Author: flawedart

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May we never forget (who we work for)

May we never forget (who we work for)
2010

Press Release – Hylton Performing Arts Center

LOCKHEED MARTIN PROVIDES $250,000 TOWARD NEW COMMUNITY PERFORMING ARTS CENTER AT GEORGE MASON UNIVERSITY’S PRINCE WILLIAM CAMPUS

Tuesday, March 27, 2007

“MANASSAS, VA, March 27, 2007 — Lockheed Martin recently pledged $250,000 toward the future Community Performing Arts Center that will be built on George Mason University’s Prince William County campus in Manassas, VA.

The Center, a partnership between Prince William County, the city of Manassas and George Mason University, will create the region’s first state-of-the-art performing arts center, housing an 1,100-seat four-story rehearsal and performance space, two other smaller performance venues, and facilities to support the arts both at the university and in the surrounding community.   Under the terms of their pledge, Lockheed Martin will provide the university $250,000 in permanent endowment funds to support the Center over five years.  Construction of the Center will begin this summer with an anticipated opening in the fall of 2009.

Denise Saiki, vice president and general manager of Lockheed Martin’s Manassas-based business recently presented the company’s first pledge payment to Dr. Alan G. Merten, president of George Mason University at the university’s Prince William campus in Manassas, VA.

“We are delighted to make this contribution to the Community Performing Arts Center,” said Saiki. “This will allow us to help local high school performing arts education programs and local performing arts organizations use the center for their community programs for many years to come.” 

“We are thrilled to welcome Lockheed Martin as a founding partner of the Community Performing Arts Center,” said Bill Reeder, Dean, George Mason University College of Visual and Performing Arts. “Lockheed Martin’s leadership gift will make it possible for the Center to design exciting and innovative programs for schools and families to explore the connections between the arts and science.”

The mission of the new Community Performance Arts Center is to provide world class performance facilities for both well-established, high-quality, regional art groups and the many community-based groups that provide opportunities for residents to actively participate in the arts, as well as, arts-related educational opportunities for area schools.  

Headquartered in Bethesda, MD, Lockheed Martin employs about 140,000 people worldwide and is principally engaged in the research, design, development, manufacture, integration and sustainment of advanced technology systems, products and services.” 

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agriArt: Companion Planting for Social & Biological Systems

agriArt Website

agriART is an exhibition brings together an array of art works that critically engage with cultures of food production and consumption. The exhibition features projects that represent where we are and what we can do to (re)create sustainable relationships with our sources of nourishment and the communities in which we live.

April 21 – May 15, 2009
Fine Arts Gallery. George Mason University
Public Reception – April 21, 5:00 – 7:00

Featuring: Fritz Haeg, Beehive Design Collective, Nance Klehm, Ted Purves & Susanne Cockrell, Critical Art Ensemble & Beatriz Da Costa & Claire Pentecost, Center for Urban Pedagogy with Amanda Matles, Deena Capparelli & Moisture, Lisa Tucker, Philip H. Howard, Amy Franceschini

With essays by: Claire Pentecost & Ron Graziani

Curated by: Mark Cooley & Ryan Griffis

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E pluribus unum

 

E pluribus unum
2004 – 2008
online version

“If the Nuremberg laws were applied, then every post-war American president would have been hanged.” – Noam Chomsky

“In 1971, Telford Taylor, the chief US prosecutor at the post-World War II Nuremberg Tribunal, cited the ‘Yamashita’ case as grounds for indicting (General) Westmoreland. Following the war, a US Army Commission had sentenced Japanese General Tomayuki Yamashita to be hung for atrocities committed by his troops in the Philippines. The Commission held that as the senior commander, Yamashita was responsible for not stopping the atrocities. The same ruling could of course apply to General Powell and General Schwarzkopf. Yamashita, in his defense, presented considerable evidence that he had lacked the communications to adequately control his troops; yet he was still hung. Taylor pointed out that with helicopters and modern communications, Westmoreland and his commanders didn’t have this problem.” – Rogue State: A Guide to the World’s Only Superpower by William Blum, Common Courage Press, 2000.

