New Media Contemporary presents: DIGIT.AL TEXT.URE
“Digit.al Text.ure” considers reality, the authentic, original, metaphysical, and the fluidity that exists between them.
Featuring the work of:
Melanie Clemmons
Zak Loyd
KT Duffy
Virginia L. Montgomery
Chris Meerdo
opening: 7.6.24 6pm - 12am
coffee and artist talk: TBD
open hours tuesdays 12-4
also by appointment or event
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Melanie Clemmons is a new media artist working in video and installation, net art, and live visual performances. She critically explores internet culture, speculative futures, and digital ethics. Melanie collaborated with renowned activist-artists Pussy Riot on music videos and live performance visuals, and her work has been showcased nationally and internationally in exhibitions, tours, and artist residencies. She is an Associate Professor at SMU in Dallas, TX, and, along with long-time collaborator Zak Loyd, is represented by Liliana Bloch Gallery.
melanieclemmons.com
https://www.instagram.com/auraquartzbutane-enriched naphtha product
55 inch 4K Smart LED Roku TV, Lace TV Dust Cover, Shells (Bolivar Beach), Beads, SLA 3D print, Treble Hooks
2024
Home > Government > Departments > Emergency Services > Emergency Management > Emergency Notifications > ITC Fire
Sunday 17 March 2019 11:21AM
Deer Park Office of Emergency Management issuing a shelter in place for Deer Park. Seek shelter immediately.Close all doors, windows and other sources of outside air. Turn off air conditioning or heating systems and close the fireplace damper to keep chemical vapors from entering. Ceiling fans or rotary fans inside the building can be safely used to keep cool.
Cover any gaps, holes or cracks with wet towels or sheets to prevent vapors from entering your home. If you have trouble breathing, contact 9-1-1 and cover your nose and mouth with a damp washcloth, then take slow, shallow breaths and try to stay calm.
ITC Fire Updates | Deer Park, TX - Official Website.” Deerparktx.gov, deerparktx.gov/1778/ITC-Fire.
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Zak Loyd (he/him) is a media artist and educator interested in the mystical implications of video
art histories, machine learning technologies, internet culture, and post-truth politics. His
intermodal work includes video, installation, performance, crypto-art, and prose. He has shown
at The Museum of Contemporary Art, Denver; Rhizome; The Dallas Museum of Art; Remote
Control Gallery, Prague; and Mock Jungle; Bologna, among others. He received his MFA in
Interdisciplinary Media Art Practices from the University of Colorado. He is currently a Visual
Art Technician and Adjunct Faculty in New Media Art at the University of North Texas. He is
represented by Liliana Bloch Gallery.^-prompts__'
"I formulated the real recipe for writing a computer-made bestseller:First of all you need a computer, obviously, which is an intelligent machine that thinks for you. This would be a definite advantage for many people. All you need is a program of a few lines; even a child could do it. Then one feeds into the computer the content of a hundred or so novels, scientific works, the Bible, the Koran, and a bunch of telephone directories (very useful for characters’ names). Say, something like 120,000 pages. After this, using another program, you randomize; in other words, you mix all those texts together, making some adjustments – for instance, eliminating all the e’s – in order to have not only a novel but a Perec-like lipogram. At this point, you click on “Print,” and, since you have eliminated all the e’s, what comes out is something less than 120,000 pages.
After you have read them carefully several times, underlining the most significant passages, you take them to an incinerator.
Then you simply sit under a tree, with a piece of charcoal and good-quality drawing paper in hand, and, allowing your mind to wander, you write down two lines – for instance: “The moon is high in the sky /The wood rustles.” Maybe what emerges initially is not a novel, but rather a Japanese haiku.
Nevertheless, the important thing is to get started."
- CONFESSIONS OF A YOUNG NOVELIST, Umberto Eco -
Bio - KT Duffy is a new media artist, designer/developer, and curator from Chicago’s southwest side and is currently an Assistant Professor in Art, Technology, and Culture at the University of Oklahoma. They received their MFA in Interdisciplinary Art from the Maryland Institute College of Art. They live between Chicago, IL, and Norman, OK, with their partners and dogs.
Duffy has held residencies at Vermont Studio Center, ChaNorth, Acre, and Arteles (Haukijärvi, Finland).. They have received several grants, including the Mount Royal Graduating Fellowship, Bromo Seltzer Studio Fellowship, Alumni Award for Student Leadership, CoLab(oration) Grant, Forum Public Fellowship, Carceral Studies Consortium Micro-Grant, Summer Research Grant from NEIU, and The Contemporary Baltimore’s Grit Fund. Their work has been exhibited and screened at Factory Obscura, OK, Florida State University, Galleri Urbane, Dallas, TX, Ortega Y Gasset Projects, Brooklyn, NY, South Bend Museum of Art, IN, Elmhurst Museum of Art, IL, Ely Center for Contemporary Art, New Haven, CT, Donnelly Foundation, Chicago, IL Mono8 Gallery, Manila, Philippines, Vox Populi, Philadelphia, Pa, and the Lightworks Film Festival in Albert, NY and Quito, Ecuador.
Titles - Oblivion (chapter one and chapter two)
Statement -
I conjure entities into existence via technology and collaboration. Regardless of form, my goal is to spawn moments of interaction and genesis within a series of speculative microcosms to propose a future modality where no entity is bound to a singular reality, expression, or substance. The visual elements in my work reference chaos, catastrophe, and creation to produce media that illustrate a dismantling of a presented world and a warping of a new one into existence. This duality and tension in collapse/creation highlight how creativity emerges in, through, and with destruction.
