Artists Projects

List:

eteam
Jeremy Bailey
Kristin Lucas
Sander Veenhof
Tamiko Thiel
LoVid
Christopher Manzione
Geoffrey Alan Rhodes
Lily Honglei
Will Pappenheimer
Virta-Flaneurazine
4 Gentleman
John Cleater
John Craig Freeman
Mark Skwarek
Phoenix Perry
Patrick Lichty
Alan Sondheim
Damon Baker
Arthur Peters
Artwork Descriptions:

eteam:

Title: Catch me if you can

Image:


Lets turn into a narrow street where it’s dark and less busy. I can’t catch it when the sun is shining. We need grey days for this. Here it comes, all by itself. Small, bigger, bigger, whoosh, smaller, smaller. Nice! Now some stillness. I double behind your shoulder. Me, the rear view mirror. Objects are gone before they appear. Small, big, bigger, whoosh, vanished. Keep going now. We’ll run into it again by coincidence. Waiting makes no sense. Remember the sign? “no relax no easy”. I count until twenty. No. No. No. No. No. Yes. OK. Replay. The object is replaced by the object that was removed. Cherry Crap. The bus drove in. How absurd. Where is that bus coming from?

Bio:

Since 2001 Franziska Lamprecht and Hajoe Moderegger have been collaborating under the name eteam. Most of their projects are based on random pieces of land they buy on the Internet, on ebay or in Second Life.

Their projects have been featured at P.S.1, Eyebeam, MUMOK Vienna, Centre Pompidou Paris, Neues Museum Weimar, Nelson Atkins Museum of Art in Kansas City, and the Museo Nacional Centro de Arte Reina Sofia in Spain among other places.

Eteam’s videos have been screened at the Transmediale in Berlin, The Taiwan International Documentary Festival in Taipei, the New York Video Festival, and the 11th Biennale of Moving Images in Geneva.

They have received grants from Art in General, NYSCA, Rhizome, the Experimental Television Center and the Henry Moore Foundation. They have been awarded residencies at MacDowell, Yaddo, Smack Mellon, Eyebeam, Harvestworks and the Center for Land Use Interpretation. Most recently they have been awarded a Creative Capital Grant for their project: OS Grabeland and they are 2010 Fellows of the John Simon Guggenheim Memorial Foundation.

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Jeremy Bailey

title: Nam June Paik for Tate Liverpool

image:


“Nam June Paik for Tate Liverpool, Screen capture of custom software
performance, 2011.”

Notes: I won’t need much more space than a lectern occupies, but if I do my
recent AR performance with a Kinect (which may not work in such a
small space) I’ll need a 10 foot diameter circle + space for a
projection. (is there space for a projection?)

Bio: Jeremy Bailey is a Toronto-based new media artist whose work explores
custom software in a performative context. Powered by humor and computer vision, his work wryly critiques the uneasy relationship
between technology and the body while playfully engaging the protocols
of digital media (Greg J Smith, Rhizome). His work has been featured
in numerous exhibitions and festivals internationally including a
recent exhibitions at Tate Liverpool, the Zero01 San Jose Biennial and
NIMk in Amsterdam. He received his MFA in Art Media Studies from
Syracuse University in 2006.

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Kristin Lucas

Title: Yard Sale in the Sky

image:



Project description:

Bring your singles and your iPhone (model 3GS or 4) to the High Line to browse and

purchase 3d virtual household objects. Lucas will be present to manage cash sales and to virtually relocate objects to buyers homes.

Bio:
Kristin Lucas addresses the complexity of our relationship to the digital realm by raising questions about virtual and lived realities through strategies of art and intervention within public and private systems. She has carried out empty and meaningful exchanges with automated tellers, relative strangers, healing artist therapists, and a judge. Lucas’ work has been exhibited internationally. She is represented by Postmasters Gallery and Electronic Arts Intermix in New York.