The installation consists of reproductions of post-WWII presidential photographic portraits accompanied by faux engraved plaques listing, in abridged form, 60 years of presidential foreign policy accomplishments. Flagrant violations of international laws are par for the course. Efforts to build empire have always been marked by murder celebrated fanatically as “just and righteous,” and yet we have something that we call “International Law,” including the Charter of the United Nations, Nuremberg Principles, Geneva Conventions, Genocide convention, and many others. In the interest of law, accompanied with the facts of 60 years of US foreign policy, and while using the case of General Tomayuki Yamashita as precedence, we can speculate on how our presidents may have faired if accused of war crimes before an impartial jury.

http://www.exitart.org/site/pub/exit_archive/history/2004.html

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untitled

untitled | 2008

Materials: Lunchbox painted white and fitted with window, Puzzle painted white.

Produced for ‘HOME’ – Art Fete for the relief of victims of Sichuan earthquake, Hong Kong – 2008

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(Dis)Location, (Dis)Connection, (Dis)Embodiment

Launch project:  (Dis)Location, (Dis)Connection, (Dis)Embodiment

(Dis)Location, (Dis)Connection, (Dis)Embodiment is a collective experiment in database video and random access narrative. The installation is the work of many artists, each responsible for thirty seconds of video attempting to engage with paradoxes of digital culture and 21st. century communications. The installation consists of a database containing the media contributions of each artist. A computer randomly retrieves video and audio and juxtaposes the media fragments in ten-second intervals on three projected screens and three stereo output systems. The process provides an endlessly randomized deconstruction and reconstruction of narrative and associative imagery in which meaning simultaneously forms and dissolves and the usual stabilities of conventional video are put in flux.

Project concept: Mark Cooley and Edgar Endress
Project architecture: Mark Cooley

Participating Artists:
Jacqueline Aceto, Jenifer Ashcroft, George Baker, Brigitte Balla, Sean Blackford, Said Boissiere, Bridget Borley, Juan Botero, Tara Bowen, Lindsey Burnett, Nicholas Carson, Luis Cavero, Robert Cowling, Brian Dang, Daniel Dean, Jessica Engel, Jennifer Fairfax, Jennifer Farris, Emmanuel Freeman, Jessica Gibson, Lance Gunther, Tyler Harris, Moises Herrera, Franklin Hwang, Maurice James, Andrew Ke, Arthur King, Julie Koziski, Peter Lawrence, Chongha Lee, Andrew Meinecke, Michael Merrill, Aaron Miller, Eli Mintzer, Julia Moscato, Nichole Mosher, Sarah Newdorf, Brent Nieder, Kelvin Olayinka, Adrian Peters, Jose Ruiz, Sorphea Sam, Michael Sargent, Nelly Sarkissian, Paul Sauter, Christina Schnittker, Matthew Searle, Alex Straub, Aisha Syed, Mohamed Talaat, Eric Tsai, Sean Watkins, Nestor Zerpa, Yerden Zikibayev

 

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The Field museum of Art


The Field museum of Art
2007

Launch Artwork

This museum, its exhibitions, the artists, the art are all fictions – as it is with all museums, exhibitions, artists and art. This particular fiction is constructed as a sort of museum mash-up wherein a Fine Art Museum is constructed on the bones of a decayed Natural History Museum site – specifically, the Chicago Field Museum website was used as a template.

The Field Museum of Art site provides a stage for performing romantic and modernist attitudes toward this concept we call nature and for tracing how this concept – nature – and the living things and planetary systems it’s tied to, are changing in response to media and communications technologies. Of particular interest is the relationship between hyperreality and species extinction  – investigating that relationship and marking out the real differences between a pulsing LED and a pulsing vein are primary concerns of The Field Museum of Art.