November 7-12, 2019
From November 7-12, 2019, the Social Media Narratives Class in the Art and Technology Studies Department at the School of the Art Institute of Chicago will host Blueskying a Social Media Platform for the Arts 2019, a social media-based panel that will feature a distinguished group of creators, curators, critics, scholars, and arts advocates.
Bringing together a heterogeneous group of experienced participants in this relatively new field and involving art students an in-situ experience of participating in a social media-based discussion, the panel is the third online panel in Issues in Social Media for the Arts, a series that addresses issues for creative practice in the constantly evolving social media infosphere.
Deanne Achong - Artist and Designer
2019 School of the Art Institute of Chicago,
Judy Malloy, Producer, School of the Art Institute of Chicago, Art and Technology Studies
Deanne Achong lives and works in Vancouver. She works across disciplines, including digital and lens-based projects and installation. Her practice draws from history, literature, and digital culture. She has sat on the board of artist-run centers, including Other Sights for Artist’s Projects, and has taught sessionally at Emily Carr University of Art + Design. Deanne has exhibited her work in Canada, the US, the Caribbean, and Europe. Her public art projects, include Pier D, a photographic installation integrating a massive QR code and a blog (commissioned by the City of Vancouver). Her works also include The Obsolescence Project, exhibited at the Vancouver Art Gallery for the International Symposium on Electronic Art (ISEA), and her app Lusca Mourns The Telegraph, presented at the Electronic Literature Organization (ELO) conference in Bergen, Norway. For more information, visit https://deanneachong.com
George Fifield is the founding director of Boston Cyberarts Inc., a nonprofit arts organization, which programs numerous art and technology projects, including Art on the Marquee on a large public LED screen in front of the South Boston Convention Center, and running the Boston Cyberarts Gallery in Jamaica Plain. The Boston Cyberarts Festival (1999-2011) was an international biennial Festival of artists working in new technologies involves exhibitions of visual arts; music, dance, and theatrical performances; film and video presentations and symposia throughout Greater Boston. He is an independent curator of New Media with numerous projects here and abroad. For thirteen years until 2006, Fifield was Curator of New Media at the DeCordova Sculpture park and Museum in Lincoln, MA. He was executive co-producer for The Electronic Canvas, an hour-long documentary on the history of the media arts that aired on PBS in 2000. Fifield writes on a variety of media, technology and art topics for numerous publications. In 2006, the International Association of Art Critics (AICA) Boston Chapter honored Fifield with the First Annual Special Award for Distinguished Contribution to the Arts Community. In 2007 the Boston Cyberarts Festival was the recipient of the Commonwealth Award in the category of Creative Economy.
F or more than 35 years, Juana Guzman has served as a nationally acclaimed consultant, manager, fundraising and earned income specialist to non-profit organizations, museums, corporate and philanthropic sectors throughout the United States. Throughout her career, Ms. Guzman has championed the promotion and preservation of the arts, culture, heritage and as a catalyst for diverse American populations. Since 1980, Ms. Guzman has developed and implemented strategies that focused on organizational capacity building, community engagement, strategic and cultural planning, diversity training in the workplace, entrepreneurialism, fundraising in the public and private sectors, creative place-making and place-keeping in diverse communities of color, tourism lead by diverse communities, as well as facility development initiatives for non-profit organizations. In 2012, Ms. Guzman left her position of 13 years as the Vice-President of the National Museum of Mexican Arts (NMMA) in Chicago, the largest accredited Latino arts institution, to start her own company I Juana Know Inc., with a focus on enhanced revenue and diverse fundraising strategies for creative markets, organizational capacity building, technical assistance advisor to non-profit organizations and creative place-making/creative place-keeping. Ms. Guzman previously served as the Director of Community Cultural Development for the City of Chicago’s Department of Cultural Affairs (DCA) for 18 years. During her tenure at the DCA she was responsible for innovative economic initiatives that focused on providing strategic planning and earned income development in support of Chicago’s most diverse and underserved communities.
