Some images from øKtuber

øKtuber weekend was awesome. Thanks to all who participated and attended.

"Something about Encryption..." [iPano by SK]

øKtuber @GFS

GOOD FAITH SPACE PRESENTS ØKTUBER WEEKEND AT STANDARD TOYKRAFT

PRESS RELEASE

For Immediate Release

Art for Humans [AFH] + Standard ToyKraft [STK] are pleased to present øKTuber Weekend at Good Faith Space [GFS], October 26th and 27th, 2013. The shows will include amazing live musical performance, exhibition and screening by NYC artists Wilson Novitzki, Shane Kennedy and Eric Leiser, plus friends. The program will kick off Saturday, October 26, 6-9PM, with the first installment of the GFS music showcase The Maintenance Series, hosted by Wilson Novitzki and featuring special guests, including Matt Nelson on sax. On Sunday, October 27th, 6-9PM, GFS/STK holds an opening reception for "Something About Encryption," Shane Kennedy's iconic wall paintings, in the GFS project room, and, in the STK theater, screens "Elementals," experimental short films and animations by Eric Leiser. Good Faith Space is located at 722 Metropolitan in Williamsburg/Brooklyn, on the 3rd Floor, at Standard ToyKraft.

BY SUBWAY: L Train to Graham Avenue, G to Lorimer Street

CONTACT: AFH/GFS Lead Artist Paul McLean [artforhumans@gmail.com or (c)615.491.7285] or GFS Director Lauren Guardalabene McLean [lguardalabene@hotmail.com or (c)916.206.6564]

URL: www.goodfaithspace.com

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MORE INFORMATION

ABOUT THE MAINTENANCE SERIES [TMS] AND WILSON NOVITZKI

Good Faith Space [GFS] is pleased to showcase The Maintenance Series of improvised musical performances. The Series will be recorded and posted to an ongoing collection of improvised music on the Good Faith Space website. Wilson Novitzki is the Lead Artist for The Maintenance Series. Wilson is a guitarist and pianist in Brooklyn, NY. He focuses primarily on improvised music. He currently tours in the band of iconoclastic legend R. Stevie Moore.

ABOUT TMS FEATURED GUEST MUSICIAN MATT NELSON

Born and raised in the San Francisco Bay Area, Matt has been playing the saxophone since his days at El Carmelo Elementary School. He left the sunshine of California for the flurries and wintry mix of Northeastern Ohio, where he attended Oberlin College and Consuuhhvatry to study with Gary Bartz and Paul Cohen, among others. After graduating he moved back to the Bay Area and became an active member of the experimental/jazz/noise/whatever scene in Oakland and San Francisco. He's had the pleasure of performing and recording with a lot of different musicians and bands like Timosaurus, Arts & Sciences, Beep!, Graham Connah, Weasel Walter, Peter Evans, Ben Goldberg, genevbaker, 8 Legged Monster, The Jazz Mafia, Zion I, nd tUnE-yArDs. He is now spending a good portion of his time living in Brooklyn, with recurrent trips back to Oakland.

WEBSITE: www.mattnelsonsax.com

ABOUT SHANE KENNEDY

Shane Kennedy is a New York based artist who originally hails from middle Tennessee. Shane is proficient in a wide array of binary, electronic, dimensional and analog media. An active member of The Society for the Prevention of Creative Obsolescence, Shane works hard to keep it real so you don't have to. He is a graduate of The Cooper Union for the Advancement of Science and Art and a counselor at the Art for Humans Camp for Young Men.

ABOUT ERIC LEISER

Eric Leiser is an award-winning artist, filmmaker, animator, puppeteer, writer, holographer working in the New York and California. A graduate from CalArt’s Experimental Animation program, he creates animated and live action feature films and shorts as well as works integrating animation, puppetry, painting, holography, live performance and installation. Leiser is interested in how animation transforms perception when it is combined with live action space, creating a fantastical, spiritual and surrealistic quality. His animated/live action films have been shown at the Victoria and Albert Museum, The Istanbul Modern Museum of Art, MoMA, New Museum, The MIT Museum, The Ruben H. Fleet Space Museum, Thessaloniki Contemporary Art Museum, Centro Cultural Ricardo Rojas Museum de Buenos Aires, MASS MoCA,(BFI) British Film Institute, Four-Dimensions Space Art Museum, Beijing, CAFA Beijing, Aster Arts Plaza Hiroshima, Anthology Film Archives, Los Angeles Filmforum, REDCAT, the San Francisco Film Society, Goldsmiths College London, California Institute of the Arts and the School of the Art Institute in Chicago among others. His films have screened at film festivals worldwide such as the Annecy International Film Festival, Hiroshima International Animation Film Festival, The Istanbul International Animated Film Festival, The San Francisco International Animated Film Festival, EXIS Experimental Film Festival, Seoul, Korea, Fringe Festival, Edinburgh, among many others.

