{"id":1449,"date":"2018-02-19T12:07:35","date_gmt":"2018-02-19T17:07:35","guid":{"rendered":"http:\/\/diap.art.ccny.cuny.edu\/?p=1449"},"modified":"2019-10-29T09:16:52","modified_gmt":"2019-10-29T13:16:52","slug":"upcoming-artist-lectures-for-spring-2018","status":"publish","type":"post","link":"https:\/\/art.ccny.cuny.edu\/diap\/?p=1449","title":{"rendered":"Artist Lectures for Spring 2018"},"content":{"rendered":"

February 27, 2018 talk at 6- 8pm in the DIAP Studios
\nD. Graham Burnett<\/strong><\/p>\n

D. Graham Burnett works at the intersection of historical inquiry and artistic practice. He is interested in experimental\/experiential approaches to textual material, pedagogical modes, and hermeneutic activities traditionally associated with the research humanities. Recent (collaborative) performances and exhibitions include: \u201cThe Work of Art Under Conditions of Intermittent Accessibility\u201d (Palais de Tokyo, Paris); \u201cThe Trochilus Exercise\u201d (Asian Arts Theater, Gwangju, South Korea); \u201cBo\u011fazi\u00e7i Rolls\u201d (SALT-Galata, Istanbul), \u201cThe Ketchem Screen\u201d (Manifesta 11, Zurich), and \u201cSchema for a School\u201d (2015 Ljubljana Biennial). Several of these projects emerged in association with the speculative historiographical collective known as ESTAR(SER)<\/a>. Burnett trained in History and Philosophy of Science at Cambridge University, and currently teaches at Princeton University. He is an editor at the Brooklyn-based Cabinet magazine, and the author of a number of books and essays.<\/p>\n

March 9, 2018 studio visits 6- 7:30pm (6 total) and 8:30pm talk\/performance
\nin the DIAP Studios
\nAudrey Chen and Martha Colburn<\/strong><\/p>\n

Audrey Chen uses the cello, voice and occasional analog electronics, to delve into her own version of narrative and non-linear storytelling. Her playing explores the combination and layering of the homemade analog synthesizer, preparations and traditional and extended techniques in both the voice and cello. Recent projects, aside from performing solo, include her long running voices duo with London based artist, Phil Minton. Her most recent album releases (2013) include, a quartet LP with Nate Wooley, C. Spencer Yeh and Todd Carter on Monotype (Warsaw), and a duo record with Phil Minton on Subrosa (Brussels). Chen has performed across Europe, Russia, Ukraine, Turkey, Australia, New Zealand, China, Japan, Taiwan, Brazil, Argentina, Canada and the USA. http:\/\/www.audreychen.com\/<\/a><\/p>\n

Martha Colburn is an artist filmmaker based in Pennsylvania, USA and Amsterdam, the Netherlands. She travels extensively exhibiting and lecturing on her work. She has a B.A. from Maryland Institute College of Art and MA equivalent from Rijksakademie Van Beeldende Kunst in the Netherlands. Her films are included in a number of exhibitions and films premiering in Sundance Film Festival (a collaboration with the performance artist \u2018Narcissister\u2019 and she is included in the Rotterdam International Film Festival with a live performance with composer Jeroen Kimmans\u2019 musical group \u2018Orquesta del Tiempo Perdido\u2019 and her newest film, created with a grant from the Creative Capital Foundation Award for film \u2018Western Wild\u2026or how I found Wanderlust and met Old Shatterhand\u2019. http:\/\/marthacolburn.com\/about\/<\/a><\/p>\n

March 28, 2018 talk at 6pm in the DIAP Studios
\nTaeyoon Choi<\/strong><\/p>\n

Taeyoon Choi is an artist, educator, and activist based in New York and Seoul. His art practice involves performance, electronics, drawings, and installations that form the basis for storytelling in public spaces. He co-founded the School for Poetic Computation where he continues to organize sessions and teach classes. He is a fellow at the Data and Society Research Institute for 2017-2018. http:\/\/taeyoonchoi.com\/<\/a><\/p>\n

April 17, 2018 talk at 2pm in the DIAP Studios
\nAliza Shvarts<\/strong><\/p>\n

Aliza Shvarts\u2019 work deals broadly with queer and feminist understandings of reproductive labor and temporality. Using text, video, sculpture, sound, and performance, she explores questions of duration, as well as how the body can function as a political organ in time. She holds a BA from Yale University and is completing a PhD in Performance Studies at NYU. Her artwork has appeared at the Slought Foundation in Philadelphia, MoMA PS1 in New York, and the Tate Modern in London. Her writing has appeared in TDR: The Drama Review, Extensions: The Online Journal of Embodiment, and Technology, Women & Performance: a journal of feminist theory, and The Brooklyn Rail, among other publications. She was a 2014 recipient of the Creative Capital | Warhol Foundation Arts Writers Grant, a 2014-2015 Helena Rubinstein Fellow in Critical Studies at the Whitney Independent Study Program, and is currently a Joan Tisch Teaching Fellow at the Whitney Museum of American Art. In May 2018, Artspace (New Haven) will present a survey exhibition of her work entitled Off Scene. www.alizashvarts.com<\/a><\/p>\n

 <\/p>\n

May 2, 2018 talk at 2pm in the DIAP Studios
\nAllison Parrish<\/strong><\/p>\n

Allison is a computer programmer, poet, educator and game designer whose teaching and practice address the unusual phenomena that blossom when language and computers meet, with a focus on artificial intelligence and computational creativity. She is a Teacher at NYU’s Interactive Telecommunications Program, where she earned her master’s degree in 2008.<\/p>\n

Named “Best Maker of Poetry Bots” by the Village Voice in 2016, Allison’s computer-generated poetry has recently been published in Ninth Letter and Vetch. She is the author of “@Everyword: The Book” (Instar, 2015), which collects the output of her popular long-term automated writing project that tweeted every word in the English language. The word game “Rewordable,” designed by Allison in collaboration with Adam Simon and Tim Szetela, was published by Penguin Random House in August 2017 after a successful round of Kickstarter funding. Her first full-length book of computer-generated poetry, “Articulations,” was published by Counterpath in 2018. www.decontextualize.com<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

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