The American Gun Show

Call to Artists: American Gun Show

Open call for artwork:

Few technologies have had the impact on civilization that the gun has had. With a storied history of a millennium and having been woven into American culture, it is not surprising that it is as contentious as it is empowering.

Dorothy Santos and James Morgan are bringing together a series of works across media that consider all sides of this technology. From the historic use in war to the representations in photography, painting and film, we are also interested in the object as it represents an intersection of functional design and technology. We want to look backwards and forwards and seek works that express a viewpoint related to guns and/or the second amendment.

We are particularly interested in the reflections of underrepresented and underserved communities regarding the place of the gun in the United States. Our expectation is that these views are not often reflected in the public and mainstream media.

Our intuition tells us that there are more than two sides of this story, that there is a relationship between queer, trans* and other communities to guns.

We want to tell that story.

The show will take place from October to November of 2015 in San José, California. We are particularly interested in media based projects and visual responses to the topic.

Please respond via email with links to appropriate work to either ags@factorynoir.com or dorothy.r.santos@gmail.com before August 21 for full consideration.

Curatorial Statement

The gun is a thousand year old technology changed by contemporary prototyping and communication processes. The American Gun Show looks at cultural responses in the context of personal liberty at the intersection of our identity, as Americans, and relationship to the network and print-on-demand technologies. Cody Wilson designed a 3D printable single shot pistol in 2013 which he posted as a computer file online for the public. Within days the U.S. State Department demanded that the files be taken down. This dispute marks a significant event in both legal and technological history – the collision of the first and second amendments of the US Constitution. Free speech and personal liberty become central themes to The American Gun Show.

This exhibition is about the artists’ response to guns and, to a lesser extent, the design and aesthetics of the machine itself. The art and technology of guns as an objective focus for this exhibition has been a challenging one to meet, but the much needed dialogue around an object rife with cultural, social, and political meaning warrants examination through a multi-faceted lens. This show is an exploration of the American psyche and history steeped by gun violence. What is the political will of the American public to address the issues related this advanced form of weaponry? As curators, we explored artists, artistic practices, and expressions that can offer a form of neutrality or balanced perspectives on the issue of gun creation and control.

We understand and expect a wide array of reactions to the content and nature of the exhibition. To that end, people will find some of the work offensive or antagonist to either side of the debate. But we ask visitors to consider the work that resonates with them may have the same or different effect on another viewer. The American Gun Show is not anti-gun or pro-gun. Rather, the show seeks to drive more of a census on what can bring opposing viewpoints stemming from the existence of this object as a point of departure for effective legislation while respecting the rights of American citizens.

Theorizing the Web 2013 Conference #TtW13

Theorizing the Web 2013 #TtW13
Theorizing the Web 2013 #TtW13

If you are in the New York area (Hunter College, specifically) from March 1-2, please consider attending the Theorizing the Web 2013 Conference. I will be presenting my research as a part of a panel discussion titled, “You are what you Post” during the Saturday breakout sessions. I will also be serving as a hashtag moderator for the panel, “The Participatory Culture Industry.” The conference will be live streamed so if you are remote, no fear. You will be able to log on for an augmented conference experience. It is an extreme honor to be included in such fine company! Look out for my tweets and tumblr posts. It would also be wonderful to see you on the Twitter stream during the conference. 🙂 Please click on the flyer above for more details!

Imagine 2049 Time Capsule

Click on the image above to visit Imagine 2049 and submit your invention for inclusion in the Time Capsule!

I recently submitted an Invention for the Imagine 2049 time capsule, which is part of Scott Kildall’s series, 2049.

You can submit your invention for the future at www.imagine2049.com.

All “future inventions” submitted before Thursday, January 10th will be placed in the time capsule and opened in the year 2049. Please consider being a part of this project. Here is my entry for the time capsule:

“A five senses book that would enable people to see, hear, taste, smell, and touch objects and things from any time in history. Warning text would be placed on whatever entry the reader wishes to learn more about and experience. It would be a comprehensive inventory with help text on understand the historical, cultural, and societal context of the item the reader wishes to examine. Although there would be an option to experience the object or thing, the reader is unable to bring it into the future. If they wish to live with that object or thing, they would need to make the decision and sacrifice to give up living in the future and live in the past. They would not be able to return. This would be the Book of the Five Senses.”