Isobel Harbison is an art critic, an art historian and Lecturer (Critical Studies) in Art, in the Art Department at Goldsmiths, University of London. She completed her PhD in 2015 in Goldsmiths where she was an AHRC doctoral scholar. Prior to that, in 2014, she was awarded the UK Arts Foundation inaugural Fellowship in Arts Journalism and she regularly writes for a range of magazines, journals and catalogues about contemporary artists working across mediums but most often in performance and moving image. She has written extensively on the works of Robert Rauschenberg, Shu Lea Cheang, Ericka Beckman, Leslie Thornton, Lynn Hershman Leeson, Frances Stark, Cecile B Evans, and Ligia Lewis, among others. In 2019, she was an Archives Research Resident at the Robert Rauschenberg Foundation in New York and in 2020 she will be an Eadington Fellow at the Center of Gaming Research in the University of Nevada, Las Vegas. Her recent book, Performing Image (MIT Press, 2019) asks how a historical and critical convergence of performance and moving image anticipates a broader social turn to performing images within rapidly evolving economies of attention and modes of digital labor. The book presents an art history and a social history of the 'prosumer', considering how such a productive consumer of images, who frequently visits and creates exhibitions on social media's online platforms, has been modelled on the language, activities, and architectures of contemporary art. Harbison has long been interested in the relationship between digital culture, architecture and exhibition studies, having worked as a curator for a number of institutions, including with Hayward Gallery Touring (2008 – 2010).
Adriene Jenik is an artist and educator who resides in desert. Her computer and media art spans 3 decades, including pioneering work in interactive cinema and live telematic performance. Her mediated performance projects have been written about in The New York Times, published in The Drama Review, and recognized by the Rockefeller Foundation. Jenik’s current creative research projects include "data humanization" performances, immersive learning experiments and street performances reading "climate futures" with her ECOtarot deck. At Arizona State University, she serves as Professor of Intermedia in the School of Art, affiliate faculty in the School for the Future of Innovation in Society and a sustainability scientist at the Global Institute of Sustainability.
Dal Yong Jin is Distinguished Simon Fraser University Professor. Jin's major research and teaching interests are on digital platforms and digital games, globalization and media, transnational cultural studies, and the political economy of media and culture. Jin has published numerous books and articles, including Korea’s Online Gaming Empire (MIT, 2010), Digital Platforms, Imperialism and Political Culture (Routledge, 2015), New Korean Wave: transnational cultural power in the age of social media (University of Illinois Press, 2016), and Globalization and Media in the Digital Platform Age (Routledge, 2019).
Tom Klinkowstein was already communicating with email, when he began creating Telecommunications Performance via Facsimile, a 1981 networked performance with Robert Adrian that linked the Mazzo Club in Amsterdam and the Blitz Bar in Vienna. Klinkowstein's telematic projects have also included Levittown at the 't Hoogt Cultural Center in Utrecht; the Fast-Food installation, Breda, 1983; and More Service for More People, San Francisco State University and Ars Electronica, 1982. He is currently President of Media A, a design and consulting group, as well as a Full Professor with tenure at Hofstra University on Long Island, NY, and an Adjunct Professor with part-time tenure at Pratt Institute in New York City. Tom Klinkowstein's work has been shown in art centers, museums and galleries throughout the world, including the Centre Pompidou in Paris and the Venice Biennale in Venice, Italy. His work for TapIt – a free water bottle refilling network in New York City and Washington, won a Communicator award in the Green-Eco category. His 10-meter long digital artwork, A Networked Designer's Critical Path: 1990-2090, was shown at the Fifth Avenue (New York City) Gallery of the American Institute of Graphic Design. A city-block sized version of the follow-up project in the same series about design and the future, A Day in The Life of a Networked Designer's Smart Things or A Day in A Designer's Networked Smart Things, 2030, was shown at DesignCenter Winkelhaak in Antwerp. Belgium, and at the Proteus Gowanus Gallery in Brooklyn, New York. It was also featured in Data Flow: Visualising Information in Graphic Design, published by Die Gestalten Verlag. The Museum of Modern Art in New York recently acquired a poster, designed by Klinkowstein for the artist Laurie Anderson, as a part of its permanent collection and of the Designing Modern Women exhibition. His latest work, The Universe Emerges from Information: 10-43 Seconds in the State of Awareness of an Exo-Designer, 2055, was shown this past year at Columbia University's Studio-X in Istanbul and at the Museum of the Fashion Institute of Technology in New York City. For more information about his work, visit the Media A website at http://mediaa.com