He has made 35 short films, eight of which appear in the DVD release Eclectic Shorts by Eric Leiser, and three features: Faustbook, released April 25, 2006 by Vanguard Cinema International, and "Imagination", released theatrically in the US and Internationally in summer 2007 and February 2008 on DVD by Vanguard Cinema International. "Imagination" was featured in the May 2008 issue of Animation Magazine. "Glitch in the Grid" Eric's third live action/animated feature film was released theatrically in the US and Internationally on October 2011 and February 2012 on DVD/VOD through Vanguard Cinema International. The film premiered at the Annecy International Animation Festival in Annecy, France and the Hiroshima International Animation Festival in Hiroshima, Japan, the two most prestigious and respected animation festivals in the world. The film premiered nationally as the opening night film at the San Francisco International Animation Festival and went to win awards at various smaller international and national film festivals. The film has a fresh rating on Rotten Tomatoes and was reviewed by Variety, The Huffington Post, The New York Times, The San Francisco Chronicle among many others and featured on Apple Trailers and Itunes. He is a founding member of Albino Fawn Productions along with his brother and collaborator musician Jeffrey Leiser. Eric is an alumni of CalArt's Experimental Animation program. For updates www.albinofawn.com

ERIC LEISER: FILMOGRAPHY

Dreamer (2000) Waking a Dream (2000) Autumn (2001) Prelude (2001) Terra Incognita (2002) Psalms (2004) Iceland (2004) Young Faustus (2004) Faustbook (feature) (2005) Lot in Sodom (2005) Ephemera (2005) Beyond the Forest (2006) Imagination (feature) (2007) Forest (2007) Dream One (2007) Earthquake (2008) Town on Skull Rock (2008) Irrational Numbers (2008) Tir Na Nog (2008) Regeneration (2009) Maelstrom (2010) Hastings Conqueror (2010) Glitch in the Grid (feature) (2011) LAND (2011) Norsk Folksang (2011) Into the Forest (2011) The Boy who went after the North Wind (2011) Broken Dream (2012) Living Waters (2012) If i was (2013) Little Band of Sailors (2013) automata (2013) *additional works made for galleries not listed

ABOUT GOOD FAITH SPACE

GOOD FAITH SPACE [GFS] currently inhabits the Project Room of Standard ToyKraft in Williamsburg, Brooklyn, NYC. The mission of GFS is to platform Dimensionist Art projects and multidisciplinary collaborations by accomplished and emerging creative practitioners, and to serve as a nexus for 4D discourse in NYC. Paul McLean is Lead artist of GFS. GFS is sponsored by Kellogg LTD.

30June @AFHstudioBK [BFP411]

Today at Brooklyn Fire Proof Studio #411, AFH and the Society for the Prevention of Creative Obsolescence are hosting a Cake Social + Art Kill. We are celebrating Shane Kennedy's powerful wall painting array & our exodus from this iteration of AFHstudioBK. A selection of Paul McLean's DIM TIM series [SLAG Overflow] will be on view. The company, art and cake will be great. We will have beverages, but you can bring supplementals. There will be fans, open windows and A/C.

[23June]: Graphics for this week's AFH events

AFH Update 5/2013 [Part2]

We are developing our 2013 expo series on the fly for Good Faith Space. One upcoming exhibit we're excited about [tentative mid-July opening slated] will feature the multimedia work of Brooklyn-based artist Dane Rex. Dane has recently completed a zine, "Castrate Yourself," which GFS will be launching. He'll also be presenting selections from his diverse and compelling 2012-13 2D and 3D serial output, comprising a range of content in a spectrum of portable and hangable art on paper and other substrates, including found stuff, like industrial wood throwaways and print material.

Eric Leiser is planning to create a site specific installation at GFS in September. We're talking about what that might look like. Probably the expo will include Eric's remarkable holography, paintings, moving images [sample above], soundscapes by Eric's brother/collaborator Jeffrey and other sculptural or dimensional elements.

Deer + Bird [in progress at #411 Brooklyn Fireproof, during BOS2013; Society for the Prevention of Creative Obsolescence]; acrylic on wall; by Shane Kennedy; dimensions variable.

Shane Kennedy, as mentioned previously, is leaving for Europe in July to reconvene the Voyage of the Hippo with his pal Clemens Poole and the rest of the Hippo crew. When Shane returns, we are envisioning his next wall painting happening at GFS.