I create video installations and interactive environments where the micro and macro coexist, creating immersive experiences that engage bodies actively adapting to a shifting modality of human experience, which is not the stuff of fiction but one that activates the human animal's inherent fluidity and malleability.
Inspired by biomimicry, the simulation of natural systems via artificial intelligence, and logic breakdowns between humans & machines, my work is not about what is possible but about making the impossible a reality.
My visualizations often manifest in a peppy version of body horror. Through the intertwining of code snippets, experimental video, 3d forms, and animations, the individual entities of my work evolve and inherit attributes from each other, resulting in carnal and colorful transmedia mashups that protrude outside of easy definition. These protrusions, my hypercolor palette, and lumpy-squiggly forms create a sense of play and experimentation. Further intertwined in this multimedia chaos are the aesthetics of '90s and early '00s music visualizers. As a young person, these hypnotic and generative programs offered me moments of transcendence which heavily influenced my work's material and spatial evolution.
In my video sculpture works, I disrupt the boundaries in the devices I collaborate with. Here, I utilize the limitations of automated systems as an opportunity to break out of normative media ratios, leading to cleverly manufactured facets whose material transforms from constraint to bridge. I employ a sly cinema, embedding video modules into organic but undefinable formations. As the video modules slash through the forms, I offer an insight into what is bubbling beneath the surface. In my VR video works, I draw from an expansive and obsessively created library of forms CAD/CAM forms that allow the individual entities in my work to evolve from one another.
As a Neurodivergent Nonbinary person, the normative modalities of learning and making were not designed for me. I had to glitch and hack through these structures, resulting in visual outputs and curatorial presentations full of possibilities—ones that examine the impending demise of binary systems.
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Virginia L. Montgomery (VLM) is an award-winning experimental filmmaker and multimedia artist working across video, performance, sound design, and sculpture. She is known for her surrealist, synthesia-esque, metaphysical, ecofeminist artworks which unite elements from mysticism, science, and her own neurodivergent dreamworlds. Her artwork is sensorial and symbolic. Her artistic efforts are characterized by material experimentation, somatic sensitivity, and her unusual studio practice of hand-raising the moths and butterflies appearing in her videos. VLM’s diverse artistic movements interrogate the complex relationship between physical and psychic structures via narratives of destruction, metamorphosis, and rebirth. VLM has had solo presentations with The Tate Modern (UK), New Museum (NY), Times Square Arts (NY), Museum Folkwang (Germany), Wright Lab at Yale University (CT), The Lawndale Art Center (TX), Women & Their Work (TX), False Flag (NY), and Hesse Flatow (NY). She has also exhibited in group exhibitions at institutions including SculptureCenter (NY), La Panacée-MoCo (France), The Hessel Museum at Bard College (NY), The Banff Centre (Canada), The Blanton (TX), Cantor Arts Center (CA) and Kunsthal Charlottenborg (Denmark), among others.
"Dream Metamorphosis: A collection of 4 surreal sequences by Virginia L. Montgomery", Virginia L. Montgomery (VLM), 2024, 4K digital video, 21 minutes and 30 seconds."Dream Metamorphosis: A collection of 4 surreal sequences" features 4 unique filmic dreamworlds (Butterfly Birth Bed, O Luna, Moon Moth Bed, Honey Moon) by award-winning, multi-media artist, sound-designer, and experimental filmmaker Virginia L. Montgomery (VLM). VLM's artistic efforts intertwine elements from mysticism, science, and her own lived experience as a neurodivergent individual. Her films are characterized by material experimentation, somatic sensitivity, and her unusual studio practice of hand-raising the moths and butterflies appearing in her films. Sensorial, symbolic, playful, and uncanny, VLM's diverse artistic movements interrogate themes of destruction, metamorphosis, and rebirth with a 21st-century, ecofeminist, and surrealist sensibility.
website: www.helloVLM.com
email: VLM @ helloVLM.com
instagram: @skinnyaliens -
Christopher Meerdo is an artist who grew up in the Upper Peninsula of Michigan and Šiauliai, Lithuania. Meerdo received his MFA in Photography from the University of Illinois at Chicago and taught at The School of the Art Institute of Chicago from 2012-2019. Recent exhibitions include Exgirlfriend Gallery, Berlin; Museum of Contemporary Photography, Chicago, The National Gallery of Kosovo, and The Mattress Factory Museum of Contemporary Art, Pittsburgh. He was an artist in residence at SIM Reykjavik and Skowhegan School of Painting and Sculpture. Meerdo was most recently a fellow at the Jan van Eyck Academie, Netherlands. He is represented by DOCUMENT Gallery.
For Autopoiesis, Christopher Meerdo trained a custom Low-Rank
Adaptation (LoRA) AI model on every artwork he ever created. This
new generative model has the ability to produce new artworks in the
artist's style by aggregating his complete œuvre. This raises questions
of originality and authenticity, as the LoRA model is proposed as a
living extension of the artist's legacy. Furthermore, Meerdo envisions
this model as a perpetuating tool for his artistic practice, capable of
generating new artworks posthumously, thereby continuing his
creative output beyond his lifetime.Autopoiesis 89, 2024
20” x 30”
Framed Archival Pigment Print