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Sander Veenhof

title: Turbine Hall 3D Controller

image:

notes:

The “Turbine Hall 3D Controller” lets the audience in the Devotion
gallery in Brooklyn control the rotation of an gigantic virtual disco
ball occupying the augmented space inside the Turbine Hall of the Tate
Modern in London.

bio:
Sander Veenhof (NL, 1973) studied both computer science at the VU university in Amsterdam and graduated in the direction ‘instable media’ on the Rietveld Art Academy in 2009. His artistic practice balances on the border between these domains, researching recent technological advancements to create projects within a cultural context, sometimes by inversing the trends of our time such as slowing down or making things unlogical, or impractical, questioning the unconscious interpretation of ‘improvement’.

His work focusses on new models of interaction and communication, so it’s not a surprise that contemporary mobile phones are his foremost fascination because of the new borderless possibilities they provide on so many aspects. The recent developments in the field of mobile Augmented Reality (the additional of a virtual layar to reality) allowed him to exhibitin in the MoMA museum in New York, organise safari tours in cities in The Netherlands and finally, he opened up the geographically connected virtual space for anyone to contribute to.

http://sndrv.nl/

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Tamiko Thiel

title: “Newtown Creek (oil spill)”
Tamiko Thiel, 2011

image:

notes:

Newtown Creek is a superfund site that flows through the hip Brooklyn neighborhoods of Bushwick, Williamsburg and Greenpoint. The AR artwork “Newtown Creek (oil spill)” takes the distinctive outline of the creek, easily recognizable on maps or satellite images, and textures it with the irridescent sheen of one of its own oil slicks. The artwork is positioned at one of the rare points on the creek where there is street access, providing a visualization of the entire sweep of the creek for viewers standing on the shore.

bio:

Tamiko Thiel is a new media artist interested in developing the dramatic and narrative capabilities of interactive 3D virtual reality as a medium for addressing social and cultural issues.

http://www.mission-base.com/tamiko/

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LoVid

title: iParade #1: Rocks that Look Like Rows of Trees

image:


notes:

iParade #1: Rocks that Look Like Rows of Trees
Participatory performance with geolocated video on iPhones. Taking
place in Lower Manhattan on Weehawken St., the shortest street in New
York.

bio:

LoVid is an interdisciplinary artist duo composed of Tali Hinkis and Kyle Lapidus. Our work includes live video installations, sculptures, digital prints, patchworks, media projects, performances, and video recordings. We combine many opposing elements in our work, contrasting hard electronics with soft patchworks, analog and digital, or handmade and machine produced objects. This multidirectional approach is also reflected in the content of our work: romantic and aggressive, wireless and wire-full. We are interested in the ways in which the human body and mind observe, process, and respond to both natural and technological environments, and in the preservation of data, signals, and memory.


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Christopher Manzione

title:  Sinkhole
300 ft deep sinkhole – 200ft wide

image:


notes:

bio:

Christopher Manzione earned a BFA in sculpture from William Paterson University, a Post-Baccalaureate degree From Maryland Institute College of Arts and his MFA from Mason Gross School of Art. For the past three years his body of work explored the spaces where the distinction between natural and indus- trial blurs, while investigating our understanding of time through these points of interaction.
In 2010 his work expanded into the field of new media art founding and curating, The Virtual Public Art Project, a platform for the public display of digital works of art. Maximizing public reception of augmented reality art through smartphones. Within the past year Christopher has taken part in Vermont Studio Center Artist Residency, Anderson Ranch Artist Residency, and Socrates Sculpture Park’s Emerging Artist Fellowship.
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Geoffrey Alan Rhodes

title:

ARambo

image:

notes:

bio:

Geoffrey Alan Rhodes: Statement

The work I’ve made in the Western New York region (if you include Toronto) over the past seven years has consistently inspected the line between cinema and the gallery in a number of ways.  This comes from things in me—pulled in both directions by my own desires for expression and recognition and by the collision of arriving from a Seattle-based independent film community into an avant-garde video community in Buffalo in 2003.  In feature film work, gallery installations, and festival shorts I’ve made work that inspects the line between the cinematic and the actual, the photo and the moving image, the narrative and the durational, the performative and the structural.  This hasn’t really changed, but the folds have gotten deeper.  I have just completed my second feature film that plays with the fictional as real, I am developing a multi-channel video installation that will dissect the structural basis of cinema into screens, and am currently working with a new-technology device that makes film into a deck of cards using Augmented Reality.  Describing my work, I run the danger of coming off as a formalist, interested more in the self-reflexive structures of media than in them as materials of expression.  But this is an impression that comes from hearing about my work, not from seeing it.  I find in these collisions of ideas an expressive dialectic— a way to deconstruct a medium to find myself in it.  In its most direct form this can be seen in my long series of auto-performances where through a trick of the production and editing a fantasmic cinema-situation is created that acts as the stage for one long take performance/ gesture.  For me, that’s what it is all about, trying to invent enough in the situation of production to make that media circuit fresh and active— to electrify something in the wires, feel the lens and screen again, and see.