[Look for news on a little cake social happening to close the SftPoCO showcase sometime in the next week or so.]

My conversation with Shane about painting is now going on its 13th or 14th year. I cannot overstate how significant his accomplishment is (as seen in the SftPoCO wall painting). Earlier in the week we traveled together to a Tibetan Buddhist monastery, and one aspect of the trip involved seeing the marvelous wall paintings on view there. The discursive exercise we had on this auspicious occasion juxtaposed traditional Tibetan Buddhist representation with the 4dimensional form Shane is developing as a branch of the discipline. The two mediums, at least in their open-edged, flattened, conceptual lattice framework, are approaching each other as structural similarities, now.

Shane also visited the Metropolitan Museum to view "The Boxer," this week. We discussed the types of detail in that great sculpture, one of my all-time favorites, that do not photographically reproduce from the bronze to the 2D representation (photo/jpg). Shane's wall paintings are appropriating this feature of lossy translation, but re-opening the visual animation of the original content as a projection on top of a projection. The base or substrate projection, the ground, if you will, appears to be static (but isn't). It's a profound innovation, in the manner Shane is dealing with it, even if the model has been experimented with by others previously.

The process by which the SftPoCO wall paintings were realized, as a feature of our BOS2013 program, but as a progression over a time phase too, has integrated wovenform effects in a very complex array of invisible networks, which, in the aggregate, nonetheless evidences itself in a very simple, even minimal, painting, at least in its early stages. Now that a color field/plane has appeared, employing color in representational facets symbolic, sensational and decorative, the figurative design is floating, and the white walls (two of them, incorporating a 90 degree corner, a perpendicular planar device) activate to imply projected background as a full or total, complete abstraction, one that it is possible to suffuse with any static or moving image. It's like a Slider (not the sandwich, the digital widget).

I am looking forward to talking with JN about this. There is an interesting wrinkle to consider, which has to do with Noise and hyper-realism countermanding optic recognition, in patterns or in the contingent or referential. For instance, one can apply the photo below as a "backdrop" or setting for the scene depicted at 411 BFP. It is helpful to recall Mark Tribe's recent landscape exhibit at Momenta here. The key is to be able to permit each element in the "painting" to exist in all its dimensional possibility. Shane has mastered this ability at a young age. - PJM

I would hint that GFS is going to devote substantial programming to mine this seam. The inaugural meeting of SftPoCO seems to indicate that the technology of our individual artistic expression is amenable to sharing, to collective transmission, even recording.

Our organizational conferences, including the artists, admins, techs, staff and supporters, seem to be directing us to consider a standalone environment where food, art, talk, media and music commingle. The models we are considering are diverse.

AFH Update 5/2013 [Part1]

ART FOR HUMANS is moving forward on multiple fronts.

AFH and The Society for the Prevention of Creative Obsolescence have been excited to host the wall painting by Shane Kennedy at AFHStudioBK2013 (@Brooklyn Fire Proof). Shane continues through June, refining the painting. A vernissage~closing is in the works [TBA]. We want to do something before the end of the month, when this iteration of AFHSBK is completed. Also, Shane is preparing to venture again on the Hippo - destination Romania - and the departure date is fast approaching.

Will this be the SftPoCO logo?

Bold, Jez continues to generate a cornucopia of ana-culture. Above is a teaser for a proposed exhibit at Good Faith Space [details TBD]. Here's a quote from the transmission/proposal:

“Reality in Philosophy. The traditional role of Reality in philosophy is to ground knowledge. It is Reality that philosopher have sought to understand, and Reality is what our ideas and concepts attempt to approximate or encapsulate. Insofar as philosophy’s task is the understanding of Reality it is reactionary, passive, and subordinate to the status quo. To be precise, to understand reality, even at its most passive, is to change reality. Heisenberg, Ethnography, and reality television recognize the subjective influence on the object of analysis. In a similar vein, the approximation to an understanding of reality inevitably changes the way in which the individual relates to the world. This level of intervention is most bare and inescapable level that understanding has on human activity. Because such a level of intervention occurs in understanding reality this does not mean that the proper role of philosophy is in such purely descriptive analysis of reality. Marx’s injunction in the 9th Thesis on Feuerbach still holds. The task of philosophy ought to be the active intervention in Reality; the negation of the existing order; the transvaluation of all values.”

— Isham Christie

Here's a sampler of Isham's images:

Perhaps a little art world context would be valuable here. The Venice Biennale, Art Basel, Documenta - the arTroika or arTrifecta - are all on for summer of 2013. Here in Bushwick, BOS2013* earlier in June conclusively proved that at the moment this is the premier production of its type in the world.

