the gleaners, and: ritual for signaled bodies was created in December 2020 by a collaboration between Assistant Professor of Video Art Eric Souther and Associate Professor of Expanded Media Benjamin Rosenthal from the University of Kansas. You can see the trailer of the project below.
the gleaners, and: ritual for signaled bodies performs at the edges between body and the external, oscillating and eroding those boundaries. A ritual for creating new worlds and situations for fragmented bodies. Signals pass through the joints of animated and genderless bodies and body parts entangling the body-signal-actions both materially and conceptually as these control mechanisms interfere with pre-animated content. Perpetually shifting surfaces and skins serve as sites of projection and interference, contributing to the further “queering” of the state of these bodies and fragments that are stretched and submerged into and outside of the environment they inhabit, as they encounter desire, distress, and ritualized oscillations. Signals generate both sound and compels movement, the making of the images, and the body further challenges the stability and integrity of the space in its otherworldliness and the spatial relationships it establishes with the audience. At the edge between crisis and satisfaction, the work adopts the role of Millet’s own “gleaners,” making-do on the boundary between sustenance and the devoid.
Expanded Media and Electronic Integrated Arts students Michael Flora, Autumn Maggi, Rosalie Brennan, Emily Fedorchak, & Professor Joseph Scheer was selected to exhibit their work in the International Art Education Achievement Exhibition of Teacher and Student that was started at the School of Design at Nanjing University of the Arts in Nanjing, Jiangsu, China & has traveled to Shanxi University School of Fine Arts in Taiyuan, China, Curated by Wang Zhijun & Xu Li. The exhibition included sixteen other art schools around the globe.
In a career spanning over 4 decades, video artist Peer Bode has created an extensive body of work that investigates electronic media events, active perception systems and culture. A graduate of Binghamton University’s Cinema Department, Bode studied with Ken Jacobs, Larry Gottheim, Nicholas Ray and Peter Kubelka, and later with Woody and Steina Vasulka, Paul Sharits, Tony Conrad and Hollis Frampton at SUNY Buffalo’s Media Study Program. Bode worked at the Experimental Television Center (ETC), which his lifelong mentor and friend Ralph Hocking established in Binghamton in 1970. At the ETC, Bode made his seminal early works while assisting and collaborating with the video artist and engineer David Jones, whose “Jones Frame Buffer” became a signature processor within Bode’s oeuvre. His work has been widely exhibited nationally and internationally at venues including MoMA, Anthology Film Archives, the Whitney Biennial, the European Media Art Festival (Germany), Impakt Film and Video Art Festival (the Netherlands), Viper Festival (Switzerland), among many others. A key figure of the Owego and Alfred schools of video arts, Bode headed the Video Arts Program at the School of Art and Design, NYSCC at Alfred University, where he co-founded the Institute for Electronic Arts (IEA).
Co-sponsored by the Cinema Department and Harpur College Dean’s Speakers Series
Recent prints by Kathryn Vajda are included in the exhibition “Flickering at the Edge of Anthropocene,” on view at Blockford, Columbus, Ohio, October 2 through November 21. The exhibition contemplates humanity’s entry into what the writer Elizabeth Kolbert calls the Anthropocene, an era when human activity is the dominant influence on the environment, Darren Lee Miller writes.