Geoffrey Alan Rhodes is a filmmaker and installation artist working in upstate New York. His work seeks to open up new ground for cinema, challenging barriers between the real and the imaginary, documentary and narrative, the actual and the fictional. His current art gallery work plays with the boundaries between photo, film, and installation, and has been exhibited recently at the International Society for Electronic Arts, the European Media Arts Festival, Media Art Friesland, the Moscow International Film Festival, and the Chelsea Museum of Art in New York among others. He has received multiple grants from the Princess Grace Foundation, New York Council for the Humanities, New York Foundation for the Arts, the Fulbright Foundation, and others.

http://www.garhodes.com/

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Lily Honglei

title: Butterfly Lovers

image:


notes:

bio: Lily & Honglei (Xiying Yang, Honglei Li) work as a new media artist team. Both coming from Beijing, China, they currently work and live in New York. Their projects utilize traditional painting techniques and digital imaging technologies including animation and virtual reality, to construct an in-between space reflecting Chinese cultural heritages and current social issues in the context of globalization. Full Bio

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Will Pappenheimer

Virta-Flaneurazine

title: Gallery Infestations

image:


“Gagosian Gallery Anselm Kiefer Infestation,” 2010

Bufo Virtanus Heroicus Sublimis side effects (Mary Boone Gallery), 2010, IPhone screen shot

Video Link:

Title: Gallery Infestations

Will Pappenheimer/Virta-Flaneurazine
Gallery Infestation is a spreading series of colonies of genetically programmed virtual bufo toads which thrive in the presence of the highest forms and locations of art. When a colony begins to breed, the toads try to respond to or take on the aesthetics of the artists and artworks at a given location. The sign of this response is the changing of their skin color to vibrant color or artwork imagery to attract the attention gallery visitors. Because the toads maintain a psychotropic drug secreted from their skin, viewers that come in contact with group arrangements of the toads will experience triggered “hallucinations.” Many of these visions are populated by cascading internet information and imagery, perhaps emanating from the experience or memory of the networked animals themselves. The psychotropic effect of touching the toad’s skin represents not only the transference of the drug but the ecstatic meeting of the physical viewer and the virtual world.

In 2008 Researchers WD Pappenheimer and JC Freeman, at the artistic medical laboratory, Virta-Flaneurazine, bred a hardy specimen of Bufo Virtanus which flourishes particularly well across the mixed realms of real and virtual worlds. The prototype is the bufo toad, the species known in Australia as the Cane Toad, which was introduced to Queensland in 1935 to combat the Cane Beetle. Unfortunately this bio-attack never solved the beetle problem and the giant species of cane toads instead became an uncontrollable infestation. A subspecies of Bufo Virtanus was first produced for an augmented reality exhibition at the Museum of Modern Art in New York City in November, 2010. Since this initial introduction, colonies have begun to propagate from Chelsea to Sydney, Australia, and now at the ICA, Boston. Aside from the medical interests of the company, Virta-Flaneurazine, these outbreaks are considered to be both fantastic encounters as well as unwanted infestations.

bio: link to CV

Will Pappenheimer is an artist and professor at Pace University, New York. He has exhibited nationally and internationally at Fringe Exhibitions in Los Angeles, the ICA and Museum of Fine Arts in Boston, Exit Art, Florence Lynch, Postmasters, Vertexlist and Pocket Utopia galleries in New York, San Jose Museum of Art in ISEA 06/ZeroOne, Kunstraum Walcheturm in Zurich, the Golden Thread Gallery, Belfast, Ireland for ISEA 09, FILE 2005 at the SESI Art Gallery, Sao Paulo and Xi’an Academy of Art Gallery, China. His grants include an NEA Artist Fellowship, Traveling Scholars Award from School of the Museum of Fine Arts, Boston, Turbulence.org, Rhizome,org at the New Museum and a large scale public network sculpture for the City of Tampa. His work has been reviewed in Art in America, NY Arts International, Art US, the New York Times for Art Basel Miami 2003, the Boston Globe, EL PAIS, Madrid, Liberation, Paris, Magazine Électronique du CIAC, Montreal, MSNBC.com and ZedTV, Canadian Broadcasting and is included in Christiane Paulʼs recent historical edition of “Digital Art.”

