Posts Tagged 'Audra Wolowiec'

Satellite Studio Fuse – Audra Wolowiec at Wassaic Project

Audra Wolowiec is in residence this month at Wassiac Project in Wassaic, NY.

A note from Audra:

Wassaic has been a great experience – having a huge amount of space to work and think removed from the pace of the city. It seems everyone participates to create a sense of community – from the CSA farm onsite to open studios to the local general store. The first image is of the barn that houses more than 10 artist studios, a woodshop, silkscreen studio, food project space, auction ring (and more, the barn is an enormous converted 1875 livestock auction house) and the following images are from my studio – text pieces, concrete casts, and plaster stencils experimenting with objects that convey the physicality of sound through language and voice.

The Wassaic Project is an artist-run sustainable, multidisciplinary arts organization that focuses on community engagement and facilitates artists and participants to exhibit, discuss, and connect with art, each other, our unique site, and the surrounding area.

http://www.wassaicproject.org/

www.audrawolowiec.com

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Audra Wolowiec – Studio Visit – August 4th, 2010

Studio Fuse is excited to present a studio visit and conversation with artist Audra Wolowiec Wednesday, August 4th, at her studio in Brooklyn.

blog: www.lineforms.blogspot.com
website: www.audrawolowiec.com
Studio AND: www.andindustries.org

Left-Alexis Semter- Right to Left-Nik Pence, Meridith Pingree, Kai Viestra, Susie Huang

Yuka Otani, Rebecca Sherman, Stephanie Lempert, Susie Hwang

Audra Wolowiec

private space in a public time

Synopsis:

Much of Audra Wolowiec’s work is related to sound, often  considerering sound in relation to understanding language. At times  Audra creates silence and absence where there was sound or content. In her audio piece, private space in a public time, Audra recorded Vito Acconci’s text, Public Space in a Private Time, read it aloud, and then edited out the middle of each spoken word. The result is a sound piece of breathy noises separated by short intervals of quiet. In a simlilar vein, for the Sound of Silence Audra has sanded smooth the Simon and Garfunkel single rendering it recording-less.

Often Audra’s work does not implicitly utilize sound but is indexical to it. In some of her sculptures she has created objects from spaces that hold, carry, or buffer sound. She cast the negative space within a megaphone and cast squares of sound absorbing foam in concrete, a material that has been used to reflect sound in military and industrial applications. During her studio visit, Audra also presented works on paper featuring shapes similar to these sculptures. The screened concrete prints seemed to function as supporting material for the sculptures or as quiet notes on their own.

In another project Audra clipped images of lips from a daily newspaper reconfiguring the mouth gestures as small collages. These pieces are meant to be read as musical sound scores as much as they are visual compositions. As scores, the compositions have been performed by singers, musicians and acted out by the artist. During the studio visit they were presented  as visual context only. When collaborating with others Audra likes to give over as much control as possible to her collaborators laving the experiences and outcomes open-ended. The group discussed interpretation when discussing this work; “Where is the work in the instruction or in the interpretation of a given project?”

Audra is moving towards inviting or creating experiences in a space. There is a fine line between what is given by the artist and what is required of the viewer. The group discussed the delayed experience of the slow read of some of Audra’s work and questioned whether her approach involves a building up or paring down when conceiving and creating her projects. She responded that her process involves paring down her ideas and methods; she is aiming for a point that is just enough information to communicate an idea or feeling.

During the studio visit and discussion participants brought up a range of other topics and ideas that are related to communication such as reading micro-expressions, speech analysis, coding, ransom notes and transcription.

-Amanda Lechner

Links:

Donald Judd

Anne Hamilton “face to face” photos

John Cage

Christian Marclay recent Whitney Museum exhibition

specific indexical semiotic sound use in film

How to detect micro expressions

Sound Physics 101

Bio:

Audra Wolowiec’s multidisciplinary artwork mines themes of communication, voice, and ephemeral moments of the everyday. In recreating phenomena and trace effects, she explores the idea of a fading connection to create an elusive but shared experience.

Her work is often collaborative in nature and includes a series of performance scores that have been performed in New York and Los Angeles. She also works under Studio AND, a collaborative project with the artist and designer Niels Cosman. Together they have shown work at Flux Factory, Conflux Festival, and their project Urban Meteorites will be featured in Issue 38: Futures of Threshold Magazine by MIT Press.

Audra received an MFA in Sculpture from the Rhode Island School of Design in 2007 and BFA in Textiles from the University of Michigan in 2002. Her work has been shown at Art in General (New York), Pocket Utopia (Brooklyn), and the Museum of New Art (Detroit).

Artist Residency Roundtable


Artist Residency Roundtable

Tuesday, August 10th, 2010

Location: Chelsea, Manahattan

The Artist Residency Roundtable is organized by Audra Wolowiec and Yuka Otani as a part of Studio Fuse’s ongoing mission to foster dialog and to share resources among artists. Guest artists will discuss their personal and professional experiences at various residency programs in New York City and across the country from LMCC, Socrates Sculpture Park, Skowhegan, Provincetown Fine Arts Work Center, MacDowell, Yaddo and Djaressi, to name a few. Artists will present their work and an open, roundtable discussion will follow. A comprehensive list of available resources online and in print, for national and international artist residencies, will accompany the discussion.

