Our work is based on several assumptions; first, that life is good, second, that two artists working together are better than one working alone, and third, that information is there for the taking. That said, we seek to create new works from both existing and original audio-visual information.
We are part of a long line of collage theorists extending from Kurt Schwitters to Kara Walker, from John Cage to Brian Eno.
Using the techniques of digital sound and video editing – both in the studio and in live performances – our work explores the history of cinema, the culture of the Internet, the richness of language, the pervasiveness of music and all the ways in which media intersect and interact to create new languages expressive of our time.
In 2001 Retold, we ripped a dvd of Kubrick’s classic film 2001: A Space Odyssey and divided it up by dvd chapters. We then asked a variety of people to watch one chapter and recorded their retelling of the narrative. The original movie was then re-edited to match this retelling.
Valerie Sullivan Fuchs (valeriefuchs.com) is an artist who works with film, video, video installation, sound, and sculpture to encounter the industrial and electric forms, which mediate our direct relationship with nature, the land and each other. Her work has been shown at “Transparencies and Trans-formations in Contemporary American Art,” U.S. Embassy, Stockholm, Sweden (2010-11); New Albany Public Art Project: Bicentennial Series, New Albany, Indiana (2010-11); Contemporary Arts Forum, Santa Barbara, California (2007); Non Grata Film and Video Festival, Pärnu, Estonia (2006); Galerie Eugene Lendl, Graz, Austria (2005); BELEF Art Festival, Belgrade, Serbia; and “Presence,” Speed Art Museum, Louisville, Kentucky (2005). She has received grants from the Sony Corporation, the Kentucky Arts Council (Al Smith Individual Artist Fellowship), and the Kentucky Foundation for Women. Sullivan Fuchs’ work has been reviewed in Art Papers, Dialogue, American Theatre, the Louisville Courier-Journal, the Louisville Eccentric Observer, and MIT’s electronic journal Leonardo. Beauty Unlimited, 2012 an anthology published in 2012, included a review by Fuchs. She has published articles in Pitch Magazine and the Louisville Eccentric Observer. Fuchs is a full-time Lecturer with the Fine Art College’s School of Art & Visual Studies, at the University of Kentucky.
boys don’t cry, 2008, 3:23; is a collaboration between artist Valerie Sullivan Fuchs, choreographer David Ingram, and musician Ben Sollee. David Ingram who has collaborated with Valerie Sullivan Fuchs on several projects including work with the Ft. Wayne Ballet in Ft. Wayne, IN and the Louisville Ballet dancers in Empujon. Ben Sollee and Valerie Sullivan Fuchs have collaborated on other works, ‘Western|Western’, 2008, and ‘I Need’ which premiered at the Speed Art Museum in 2009. Special thanks to William Morrow, director of the 21c Museum, for introducing David Ingram, Ben Sollee and myself and for encouraging our collaboration. Collection Laura Lee Brown & Steve Wilson.
Western|Western, 2008,8:06; is collaboration with Ben Sollee where I asked him to play his cello with a rifle.
This piece was inspired while I was thinking about Western culture, and this question, ‘How can it be that such beautiful cultural artifacts like the cello, violin, and such destructive ones like guns, exist in the same culture?”
So I invited Ben Sollee, whom I had met through William Morrow, the then the director of the 21c Museum, to meet me at a recording studio and play his cello, with my husband’s 22 rifle. Luckily he agreed, and even though the rifle Ben bowed was 5.5lbs, he managed to play for over an hour creating amazing improvised sounds despite the weight and awkwardness of the rifle.
Collection of Brook Smith.
a horizontal line makes a stable image, 66 seconds, 2007
After my grandfather died, I inherited 70 years of family 8mm films. While viewing them, I realized I developed new memories of my mother’s childhood without my being there, or her being present to contextualize them. I began to work with these films, in part, to understand the passing of time but also to visualize the energy or the shape of it within my family’s recorded history.
In a horizontal line makes a stable image, I digitized and edited these family 8 mm films into clips of my mother, then I layered these clips into 42 overlapping layers so I could visualize the arc and energy of her life in 66 seconds. This memorial to my mother includes the sound of the last 66 seconds of a piano piece she played often at my request. Each note is edited into an arc where the first note would play forward and then would repeat in reverse. The destabilization and destruction of the shape of a family after the death of a loved one happens over time and continually reforms like the memories of them.
This was a part of “Finding Family”; curated by Karen Gillenwater, 21c Museum, Louisville, KY & Mount Sterling, KY’s Gateway Regional Art Center
Morgan Higby-Flowers is an American artist based currently in Clarksville,Tennessee. He
received an MFA in Electronic Integrated Arts from Alfred University in 2011 and a BFA in
New Media Arts from The School of the Art Institute of Chicago in 2008. Morgan has
participated in multiple exhibitions including GLI.TC/H in Chicago and The Bent Festival
in Brooklyn NY. He recently performed live in the parking garage of the Museum Of
Contemporary Art for The Dirty New Media Round Robbin in Chicago, Illinois. He is
currently a visiting assistant professor of New Media Art at Austin Peay State University
My interests circulate around particular areas of the New Media Art spectrum,
specifically, work that incorporates discarded technologies. My aesthetic sensibility
tends to pursue encounters with wonderment, combining visual representations with new
I use obsolete technology to create “no-input” systems that produce their own inherent
visual and audial elements. Antiquated AV equipment is devalued in our society where
“newer is better.” An item that was priced at ten thousand dollars in 1983 is perceived as
trash in 2013. Analog technology is inherently more malleable than digital. In my work,
antiquated machines create new and informed back leaps forward.
Charles Woodman has been working in the field of Electronic Art for more than twenty years and has been a Professor of Fine Arts at the University of Cincinnati since 1999.
His recent projects have concentrated on the integration of video in live performances, often in collaboration with musicians or dancers, and on the creation of video installations for museums and galleries.
Exhibitions of his work include screenings at the Block Museum of Art in Chicago, the New Interfaces for Musical Expression conference in Vancouver, Canada, the Black Maria Film and Video Festival, Edison, NJ, the American Dance Festival in Raleigh, NC, the San Francisco Cinematheque, and the Museum of Modern Art in New York.
On Friday February 1 at 6 pm Woodman along with Barry Jones, Morgan Higby-Flowers and Aaron Hutchenson will be performing live video at the Coup in Clarksville.
Woodman was founding member of the video performance group viDEO sAVant and is currently working on the design of a new instrument for use in real time performance, a “gesture based interface for real-time control of video playback.”
In this suite of videos Michelle Given investigates the intricacies of sexual tension, specifically its attendant feelings of anticipation, frustration and anxiety. She questions what is more fulfilling or agonizing— never getting what one desires, or obtaining the object of one’s desire only to find that it did not meet one’s expectations? Does the subject inLure hold the fishing pole, or is she dangling from the hook? In Chase, what are the ultimate goals of the participants— would satisfaction be achieved for the subjects or the audience if the actions were to be completed? If so, how profound or superficial would that fulfillment be? The videos’ subjects exist in a state of limbo, working towards or waiting for a culmination of their actions, a release that never comes. Given wants the videos to be alluring as well as disconcerting so as to echo the push/pull of the works’ basis.