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John Cleater

title: Sky Pavillins

location: High Line

image:


notes:

bio: link to CV

John Cleater received his master’s degree in Architecture from Columbia University in 1995. He is a founding member of the internationally acclaimed multi-media performance group, The Builders Association, and has created designs for several of their productions since 1993. He is currently designing their new production which is about the current Foreclosure crisis and is scheduled for presentation at BAM in 2012. His interactive installation “Emergency Exit” was included in the exhibition “Digital Mapping in Architecture” at Artist Space in New York, and received critical acclaim in 1998. Cleater worked with Asymptote Architecture for many years where he was project architect for clients including NYSE, Documenta XI, Venice Biennale 2000, Eyebeam, The Guggenheim, and others. Cleater has also worked on projects for Vito Acconci, Bernard Tschumi, Daniel Libeskind, I.M. Pei, and others. He has taught multidisciplinary studios at NYU’s I.T.P., Columbia University’s EMC, and in Adelaide Australia. Since his 2007 artist residency in the Kohler Foundry, Cleater has been re-imagining his forged forms, Appendages, into artist housing/studios in Texas, a media pavilion for Art OMI, a Theater complex in Rwanda, and his own Studio in Columbia County, NY. Cleater’s artwork is represented by Nicole Fiacco Gallery in Hudson, NY. He is on the advisory committee for OMI International Arts Center’s Architecture OMI program in upstate New York.

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4 Gentleman:

Although it has been more than twenty years since Tiananman Protest took place in 1989, the authority persistently uses all means erasing the facts that Chinese people pursued democracy in this democratic and anti-corruption movement. In China, nowadays, young people are not aware the courageous actions, such as ‘Tank Man’ and erecting ‘Statue of Democracy’ facing Mao’s portrait on Tiananman Tower, emerged during student movement of 1989. Nonetheless, history should not be forgotten.

Information and communication technologies have inspired people to express their thoughts freely. We as artists, taking advantages of the development  of mobile phone technology and smartphone applications, have revived the history of 1989 Tiananman Protest that  has tremendous implications waiting  for further examinations by our contemporaries.

Deploying Augmented Reality application, Layar (free download at http://layar.com) for Android and iPhone, we have created virtual ‘Statue of Democracy’ and ‘Tank Man,’ and installed those monumental icons on the physical sites where the real incidents took place. Any visitor, domestic or from abroad,  can find those virtual monuments on Tiananmen Square and nearby East Chang’an Street with an iPhone or Android mobile device, as well as taking picture with them.

The images above indicate the real incidents, making process of Statue of Democracy & Tank Man, the Augmented Reality on mobile devices, and the exact locations of the AR work on Google map.

John Craig Freeman

title: Goddess of Democracy

image:


notes:

bio:

Artist and educator John Craig Freeman uses digital technologies to produce place-based virtual reality installations made up of projected interactive environments that lead the audience from global satellite images to immersive, user navigated scenes on the ground.