Opening for Solo Exhibition at Asterisk SF for Sita Bhaumik ~ Querida Calle 24 | Dear 24th Street

Curatorial Statement 

Art serves as reflection. It mirrors what has come before, what exists, and gives inspiration to what may follow. Art is also a conduit to introspection. It raises questions about the relationship between culture, tradition, and location. In the exhibition, Querida Calle 24 | Dear 24th Street, installation artist Sita Kuratomi Bhaumik takes memories and experience to pay homage and gratitude to the well known 24th Street in San Francisco. With the increasing traffic and popularization of the Mission District, Bhaumik seizes the opportunity to form of a visual and a multisensory love letter to the stretch of urban landscape.

The sweet smell of cinnamon leads the viewer to a patterned wall that will please even the most obvious retinal sense. Yet, the longer one stands and observes the walls dusted in the familiar spice and platters enrobed in gold candy wrappers, the senses will subtly shift back and forth to engage in something that can only be experienced. Observation will become delectable and crisp sensations will tickle the nose upon a deep inhale. Impressions will go beyond the gallery walls and storefront. The viewer will be greeted by a Twenty Fourth Street that refuses to be forgotten and remains ever present through its distinct scents and visuals. As a show made with a myriad of parts, it intricately meshes culture, tradition, and history into sensorial consumption. Bhaumik provides an exhibition of the past, present, and future. Our collective recollections and thoughts made into the tangible and the tasty, this artwork will waft and flirt and begs the senses to devour, digest, and reflect.

~ Yours Truly

Artist Bio

Sita Kuratomi Bhaumik is an interdisciplinary artist, educator, and writer born and raised in the suburbs of Los Angeles to Indian and Japanese Colombian parents. After receiving her B.A., Cum Laude, in Studio Art from Scripps College, Sita moved to the Bay Area where she holds an M.F.A. in Fine Art and an M.A. in Visual and Critical Studies from California College of the Arts. She currently teaches photography and portfolio development at RayKo Photo Center. Sita has collaborated with organizations such as Yerba Buena Center for the Arts, The Asian Art Museum of San Francisco, SOMArts, 18 Reasons, 826 Valencia, Whitman College, and Cal-State Fullerton. She has been the art features editor for Hyphen magazine, a writer for Art Practical, and Kearny Street Workshop board member. She also spends as much time as possible in the kitchen.

Movement in Many Parts Shotgun Review in Art Practical’s 4.1 Shotgun Issue

Noritaka Minami, A706 (Wall I), 2011; archival pigment print mounted on aluminum; 30 x 38 in. Courtesy of the Artist and the Kearny Street Workshop, San Francisco.

Humans are resilient. Our anatomy is extraordinary and highly complex. We build, construct, destroy, and synthesize. But human nature involves understanding the biology and mechanisms that provoke us to move and accelerate. In Movement in Many Parts, an exhibition curated by Lucy Seena K. Lin and Weston Teruya, artists investigate human evolution through nature and industry. Their ruminations are shown through organic forms, moving image, photography, drawing, and painting. Each work reminds us of the adage that the totality of many things in concert is far greater than one single part of the whole.

In A1007 (Wall II) (2011), Noritaka Minami asks us to peer into the modular housing built within the Japanese urban landscape. At the start of the series, a viewer is let into a small room with a single, large round window that looks out onto the city and other pods. There is no returning gaze; a viewer sees only the disheveled room of a seemingly busy city dweller. The room could very well be a viewer’s; the window is the only way to see outside and to observe other living things. Stagnancy is apparent through the dull colors of bed sheets and the aging, disintegrating papers on the wall. Even the dated typography of the numbers on the clock suggests a thick layer of dust has settled over things untouched. The scene gives the sense that the busyness of city life has depleted the weary soul that inhabits this space. Minami’sTower (Facade 1) (2011) includes a segment of the exterior architecture that gives a viewer not only a sense of scale but also of how nature has weathered the building’s exterior. The erosion suggests that the original design is obsolete in this fast-paced environment.

