October 27, 2007 6:00 pm to November 24, 2007
OPENING RECEPTION October 27th 6-9pm.
Joe Deutch performance at 8pm
Special Guest: Little Chan
a group show of 13 New York and LA artists exploring the macabre.
Patterson Beckwith
Nathan Danilowicz
Joe Deutch
Skylar Haskard
Tim Jackson
Dawn Kasper
Lindsay Lawson
Karen Lee
Daniel McDonald
Kembra Pfahler
Mary Pongratz
Ben Shaffer
Jeffrey Wells
Organized by Joshua Callaghan
(Image by Skylar Haskard)
July 13, 2007 at 8:00 pm
Dear Friends,
I’m hosting a TRIVIA NIGHT this Friday as a part of the fundraising series at Telic in Chinatown. Come by to test your knowledge of random facts, figures, sights, and smells!
Over the course of 3 rounds, each of your 5 sense will be put to the test, including a special E.S.P. round dedicated to the “6th sense.”
Costumes and team themes fully encouraged. EXTRA bonus points will be awarded!
Compete head-to-head with other teams for secret delicious prizes! And, all proceeds will benefit Telic Arts Exchange. What better way to spend freaky Friday!?
DETAILS: Games start at 8 PM. Each team can have up to 4 people. Registration is a donation of $15. Email me to sign up, or pay in advance by going to Telic’s website.
Chi-wang
“Airbrushing history” is an interesting concept, particularly when applied to satellite imaging. I know it’s foolish to suggest that satellite photography makes claims toward authenticity and thruthfulness that regular old SLR photography can’t, but how often do we think about the man behind the satellite camera? Usually only when areas of the map are “blacked out,” censored by some political agenda.
How long will it be before there are hundreds of commercial competitors to Google Maps, all with their own ideologies and manipulations of history. A map that returns Europe to a glacier. One that shows every point on Earth during its most violent. Maybe a low budget map made of images stitched together from photos taken during cloudy weather, nothing but shades of grey.
Of course the giant, high resolution satellite map is a fiction. It’s never really even existed - it’s stored in pieces, only displayed in parts, and made by tiny satellites cutting razor’s edges over the Earth’s surface that add up over time to some simulation of a flattened map. It all reminds me of a story I heard about the very first “satellite photos” which were taken with regular old SLR cameras pointed out of the window of those rickety old 1960’s spaceships.
Google, the ubiquitous internet search business, has been asked by a US congressional committee why it was “airbrushing history” by replacing post-Hurricane Katrina satellite imagery on its map portal with images of the region as it existed before the storm destroyed neighbourhoods, uprooted trees and smashed bridges.
“Google’s use of old imagery appears to be doing the victims of Hurricane Katrina a great injustice,” wrote Brad Miller, who chairs a US House committee, to Google chief executive Eric Schmidt.
The virtual trip through pre-storm New Orleans is a surreal experience of scrolling across a landscape of packed parking lots and marinas full of boats. The reality is very different: entire neighbourhoods are now slab mosaics where houses once stood and shopping malls, churches and marinas are empty of life, or gone entirely.
So far, it’s unclear why the images were changed. Chikai Ohazama, who runs Google Earth, said governments often ask Google - whose corporate motto is “do no evil” - to change its imagery, but New Orleans Mayor Ray Nagin says it had no hand in the matter.
Dr. Simon Pollard - What is it Like to be a Spider?
June 28, 2006 at 6:00 pm
Lecture presented by the Institute for Figuring.
Ed Coolidge - Machine Eye View
October 29, 2005 6:00 pm to December 2, 2005
In this work, appliances and machines are altered, so that their intended uses are drained or bypassed.
Using video loops or feeds, these machines look back at themselves, monitoring, inspecting and displaying their own reasons for being.
Machine Eye View is the first solo exhibition for Ed Coolidge in Los Angeles. At Telic, he will present a new large-scale installation — made specifically to interact with the architecture of the gallery — along with two earlier pieces.
“Air Carrier Inspection” consists of approximately 200 feet of pneumatic PVC tube pieced together to form a loop that will transport a small video camera throughout. A live video feed from within this endless circuit is wirelessly conveyed to a video projection. In “Burning House” a stainless steel fire extinguisher has been modified to hold a small video screen and DVD player. The video playing is looped and cross-dissolved, so that a house inside burns endlessly. The third piece, “VCR Records Itself Recording” is installed in the project room. A small camera is placed inside a VCR, pointed right at the record head then connected into the VCR, which records the signal and sends it to a monitor, showing the VCR recording itself recording.
Edward Coolidge was born in Boston and lives and works in Los Angeles. After receiving BA in Literature from Reed College in Portland, Oregon, he moved to Los Angeles in 1998 and received a MFA from the Art Department at CalArts in 2001. In addition to three solo shows at CalArts, Ed has participated in several group shows in Los Angeles area.
Christopher Curtin - Suspending Disbelief
May 28, 2005 6:00 pm to July 2, 2005
Christopher Curtin’s installation, Suspending Disbelief, explores the phenomenological possibilities of video by stretching the medium into a third dimension, depth. As projected video is essentially a flat medium, certain experiences are unattainable in viewing a two-dimensional surface: Suspending Disbelief allows us to see “into” a video projection, extending our experience of vision.
In the installation rotating “blades” nine feet in diameter, made of specially coated cast aluminum form a sculptural foreground-screen and create a very large custom-made fan. These blades turn at a variable velocity before a flat screen such that video of our atmosphere, when projected onto these surfaces, flickers between foreground and background screens. Viewers interpret these pulses of video in the way that we experience the world around us: as a deep field of visual sensations. As the blades speed up or slow down we experience this installation physically as well, as a large gale wind is produced and flows over our bodies in a mixture of air and flickering images. .
Continue reading…
Daniel Sauter + Osman Khan - We Interrupt Your Regularly Scheduled Program…
January 10, 2004 at 6:00 pm
We interrupt your regularly scheduled program… Reinterpreting the broadcast stream by abstraction and time lapse. The installation investigates the very nature of television with its numerous channels, its ubiquity and its perpetual flow. A computer processes every frame of the broadcast in real time by collapsing the television image into a thin slice. A series of these slices are projected back onto the wall next to a television creating a revisualization of the broadcast. In reinterpreting the broadcast stream by abstraction and time lapse, “We interrupt…” paints a reimagined TV landscape. See video