This work has been exhibited internationally including at The Museum of Contemporary Art, Beijing, the Kunstraum Walcheturm in Zurich, Eyebeam in New York, City, the Zacheta Narodowa Galeria Sztuki (the national gallery of Warsaw), Kaliningrad Branch of the National Center for Contemporary Arts in Russia, Art Basel Miami, Ciberart Bilbao and the Girona Video and Digital Arts Festival in Spain, La Biblioteca National in Havana, the Contemporary Art Center in Atlanta, the Nickle Arts Museum in Calgary, the Center for Experimental and Perceptual Art (CEPA) in Buffalo, Art interactive, Mobius and Studio Soto in Boston, the Centro de la Imagen in Mexico City, Ambrosino Gallery in Miami, the Photographers Gallery in London, and the Friends of Photography’s Ansel Adams Center in San Francisco. In 1992 he was awarded an Individual Artist Fellowship from the National Endowment for the Arts. His writing has been published in Leonardo, the Journal of Visual Culture, and Exposure, as well as a chapter in the book Electronic Collaboration in the Humanities. His work has been reviewed in Wired News, Artforum, Ten-8, Z Magazine, Afterimage, Photo Metro, New Art Examiner, Time, Harper’s and Der Spiegel. Lucy Lippard cites Freeman’s work in her book The Lure of the Local, as does Margot Lovejoy in her book Digital Currents: Art in the Electronic Age. Freeman received a Bachelor of Art degree from the University of California, San Diego in 1986 and a Master of Fine Arts degree from the University of Colorado, Boulder in 1990.


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Mark Skwarek

title: Parade to Hope

image:

notes:

Mark, Damon and Arthur will create a parade the will search hope out in [but not limited to] the United States. The parade will keep going in defiantly until it finds hope. If it does find hope there will be an incredible celebration.

bio:

Mark Skwarek is a new media artist working to bridge the gap between virtual reality and the real world by using augmented reality and multi-user online environments to bring a virtual context into physical space. He explores this intersection in both his private art practice as well as in academic research projects. Mark primarily works with 3-D graphics and video game technology to create new media works of art. Mark’s current body of work gives context to society’s present condition in the United States by drawing from related social and political issues in real time. Mark has been written about in the New York Times, Art in America, WIRED, and Read Write Web among others.  Mark has shown in ISEA, CyberArts, the Sunshine International Art Museum in Beijing and the Krannert Art Museum at the University of Illinois. Mark is an “Artist in Residence” and adjunct faculty at NYU Polytech University.

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Phoenix Perry

title:

image:

notes:

bio: I’ve been working for a decade+ in art and technology. From working in San Francisco as a digital arts curator and educator, creating the award winning DVD project Reline, and opening Devotion Gallery, I have extensive experience in new media, technology, and user interfaces. My work has screened worldwide, at venues such as Lincoln Center, SFMoma, The Guggenheim, Transmediale, Yerba Buena Center for the Arts, LAMCA, European Media Arts Festive, GenArt, Seoul Film Festival, and many others. I explore gaming, environment, complexity, and technology. I participated in the HarvestWorks 2006 Residency Program.

http://phoenixperry.com/blog2/

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Patrick Lichty

title: Incasion of the Pixel Snatchers

image:


notes:

bio: Patrick Lichty medial artist, writer, independent curator, animator for the activist group, The Yes Men, and Executive Editor of Intelligent Agent Magazine. He began showing technological media art in 1989, and deals with works and writing that explore the social relations between us and media. Venues in which Lichty has been involved with solo and collaborative works include the TED Conference, Whitney & Turin Biennials, Maribor Triennial, Performa Performance Biennial, Ars Electronica, and the International Symposium on the Electronic Arts (ISEA).

He also works extensively with virtual worlds, including Second Life, and his work, both solo and with his performance art group, Second Front, has been featured in Flash Art, Eikon Milan, and ArtNews.

He is also an Assistant Professor of Interactive Arts & Media at Columbia College Chicago.

http://www.voyd.com/

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Alan Sondheim:

title:

Avatars Dying of Sex and Violence

image:


notes:

Distorted avatar images from reprogrammed motion capture.

bio:

Alan Sondheim was born in Wilkes-Barre, Pennsylvania; he lives with his
npartner, Azure Carter, in Brooklyn NY. He holds a B.A. and M.A. from
Brown University in English. A new-media artist, writer, and theorist,
he has exhibited, performed and lectured widely.

Sondheim's writings include the anthology Being on Line: Net Subjectivity
(Lusitania, 1996), Disorders of the Real (Station Hill, 1988), .echo
(alt-X digital arts, 2001), Vel (Blazevox 2004-5), Sophia (Writers Forum,
2004), Orders of the Real (Writers Forum, 2005), The Accidental Artist
(Fort/Da), Azure/Nature/Digital (Blue Lion, 2009), The Wayward (Salt,
2004), and Deep Language (Salt, 2010) as well as numerous chapbooks,
ebooks, and articles. Sondheim's videos and films have been shown
internationally, most recently at Netfilmmakers (Copenhagen), UMove (NY),
Subtle Technologies (Toronto, 2009), Eyebeam (2009), and the Electronic
Literature Conference (Providence, 2010). He co-moderates several
pioneering email lists, including Cybermind, Cyberculture and Wryting; Jon
Marshall has published a book-length ethnography of the first.