To dimensionally situate GFS and SftPoCO in the overarching art-schema is to discern the topology as concurrent macro- and micro-phenomena unfolding IRL. It is to recognize that autonomous quality of artist-borne action relative to institutional flows or currents. It encourages analysis of creative possibility, and/or probability. The qualities of inertia, momentum, as framed in negative or positive terms, can be applied to gauge value of the particular, and the general meaning of contemporary art, as long as we have plenty of data for our assessments. Then, there is the perceptual, and there is the social, which amount to ephemera, conjectures, avoiding concrete determination. Even absent hard facts in the ethereal arena (of ideas, of sense, of feeling, of taste), we must be aware of the legitimizing nature of such markers, as experiential color.

We can see that at points the macro- and micro-worlds converge. The resulting events may be confusing, even violent and seemingly unexpected or unexplainable, within the provisional narratives established directionally (e.g., top-down, or bottom-up) by the players. Dimensional perspective often renders the befuddled reaction moot.

AFH is networked into nodal processes that include production, concept development, research, prototyping, progressive discourse, as a systematic 4D program. Presently, we are engaged in numerous instances of each form of application. GFS, SftPoCO and OAS derive from and build on one another. Sub-programs, such as The Book, our Reading, Performance and Screening Series, Artist Talks, Actions, Expos, Publications (virtual and actual) could be thought of as a continuum. It is not sufficient to characterize the modality of artistic realization we embrace, describe and demo simultaneously as a "practice," to use the stylized term often employed in the domain (incorrectly, in our case). Our methodology is better defined as function+utility, or with an exotic influence, we might call it the 4D Way.

New campaign image for j3p2013 [Bold, Jez]

Given an even more expansive context for collective and individual creative undertaking(s), which in a 4D production must be acknowledged, in order to establish a real platform, we discover an infinite set of content from which to draw. It should be obvious why a dimensional artist like Eric Leiser is so valuable at this stage of our 4D[®]evolution. Holography is probably the best object-based instructional device available to us for illuminating ourselves as a phenomenal occurrence, as such. Where-it-is and where-it-isn't for the purposes of effect hardly matter to the perceptual complex. We can "SEE" a matrix that moves. Virtual means provide some measure of instrumentation along these lines, but until that instrumentality migrates into the material aspect, we have stronger illustrational options.

NOVAD Alex Carvalho in the streets of Brazil, summer 2013

It might seem to a casual viewer or analyst, as though the constellations of phenomena unfold in an irrational movement. Actually, the rational is not enough to comprehend the thing. With apologies for and to Spinoza, linear and finite mathematics are facing their own obsolescence, as the emergence of dimensional number systems (all-directional) materialize in the perceptual complex, in the general awareness. This is what is happening to every such recursive, static and minimal set system, institution, complex, anyway. There is no stopping it, but that won't prevent some from trying. Those with the most to lose in the new arrangements will fight the hardest against the emergence of 4D existence. Those with the least to lose (or most to gain) will be readiest to accept the dimensionally ordered/disordered/reordering world. Neither bunch has the power to control or command it. While it's premature, if not delusional, to declare extraction and exploitation regimes "a thing of the past," technically it's true. Then, one might ask, what's next, and the other one might answer all-at-once.

BOS2013 Weekend!

BOS2013 rocked! The weekend ended for us with the block party at Troutman and Scott, but the good memories from this year's Bushwick studio tour will roll on through the year, no doubt. The Society for the Prevention of Creative Obsolescence debuted at the 411 Brooklyn Fire Proof studio. Shane's wall painting was a game changer. I got to spend a couple hours there on Sunday, and the walk-thru traffic was consistent and strong, the crowds diverse and friendly. Most of the time I was situated at SLAG, which was swamped with guests both days. The timing of BOS2013 was perfect, relative to the "DIM TIM" exhibition. Many folks, like Eric Leiser, who weren't able to make the opening last weekend, visited during the tour. BOLD JEZ successfully launched the Novad Library at the entrance to Good Faith Space/STK (722 Metropolitan) on Saturday afternoon. Wilson Novitzki, whose "RELIABILITY" opens Monday, 6-3, dropped by to finish installing his photo exhibit, but took a little time to play a tune on BOLD JEZ's famed ukelele, while enjoying beautiful Williamsburg. The great company & fun at Pickthorn barely stopped all weekend. The out-of-this-world delish frozen, chocolate-covered bananas Rebecca Thom was peddling were just magic, and a great treat at day's end... - PJM

E-Flyer + Art for Node 1 AFH Event at #411 Brooklyn Fireproof for BOS2013

This will be good.