While Minami’s photographs depict an environment, Kim Anno’s photographs ponder the effects of climate change and demonstrate how humans may adapt to and work with rising sea levels. Men and Women in Water Cities (2011) shows individuals fully clothed in suits and corporate attire turning their bodies toward a viewer, as though caught in mid-action. The picture plane presents something absurd. Yet, is it as absurd as we think? Anno proposes peculiar but perhaps ingenious ways we might survive despite nature’s disposition, showing what humans may be driven to do when it is necessary to endure. It is this human tendency toward movement that forces resiliency.

Originally posted to Shotgun Reviews on Art Practical, please click here to view.

Question & Answer with Tyrone Davies, Co-founder of the Free Form Film Festival (FFFF)

Click on the image above to donate to their Kickstarter campaign!

 

Film, especially documentary films, have always captivated my attention. Over the years, I’ve seen some amazing experimental film and video art works that had me wanting to support this particular art form at every opportunity. When I learned about the Free Form Film Festival (FFFF) and viewed some of the works from previous years, I was impressed with the caliber and the quality of the concepts. Co-founders, Tyrone Davies and Ryan Wylie have been running the FFFF)for over 10 years! I had the opportunity to catch up with Tyrone for some Q & A. Check out what he had to say and learn more about the festival!!

 

*          *          *          *

What was the impetus for the Free Form Film Festival (FFFF)?

FFFF came out of a desire to screen films that most festivals do not screen. Ryan and I were realizing how few venues there were for genre-defying work. It seems like every fest has a box hey want to put you in. If you don’t fit, you don’t get shown. We thought there should be more festivals (I still can’t think of one) that were truly open to all forms, genres, lengths etc.

How did you get the name Free Form Film Festival (FFFF)?

The name Free Form Film Festival comes directly from our mission – to curate works challenging standard “form” or are even free of preconceptions about form and genre.

What is the difference between FFFF and other film festivals? Since FFFF has been happening for over the past 10 years, what was the motivation for you and Ryan to expand and start fundraising at this point? 

Since we are often considered to be an experimental film festival, we don’t seem to get as many narratives or documentaries submitted to us. But our aim is to show anything we consider to be innovative. We aim to be as eclectic as possible. We value the cross-pollination of ideas as well. I feel this is pretty unique. As time goes on, our concept of what a film is has expanded. There’s a lot of video art and other media art that is repetitive or has no real “end” so that work is hard to show to an audience. But we have made adjustments in some cases with multiple screens, or curating segments from larger works. Even though we can’t do all the things a gallery can do, we try to adjust for exciting content regardless of the form it takes.

As for the fundraising, we have a lot of reasons. The biggest financial concern entails hosting the visiting filmmakers who show their work and lecture. We want to elevate the festival by bringing in known makers. This year, I was able to secure funds to bring Bay Area makers, Mike Kuchar, Craig Baldwin, Jennifer Kroot, and Jamie Meltzer to Denver to show and discuss their films in person! This was a one-time thing that only affected Denver, but it was great. The Kickstater funding can do this in San Francisco and Salt Lake City. The other big thing is that some (not all) of our shows are free. The films with a modest fee still accrue production costs. We could use the flexibility. Also, we are working on some web development for our site but that is minimal. The main reason for the money is visiting lecturers in the three cities – San Francisco, Salt Lake City, and Denver!!

What are you hoping will happen with FFFF? Do you want this to travel to other cities? Will FFFF have a base city? 

After all the travel we have already done, we want to put down some roots. Right now, it seems like Denver, San Francisco, and Salt Lake City are the best choices. In the long run, we will definitely stay in San Francisco. We will always do some shows in less likely locations too but we don’t intend to keep traveling the way we once did. It’s just too difficult to do this and you can’t build audiences as easily. Again, this is why we are fundraising. We want to help bring artists to meet the community.

For those interested in submitting work for consideration to FFFF, what are you and Ryan looking for during the submission and deliberation process?

For submissions, we want people to send us work that is thoughtful and innovative. We don’t care if it’s a narrative, a documentary, an experimental film, video art, or anything else. We look for work that is conceptually strong.

*          *          *          *

Below, is Brian Dewan’s, King of Instrument short film was featured in the past at the Free Form Film Festival (FFFF)