R ichard Lowenberg, born in Haifa in 1946, is an artist, planner/designer and eco-cultural activist. He has dedicated his creative life to understandings and creative realization of works exploring and setting examples for an "ecology of the information environment", and via art/science/society collaborations, demonstrating emergent opportunities for development of a "cultural economy". Richard founded 1st-Mile Institute in 2006, its New Mexico "Broadband for All" Initiative, and SARC (Scientists/Artists Research Collaborations) programs. Living on an organic farm in Jacona, NM, he serves on the Board of Parallel Studios’ CURRENTS: New Media Festival. He co-organized Internet Society's Indigenous Connectivity Summit, held in Santa Fe, Nov. 2017. Richard studied design and taught at Pratt Institute, initiating its Electronic Media Arts program in 1971, and was one of the founding team of the Kitchen in NYC that year. He was founding Programs Director of the Telluride Institute from 1984-1996 and led its InfoZone rural Internet project. From 1996-2006, Richard directed the Davis Community Network, taught TechnoCulture Studies and was Artist-in-Bioregional Residence at UC Davis. Richard was involved in a number of early telecommunication-arts projects, and has integrated networking with rural community eco-planning across the U.S., as well as in Japan, Europe and South America. He prepared and led New Mexico’s statewide broadband initiative, 2008-2012. Personal interdisciplinary design, media arts, installation, performance and art/science works have involved collaborations with Los Alamos and Sandia National Laboratories, UNM, Santa Fe Institute, NASA, Gorilla Foundation, military labs, intelligence agencies, numerous high-tech companies and research institutions. Artworks have been presented internationally at the Kitchen, Whitney Museum, San Francisco MoMA, Kunstmuseum Dusseldorf, NTT-ICC, Tokyo, Santa Fe CCA, 1986 Venice Biennale, MIT List Center and ISEA2012. Grants/support awarded by NEA, State Arts Councils (CO, CA, NM), SECA, Art Matters, National Space Society, IBM, Apple, CPB, NTIA, GRiD, JVC, Lightwork, McCune Charitable Trust and Thoma Foundation.
J udy Malloy, producer of Issues in Social Media in the Arts, is a Lecturer in Art and Technology Studies at the School of the Art Institute of Chicago. A poet at the conjunction of hypernarrative, generative literature, and magic realism, Malloy followed a vision that began in the 1970's with experimental artist books, and in 1986, she wrote/programmed the groundbreaking hyperfiction Uncle Roger. Subsequently she created a series of hypernarratives -- from its name was Penelope, called one of the classics of electronic literature by Robert Coover; to Arriving Simultaneously, shortlisted for the 2018 Coover prize. In addition to early work as a database programmer at Ball Aerospace, she has been an artist-in-residence/consultant in virtual communities and the document of the future at Xerox PARC; core staff at Arts Wire, a Program of the New York Foundation for the Arts; a Distinguished Fellow at Princeton University; and Editor of the MIT Press compendiums, Women, Art & Technology and Social Media Archeology and Poetics. Her work has been exhibited and published internationally, including, Library of Congress; ISEA, SIGGRAPH, Ars Electronica; Tisch School of the Arts; most of the Electronic Literature Organization conferences; EPoetry; Sao Paulo Biennial; National Library of Madrid; Los Angeles Institute for Contemporary Art; Walker Art Center; Hammer Museum; Bibliothèque Nationale de France, Barcelona Center of Contemporary Art; Eastgate; E.P. Dutton; Tanam Press; MIT Press; and The Iowa Review Web. Her papers are archived at the Rubenstein Library at Duke University.
Marisa Parham is Professor of English at Amherst College, and directs the Immersive Reality Labs for the Humanities (irLh), which is an independent workgroup for digital and experimental humanities. irLh develops and incubates digital projects for AR, VR, and screen, and generally supports the work of digital scholars. Parham also serves as one of two faculty diversity and inclusion officers (FDIO) at Amherst College. As FDIO, Parham is an advocate and innovator for diversity and inclusion in the college’s overall academic program, while especially supporting both individual faculty success and the expansion of academic departments. Parham's current teaching and research projects focus on texts and technologies that problematize assumptions about time, space, and bodily materiality. She is particularly interested in how such terms share a history of increasing complexity in literary and cultural texts produced by African Americans, and how they also offer ways of thinking about intersectional approaches to digital humanities and technology studies. Recent examples of this work include "Sample | Signal | Strobe: Haunting, Social Media, and Black Digitality," .break .dance, and "Breaking, dancing, making in the machine: notes on .break .dance." Parham holds a PhD in English and Comparative Literature from Columbia University, and is the author of Haunting and Displacement in African-American Literature and Culture, and The African-American Student’s Guide to College, as well as co-editor of Theorizing Glissant: Sites and Citations. Parham currently serves on the Board of Directors for Amherst Media, and formerly served on the founding Board of Directors for the Amherst Cinema Arts Center, and on the board for the Massachusetts Foundation for the Humanities. She is also a former director of Five College Digital Humanities, serving Amherst, Hampshire, Mt. Holyoke, and Smith Colleges, and University of Massachusetts-Amherst.
