ANDREW NORMAN WILSON

Lumière and Beyond
Thursday, February 2, 7:15
Cornell Cinema

In advance of the live performance, Bring on the Lumière!, a dance-theater-light installation/performance by choreographer Catherine Galasso ‘06, taking place Friday, February 10 @ 7:30 pm in the Schwartz Center, we present not only some of the French founding fathers of cinema’s short actualities, but also a collection of more recent films inspired by the Lumières. Thanks to Steve Polta and the San Francisco Cinematheque. Cosponsored with the Cornell Council for the Arts.

Featuring work by Auguste and Louise Lumière, Ken Jacobs, Malcolm Le Grice, Peter Tscherkassky, Eve Heller, Lyle Pearson, Andrew Norman Wilson, and Bertrand Tavernier.

Recent news that will shape my upcoming year:

Artist in Residence Award Recipient to the Headlands Center for the Arts.

Invitation to present Workers Leaving the Googleplex and ScanOps at Reed College for Reed Arts Week (See last year’s site here).

Invitation to present a solo show at threewalls in Chicago during their 2012/2013 season.

Illinois Arts Council Artist Project Grant to produce a new documentary/fiction hybrid extension of my project Workers Leaving the Googleplex.

Two of my webinars have been adapted for the show Peer One at the Walters Museum in Baltimore. Peer One is a video project organized by Kari Altmann, using the museum’s online art database as a starting point. A group of artists, curators, users and bloggers have created or submitted video responses to objects in the museum’s permanent collection.

The videos of mine that are included are Incorporation of Demands for the Buddha Gallery and Network Logic.

Participants include Aleksandra Domanovic, Safarinon (Brad Benedetti), Aude Pariset, Oliver Laric, United Nation (Patrick Dyer), Jamillah James, Irene Rincon Iriondo, Visual-aids.org, Garden Club (R-U-In?S.org), Travis Hallenbeck, Le1f (Khalif Diouf), Andrew Norman Wilson, Claudia Hart, Cashonimish (R-U-In?S collab between Cash4Gold and Econimish), and Kari Altmann.

OPENING RECEPTION: Saturday, January 21st at 2pm in Graham Auditorium

Saturday, January 21, 2012 at 2:00pm until Sunday, March 18, 2012 at 5:00pm

Three of my webinars will be featured in:

“Net Video, Black Box”
“וידאו רשת, קופסה שחורה”

12/1/2012 – 9/2/2012

Givon Art Gallery
גבעון גלריה לאמנות
Opening Reception: Thursday, January 12, 8-10 PM
פתיחה: יום חמישי, 12/1/2012 בין השעות 8-10 בערב

Curated by Doron Golan and Michael Szpakowski

Work by Alan Sondheim, Guthrie Lonergan, Andrew Norman Wilson, Michael Bell-Smith, Marc Garrett & Ruth Catlow, Yoshi Sodeoka, Curt Cloninger, Oliver Laric, and Cory Arcangel.

Ellen Hartwell Alderman, program coordinator at the Graham Foundation and director of Alderman Exhibitions, recommended my show at New Capital in the Culture Vultures section of this week’s Chicago Reader. The show will be open until January 15, 2012.

Courtney R. Thompson wrote a review of Windows & Mirrors, my show with Sayre Gomez at New Capital, for Artslant.

Dijana Kadić wrote a profile of me for the School of the Art Institute of Chicago’s F Newsmagazine.

I wrote a new post on the Get Friday blog about task ideas that were never actualized in the Virtual Assistance project with Get Friday and Akhil.

New Capital presents GOMEZ/ WILSON: Windows & Mirrors

This exhibition seeks the logic of a cultural production raised in the habitus of post-pluralism. In the context of the contemporary, it is difficult to determine the nature of medium specificity. The color field of modernism has been expanded by minimalism and conceptualism to encompass the full scope of the Real, leaving the pictorial plane frameless. This condition is accepted a priori in the works of both Gomez and Wilson.

Composed of “no signal” video screen blue, Andrew Norman Wilson uses projectors, monitors and mirrors to create a light installation in the downstairs gallery. He is, in a sense, a color field painter. However, it is the vacant light of “no signal” video blue being used, the antithesis of IKB. This blue is familiar yet quickly approaching obsolescence. In this work, there is no pretense towards transcendence or the timeless as in that of Turrell or even Eliasson. Shadowing behind the abstraction presented in the gallery is a performance outside of the art vacuum. Wilson researches and purchases his installation materials as faux naif. He interacts with customer service representatives asking questions like, “Why is the no-video signal blue, blue?” Wilson’s work fluidly occupies the gallery space and the world at large.

Sayre Gomez presents a site-specific installation, by inserting a window directly into the gallery wall. Treated with a trompe l’oeil patina of the everyday, this window is a “recreation” of one found in a vacant L.A. store-front. Gomez uses the vernacular of fringe commerce, consumerism and the loose seams of the economy as medium. His object is familiar in our current urban landscape and foreign as an art object in the gallery; generic in reference, yet specific in execution. The pervasiveness of appropriation is apparent in the signature style developed in Gomez’s hand. Further, this work asks: If cultural relevancy must somehow contain its own irrelevance?

Virtual Assistance – Toy Boat Task is included in the group show Ethnographic Terminalia at Eastern Bloc in Montreal.

Eastern Bloc, Montreal
November 15-19, 2011

November 18, 2011
Artist/Curator Talk – 5:30 pm
Public Vernissage – 7:30 pm