considered unsuccessful in the first place and how can it be transformed into something meaningful? Can an unforeseen mishap or even an unmitigated disaster be a radical departure from the predictable outcome and lead to a moment of extraordinary discovery? In this light success seems more to be conformity with expectations and the banality of the “tried and true.”
This conference will feature a keynote presentation by:
Karen Lewis, an Assistant Professor of Architecture at The Ohio State University whose design research examines the intersection of graphic and infrastructural systems. Recent projects include Stock Exchange, an analysis, exhibition and proposal for the Bluegrass Stockyard, the largest stockyard East of the Mississippi River; Yellowtown, an examination of the relationship between signage, urban development and race; and Start / Gap, which visualizes human trafficking patterns and proposes ways to interrupt this exchange. Most recently, Professor Lewis was awarded the ACSA New Faculty Teaching Award. In 2006 Professor Lewis began a professional practice, Influx Studio, with Jason Kentner, Professor of Landscape Architecture at the Ohio State University. Influx Studio has been recognized in several international competitions. Their proposal, Memory Trail, was selected as one of five final designs for the Flight 93 9/11 Memorial in Somerset, PA. 110% Juice, a collaborative design for an off-shore wind farm in Cape Cod, was recognized by the Boston Society of Architects. This past fall, their proposal for The Bronx Grand Concourse Intersections competition, Inner Space, was exhibited at the Architecture Center in New York. Karen Lewis holds a Bachelor of Arts degree in Architecture from Wellesley College and a Master of Architecture degree from the Harvard Graduate School of Design.
The Panelists will include:
Colin Beatty is an artist and healthcare consultant; Currently, Colin is in the US Healthcare Provider Practice for PricewaterhouseCoopers’ and is based in Boston. Colin obtained his M.B.A. from the Kellogg School of Management at Northwestern University, additionally holds a Maters degree in Fine Arts from Stanford University, an EMT certification from UCLA medical, was a studio participant of the Whitney Independent Study Program in New York, and has been an exhibiting artist of a range of media including painting, sculpture, installation, ongoing participation in works organized by Craig Smith, and more recently, self production of parafictional performance work in such venues as banking institutions, government healthcare agencies, and national regulatory groups.
Gary Nickard explores the space between visual art and literature while engaging such diverse topics as science, philosophy, psychoanalysis and various historical knowledge systems. He works in photography, installation and various time-based media as well as electronic music. He joined the UB Art Department in 1995. He received a Bachelor of Arts (1978), Master of Arts Humanities (1982), and a Master of Fine Arts (1986), Master of Arts (2004) and Doctor of Philosophy (2006) in Comparative Literature, all from the University at Buffalo. His prior professional experience includes stints as Executive Director / Curator of CEPA Gallery Buffalo, NY (81-88), Associate Curator, Alternative Museum, New York, NY (88-90), Director, Burden Gallery Aperture Foundation, New York, NY (90-91) and Director of Programs / Curator, Artists Space, New York, NY (92-94). He has published a number of critical essays in Afterimage, Exposure and Border Crossings Magazines (among others) and has done editorial work for Aperture Magazine.
Craig Smith is a London-based media artist whose art and research focuses on the process, aesthetics, and ethics of human-to-human interactivity in contemporary art. Smith’s practice includes the production of photography, performance art, video, writing and lectures. He has been featured at an international range of venues including the PS1,MOMA Contemporary Art Institute, The Tate Modern, The George Eastman House, The Hudson River Museum and galleries including Galerie Schuster Photo (Berlin), RARE Art (New York), The Kent Gallery and White Columns (New York). Smith’s practice and research has been supported through foundation awards, grants, fellowships and residencies. His work is also supported through close collaborations with a group of artists including the performance group C (with Lilah Freedland and Matthew Bakkom) and SmithBeatty(with Colin Beatty).
Benjamin Van Dyke received his MFA from the University of Michigan in 2006 and between 1997 and 2003, he worked as an Art Director in Western Michigan. Since running like hell from the advertising industry in 2003, he has been involved in more than 40 typography and Design exhibitions in North America, Europe, and Asia. In 2006, Van Dyke was awarded a Fulbright fellowship to The Netherlands. During this time, he was an Artist-in-Residence at NLXL in The Hague and worked on design projects for clients such as the European Space Agency, DOK Architecten, Weiden + Kennedy Amsterdam, PTT, Holland NS, The Koorenhuis, KPN, and The Roderick Danstheater. Following his work in The Netherlands, Van Dyke was invited to join the Visual Studies faculty at The State University of New York at Buffalo, where he is Head of the Graphic Design program.
Gayle Young began in the late 1970s to present concerts as a composer/performer, playing microtonal music on two acoustic instruments of her own design. She has also been involved in soundscape — a term parallel to ‘landscape’ which brings attention to sonic surroundings — and has used pre-recorded and audio in her work. She often discusses the intentions of her music with audiences, and has written many articles on her own work and that of other artists, addressing issues related to contemporary sound arts. Young wrote the biography of Hugh Le Caine (1914-1977), an early inventor of electronic music instruments, and created an oral history of the early years of electronic music while undertaking research for this book. She has collaborated with visual artist Reinhard Retizenstein on several sound installations, and continues her activity as composer, performer and writer, speculating most recently about limits imposed by cultural constructs such as language on the imagination. She is the publisher of Musicworks Magazine.
CRAIG SMITH-PARIS 2009
Recent Works by Smith including collaborations with Colin Beatty.