ommer Peterson is an independent theater artist and designer. He is currently
at work developing a new movement play, City of Refuge, premiering in June
2020 at ReAct Theatre in Seattle. In 2017-19, he performed in the 600
Highwaymen production of The Fever in Switzerland, Germany, Romania, The
Netherlands, United Arab Emirates, Bosnia, Ireland in New York City at the
Public Theater, and LaMama He is the author of the plays, Just Wait a Yottasecond, Va-Va-Va-Voom and No
One On Board Took Notice, and co-author, with KJ Sanchez, of the
documentary plays Night at the Opera, and Duck Soup.
He previously served as deputy director of Grantmakers in the Arts, development
director of the Wing Luke Museum of the Asian Pacific American Experience,
and communications coordinator of ArtsWire. He was a fellow on the United
Stated/Japan Exchange Fellowship program in 1989-90.
Ellen Sandor is a new media artist and Founding Director of (art)n. Sandor’s PHSCologram sculptures and installations with (art)n have been exhibited internationally and are in the permanent collection of the Art Institute of Chicago, Santa Barbara Museum of Art, International Center of Photography, Victoria & Albert Museum, Fred Jones Jr. Museum of Art–The University of Oklahoma, and others. Commissions include Museum of Jewish Heritage-A Living Memorial to the Holocaust; Smithsonian Institutionl; City of Chicago Public Art Program; and State of Illinois Art-in-Architecture Program. As a Visiting Scholar of Culture and Society, National Center for Supercomputing Applications, University of Illinois at Urbana-Champaign, she co-edited and contributed to New Media Futures: The Rise of Women in the Digital Arts. Sandor also co-authored U.S. and international patents awarded for the PHSCologram process, and related papers published in Computers & Graphics, IEEE, and SPIE.
She is on the Board of Eyebeam and Board Chair, Gene Siskel Film Center, School of the Art Institute of Chicago. She serves on the Board of Governors, School of the Art Institute of Chicago and is a Life Trustee of the Art Institute of Chicago. In 2012, she received the Thomas R. Leavens Award for Distinguished Service to the Arts through Lawyers for the Creative Arts, and in 2013, received the Gene Siskel Film Center Outstanding Leadership Award. Sandor is also co-founder of the Richard and Ellen Sandor Family Collection. In 2014, she was awarded an Honorary Doctorate of Fine Arts from the School of the Art Institute of Chicago. In 2016, she was awarded Fermilab's Artist in Residence. She was honored by the Bulletin of the Atomic Scientists in 2017 for her longstanding commitment to integrating art and science.
endel A. White was born in Newark, New Jersey and grew up in New York,
Pennsylvania, and New Jersey. He was awarded a BFA in photography from
the School of Visual Arts in New York and an MFA in photography from the
University of Texas at Austin. White taught photography at the School of
Visual Arts, NY; The Cooper Union for the Advancement of Science and Art,
NY; the International Center for Photography, NY; Rochester Institute of
Technology; and is currently Distinguished Professor of Art & American
Studies at Stockton University.
He has received various awards and fellowships including a John Simon
Guggenheim Foundation Fellowship in Photography, three artist fellowships
from the New Jersey State Council for the Arts and grants from Center Santa
Fe (Juror’s Choice), the Graham Foundation for Advanced Studies in the Fine
Arts, and a New Works Photography Fellowship from En Foco Inc.
His work is represented in museum and corporate collections including: Duke
University; the New Jersey State Museum; California Institute for Integral
Studies; The Graham Foundation for the Advancement of the Fine Arts; En
Foco, New York, NY; Rochester Institute of Technology; The Museum of Fine
Art, Houston; Museum of Contemporary Photography, Chicago, IL; Haverford
College, PA; University of Delaware; University of Alabama; and the NYPL
Schomburg Center for Research in Black Culture, NY.
White has served on the board of directors for the Society for Photographic
Education, three years as board chair. He has also served on the Kodak
Educational Advisory Council, NJ Save Outdoor Sculpture, the Atlantic City
Historical Museum, and the New Jersey Black Culture and Heritage
Foundation. White was a board member, including three years as board chair,
of the New Jersey Council for the Humanities.
Recent projects include; Red Summer, Manifest, Schools for the Colored, Village
of Peace: An African American Community in Israel, Small Towns, Black Lives>,
content | code | process, last update October 15, 2019
Produced by Judy Malloy, School of the Art Institute of Chicago, Art and Technology Studies