Since January, 1994, Sondheim has been working on an "Internet Text," a
continuous meditation on philosophy, psychology, language, body, and
virtuality. The Internet Text is coordinated with multi-media work on
various websites. In 1999, Sondheim was the 2nd Virtual Writer in
Residence for the Trace online writing community (Nottingham-Trent
University, England). In 2008, Sondheim had a solo installation and
nine-month residency at the Odyssey exhibition space in the virtual world
Second Life; currently he has an ongoing Second Life residency in East of
Odyssey. He has just completed a Second Life residency through Humlab,
University of Umea, in Sweden; this was accompanied by a gallery
installation at the university itself. Sondheim is now working on
augmented reality pieces, to be presented in spring, 2011; he will be
speaking at E-Poetry and Dartmouth this spring, as well as working with
motion capture equipment at Columbia College in February.

In 2004,Sondheim had a five-week residency at the Center for Literary
Computing and the Virtual Environments Laboratory, under the directions of
Sandy Baldwin and Frances Van Scoy, both at West Virginia University; in
2007 he was a six-week resident of the same. In 2005 he was resident
artist/writer at Grand Central Art Center in Santa Ana. He produced two
cds at the latter (his older recordings have been reissued by ESP-Disk and
Fire Museum). Two new cds have since appeared with FireMuseum, a vinyl
record with Qbico, and another cd with Myk Friedman for Porter Records. A
new vinyl is forthcoming from FireMuseum. Sondheim has played live in
numerous venues around New York and Philadelphia, including a recent gig
with the Vavooom Quintet, a group he organized. In 2008 he was on an
eight-month National Science Foundation (NSF) consultancy at WVU. His
research is in the art and aesthetics of codework, body and behavioral
modeling, virtual environments, and avatars in general. In 2007, Sondheim
was also the recipient of a New Media New York State Council of the Arts
grant.

In 2001, Sondheim assembled a special issue of the American Book Review on
Codework, which was seminal in its genre; along with Mez and Sandy
Baldwin, he co-edited an online issue of Leonardo. Codework has been the
subject of a major international workshop at WVU in April, 2008, organized
by Baldwin. In 1999-2000, Sondheim was second virtual-artist-in-residence
in the Trace online writing program. In 2001 he taught New Media at
Florida International University in Miami. In 2006-07 he taught film at
Brown University, and recently taught in the humanities at the School of
Visual Arts. For the past 18 years, Sondheim has worked with the Swiss
dancer/ choreographer Foofwa d'Imobilite; their work has premiered across
Europe and the U.S. Sondheim's own laptop performances have been widely
seen; most recently he has been involved in online avatar performance with
Sandy Baldwin for live audiences in Paris, London, Basel, Portland OR, and
Providence RI. In January, 2010, Sondheim, along with Foofwa d'Imobilite
and Azure Carter, opened the season for Dance New Amsterdam in Manhattan;
this past August, he performed as part of a series at Mt. Tremper in
upstate New York. Sondheim and d'Imobilite have been working on a series
of dance/performance DVDs, including Aletsch, three disks of performances
in the Alps.

In 2006 Sondheim had a major exhibition at Track 16 Gallery in Los
Angeles. There have been other installations at the Grand Central Art
Center, West Virginia University, Arena/Uqbar in Second Life, and OCAD
Hybrid in Second Life.

Current interests include codework/texts, music, aesthetics and creation
of virtual environments and installations, cosmology and Buddhist
philosophy and their relation to avatars and online environments; and
experimental choreography.

Sondheim's work is archived at New York University's Fales Collection, and
Ohio State University's Avant Writing Collection, in Columbus.

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Damon Baker

title: Parade to Hope

image:

notes:

bio:


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Arthur Peters

title: Parade to Hope

image:

notes:

bio:


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