Parsons Paris-November 16-28, 2009
http://www.craigsmithparis2009.com
This exhibition will include selections from recent bodies of work by Craig Smith. These include the ‘HRM Drawings’ produced with Colin Beatty and ‘Tag South.’
The series HRM Drawings were produced in a live, collaborative art event produced by Craig Smith and Colin Beatty. The event, staged during the summer of 2007, was held in the ‘Riverama’ exhibition space of the Hudson River Museum, Yonkers NY. This space is used by the museum as a permanent teaching gallery. The gallery features a section of the historic Hudson River (Northeastern United States) represented through a ten metre long diorama. The diorama is marked with numbered sections illustrating particular botanical and geologic features of the actual river system.
Smith and Beatty created this series of ink drawings, carbon transfers and graphite rubbings on the surface of the diorama, following a series of performance operations established by the artists in relation to the exhibition space. The operations included flying remote control helicopters throughout the exhibition space and over the representation of the river system. After landing the helicopters on the diorama each landing area was numbered to its corresponding area. These numbers correspond to those appearing in the drawings, linking the diorama, the actions of the performance, and the drawings. Further, each landing area on the diorama differed in its geological representation or ‘surface conditions.’ The surface conditions directed further marks (rubbings and tracings) by the artists onto each drawing; marks which demonstrate a human body adapting to the conditions of the actual river system.
The Tag South diptych presents two separate surfaces upon which physical, sporting engagement is possible. Instead of imaging such engagement, the images remain surfaces for potential engagement, that which has happened or has yet to happen. Like the damming of water systems in the American Midwest, Tag South has been created in locations resulting from physical interaction. Tag South was created between the boundaries of university intramural athletic fields in the state of Florida, USA. The state of Florida produces a repeating ‘set’ of high-tier athletes each year in their public high schools and universities. Additionally, the state benefits economically from a generous arrangement of professional sports facilities and recreation areas. Thus Tag South is an assembly that combines the space and time for particular, physical activities by human bodies with economic affects and pedagogical impact.
Craig Smith uses the photographic to provide a comprehensive ‘demonstration’ image. The ‘demonstration’ image is an organised, totalised set of procedural methods. These methods are intended to outline the successive steps necessary to stage an audience’s encounter with an artwork and with an artist. A demonstration image allows the photograph to operate like a witness, calling out with an exaggerated sense of the circumstances leading to its production. This application of the photographic as a ‘demonstration’ is therefore an attempt by the artist to visually compose the total and complete system of a relational artwork. Such a composition includes a visual record of the event and of the sentiment and dialogue that can exist between an image and a viewer.
http://fatalfieldgoal.blogspot.com/
http://www.craigsmithparis2009.com/
http://www.parisphoto.fr/
Parsons Paris-November 16-28, 2009
http://www.
This exhibition will include selections from recent bodies of work by Craig Smith. These include the ‘HRM Drawings’ produced with Colin Beatty and ‘Tag South.’
The series HRM Drawings were produced in a live, collaborative art event produced by Craig Smith and Colin Beatty. The event, staged during the summer of 2007, was held in the ‘Riverama’ exhibition space of the Hudson River Museum, Yonkers NY. This space is used by the museum as a permanent teaching gallery. The gallery features a section of the historic Hudson River (Northeastern United States) represented through a ten metre long diorama. The diorama is marked with numbered sections illustrating particular botanical and geologic features of the actual river system.
Smith and Beatty created this series of ink drawings, carbon transfers and graphite rubbings on the surface of the diorama, following a series of performance operations established by the artists in relation to the exhibition space. The operations included flying remote control helicopters throughout the exhibition space and over the representation of the river system. After landing the helicopters on the diorama each landing area was numbered to its corresponding area. These numbers correspond to those appearing in the drawings, linking the diorama, the actions of the performance, and the drawings. Further, each landing area on the diorama differed in its geological representation or ‘surface conditions.’ The surface conditions directed further marks (rubbings and tracings) by the artists onto each drawing; marks which demonstrate a human body adapting to the conditions of the actual river system.
The Tag South diptych presents two separate surfaces upon which physical, sporting engagement is possible. Instead of imaging such engagement, the images remain surfaces for potential engagement, that which has happened or has yet to happen. Like the damming of water systems in the American Midwest, Tag South has been created in locations resulting from physical interaction. Tag South was created between the boundaries of university intramural athletic fields in the state of Florida, USA. The state of Florida produces a repeating ‘set’ of high-tier athletes each year in their public high schools and universities. Additionally, the state benefits economically from a generous arrangement of professional sports facilities and recreation areas. Thus Tag South is an assembly that combines the space and time for particular, physical activities by human bodies with economic affects and pedagogical impact.
Craig Smith uses the photographic to provide a comprehensive ‘demonstration’ image. The ‘demonstration’ image is an organised, totalised set of procedural methods. These methods are intended to outline the successive steps necessary to stage an audience’s encounter with an artwork and with an artist. A demonstration image allows the photograph to operate like a witness, calling out with an exaggerated sense of the circumstances leading to its production. This application of the photographic as a ‘demonstration’ is therefore an attempt by the artist to visually compose the total and complete system of a relational artwork. Such a composition includes a visual record of the event and of the sentiment and dialogue that can exist between an image and a viewer.
http://fatalfieldgoal.
http://www.craigsmithparis2009.com/
http://www.parisphoto.fr/
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