Participating Artists:

Laura Braciale – www.laurabraciale.com
Rachel Frank – www.rachelfrank.com
James Huang – www.james-huang.com
Stephanie Lempert – www.stephanielempert.com
Christopher Robbins – http://www.christopher-robbins.com
Yuka Otani – www.yukaotani.com

Yuka Otani at Chashama North

Stephanie Lempert at Socrates Sculpture Park

Rachel Frank at Sculpture Space

Laura Braciale at LMCC Studio

Christopher Robbins at Art Farm, Nebraska

James Huang at Yaddo

RESOURCES

Residencies /Artist Opportunities:

* Alliance of Artists Communities – www.artistcommunities.org

* NYFA Source – www.nyfa.org

* Res Artis – www.resartis.org

* Trans Artists – www.transartists.nl

* Re-Title.com – www.re-title.typepad.com/opportunities

* Residency Unlimited – www.residencyunlimited.org/category/opportunites/

* Art Deadline List – www.artdeadlineslist.com

* Nuture Art Calendar – www.nurtureart.org/nurtureart/index.php?ptr=page&pgid=229

* The Arts Council of Lapland (AiR programs in northern areas of Finland, Norway, and Sweden)

www.artslap.fi/index.php?option=com_content&view=category&layout=blog&id=19&Itemid=21

* AIR_J (AiR programs in Japan) – http://en.air-j.info/search

* Alternative Spaces / Opportunities by Region: “Phonebook” by Green Lantern Press (purchase online for $15)

www.press.thegreenlantern.org/store.html

Other great resources to look at:

* College Art Association (online search + ‘standard guidelines’ resource for cv, etc) – www.collegeart.org

* NYFA Learning (tips for grant writing and project proposals etc.) – www.nyfa.org/level2.asp?id=76&fid=1&sid=781

* Foundation Center (grants for individuals) – www.foundationcenter.org/getstarted/individuals

QUESTIONS / THOUGTS FOR DISCUSSIONS

On application:

-How did you hear about this program?

-Did you propose what you were going to do? How specific was your proposal?

-Did you know anyone? Did you have a prior personal connection with a resident / instructor / board member?

-If you submitted a proposal, was it site-specific to the program?

-What kind of resources do you use to search for residency programs?

-How often do you send applications? How many residency applications have you done so far?

-Did you get into the program in one shot, or did you apply more than once?

Pros and cons:

-What were individual residency programs like? Was it productive?

-Were you content with the accommodation / work space / facilities provided?

-What kind of supports (separate live/work spaces, stipend etc.) did you have from the program?

-Were you required to pay or work?

-How long was the residency? Was it a desirable length for completing your project?

-Did you have a lot of interaction with fellow residents?

Outcome:
-Did the residency culminate in an exhibition?

-Was it difficult to transport your work home from the residency?

-Did you gain opportunities because of this residency? Was the residency professionally helpful?

-Did you start off with a lesser-known program to get into more well-known program?

*  *  *

AND Studio Visit – September 30th 2009

AND visit 05

Ziad Naccache, Jeanne Jo, Niels Cosman

Ziad Naccache, Jeanne Jo, Niels Cosman

AND visit 06

Studio Visit Synopsis:

AND is a collaboration between Audra Wolowiec and Niels Cosman that merges and reacts to a variety of disciplines including science, science fiction, design, sculpture, performance, natural history, and hoax.

The studio visit group viewed a series of Urban Meteorites from AND’s Department of Mineral Science. AND’s official language to describe Urban Meteorites is that of a “Golden Guide” or Junior High style field log. The descriptions and maps are used to explain complex processes in a matter-of-fact manner to the lay observer. Differing from a text book however, AND is intentionally creating a science based fiction as the supporting materials for Urban Meteorites. Urban Meteorites and Urban Tektites are composed of common detritus of industrial and post-industrial areas, broken automobile glass and concrete. These cast sculptural objects have a few possible presentations: as a museum exhibition scenario complete with vitrine, a keepsake to hold, a discovery on a Brooklyn sidewalk, or a piece of contemporary design or furniture. The blurred lines between contexts and functionality were topics of contention during the group discussion. The group debated the boundaries and differences in language between art and science and where AND’s projects fit into this continuum. Attendees questioned who the appropriate audience is for the work: art collectors, geology buffs, or true believers. This discussion of audience led the group to debate the ethics and art of hoaxing and the difference between hoax and fiction.

-Amanda Lechner


Discussion/Suggested Links :


Walmor Corrêa


Cryptozoology: Out of Time and Space (exhibition)


Laurie Anderson at NASA


Mark Dion

Franz West

Christine Hill

Secret Science Club

Bigfoot Research Institute “He exists because we exist!”

Morbid Anatomy

Observatory Room

UFO Contest, hosted by Joshua P. Warren

AND visit 07

AND visit 08

Studio AND is a collaboration between Niels Cosman and Audra Wolowiec. They share a studio in Brooklyn, New York where they make projects that exist somewhere between fact and fiction, art and design. They started working together while students at the Rhode Island School of Design and have been featured at Model Citizens NYC during the 2009 Design Week at Exit Art and at the 2009 ConfluxCity Festival. More about their project, Urban Meteorites, can be seen on their website www.andindustries.org.

andseal


Grants & Fellowships Calendar

The calendar is undergoing maintenance and will return shortly.

NURTUREart = green

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