G.H. Hovagimyan
Since 2003
Works in New York, New York United States of America

G. H. Hovagimyan is an experimental cross media, new media and performance artist who lives and works in New York City. He was born 1950 in Plymouth, Massachusetts. In 1972, He received a B.F.A from the University of the Arts in Philadelphia, Pennsylvania and received an MA from New York University in 2005. He is a professor at the School of Visual Arts in the MFA Computer Arts Department. He was one of the first artist's in New York to start working in Internet Art in 1993 with such artist's online groups as, the thing, ArtNetWeb, and Rhizome.
He has collaborated with English/French sound artist Peter Sinclair (sound artist) on a number of works. <br>

From 1973 to 1986 he was involved in the SoHo and Lower East Side underground art scene. He exhibited a rigorously conceptual art show at 112 Workshop in 1973. He was a friend of the artist Gordon Matta-Clark who was also involved in 112 Workshop. He worked with Matta-Clark on several projects namely; Days’ End, Conical Intersect, Walking Man’s Arch, and Underground Explorations. In 1974 during the video-performance series at 112 Greene Street, he performed opposite Spaulding Gray in Richard Serra's video, A Prisoner's Dilemma.<br>

Much of his early work was ephemeral in nature. It involved performance art, written and language works and temporary installations in galleries. A word piece, Tactics for Survival in the New Culture, was exhibited in "The Manifesto Show" (1979) organized by the artist collective colab. This particular piece was to become the basis for one of his first online hypertext works in 1993. He showed in several group exhibitions organized by Jean Dupuy, a French Fluxus artist living in New York at 405 E. 13th Street. In 1980 he did a series of punk performance pieces for Artist's Space series called Open Mic. One piece, Rich Sucker Rap was recorded by Davidson Gigliotti for a video tape called Chant Accapella which Electronic Arts Intermix carries in its catalog. He also performed in several No Wave Cinema films among them, The Offenders(1980) by Scott B & Beth B and The Deadly Art of Survival by Charles Ahearn.

In the early 1990’s he started working in Media Art and New Media Art. Some of the pieces involve using a combination of photographs and text, often mimicking advertising. In May, 1994 his twenty billboard project for Creative Time, Hey Bozo… Use Mass Transit, received quite a bit of press. The work was seen on several newscasts such as Good Day New York, and the NBC Nightly News (nationally). It was written up in the NY Post, NY Daily News, The New York Times, etc. A telephone interview with the artist and a report on the project was distributed over the AP newswire.

Around the same time he began working with computers and the internet. One of the earliest internet artists, his first pieces, BKPC, Art Direct and, Faux Conceptual Art, were written about in the art magazines Art in America ( Robert Atkins, 1995 Art in America, December, “Art On Line” pp.63) and Art Press (Special Issue, Techno: Anatomy of electronic culture, 1998) France. He also hosted an internet radio/TV talk show called Art Dirt. The first of it's kind, Art Dirt, is part of the Walker Art Center's Digital Studies Archives collection. Of his collaborative works with Peter Sinclair, the most well known are a Soapopera for Laptops/ iMacs, Shooter and Rant/ Rant Back/ Back Rant. Shooter, an immersive sound and laser installation was developed at Eyebeam Atelier as part of its’ Artist in Residence program.
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rantapod - false_hope (screw your religion)

Richard Dawkins was on Stephen Colbert the other night talking about
the New Atheism. There's also a cover article on the New Atheism for
Wired this November. <http://www.wired.com/news/wiredmag/
1,71985-0.html> With all the religious fascists in the US and around
the world maybe it's right to try and establish a religion of
reason. If we could end ignorance and superstition and establish a
world base on the universal declaration of human rights; that is a
worthwhile goal.

Art Dirt Redux does DUMBO -

Sounds really risque but it was flat except for a couple of bright
spots like video-dumbo curated by Gabriela Moray & Casper Stracke.
I also stumbled upon an information artist named Graham Parker.

The best show in town is at Sara Tecchia's 529 West 20th Street (2nd
Floor) It's Christina McPhee's
La Conchita Mon Amour. http://saratecchia.com/

Christina has re-framed the debate on earth art by using digital
media. She performs the media in Photoshop and FCP. She also knows
how to draw. I could go on and on about how critically important she
is but see for yourself.

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Christina McPhee at Sara Tecchia

Dear Friends,
This is perhaps the most innovative and exciting new media exhibition in New York City this Fall. If you see no other show see this one. It's really worth it. As a bonus I am doing a conversation with Christina on November 16th. Here's the info:


La Conchita Mon Amour
Christina McPhee

Dates: October 19 thru November 22, 2006

Reception: October 19, 2006

Thursday, November 16, 2006, 6:30pm
"Trauma and Performance in New Media Documentary"
Christina McPhee in conversation with GH Hovagimyan

Sara Tecchia Roma New York is proud to premiere La Conchita mon amour, an exhibition featuring photography, HD video, digital print, and drawing by California-based artist Christina McPhee.

With this new body of work, McPhee continues her exploration of the synchronicity between natural disaster and human trauma at the tiny coastal town of La Conchita, California. This community, just north of Los Angeles on Highway 1/101, is built on an ancient mudslide and has been subject to periodic massive debris flows. The most recent, in 2005, took ten lives and left a huge mass of fallen mountain on the town. Yet the inhabitants must continue to stay, despite the inevitable recurrence of this threat. La Conchita remaps the problematic of living with disaster in California in immediate, raw terms, since the trauma is always already here. Global warming appears to be accelerating the danger. Without resources for healing or leaving, La Conchita lives on in abandonment. The plight of residents at La Conchita is a microcosm of the conditions of bare life in post-911 material culture.

For the past year at one month intervals, the artist has shot medium format and digital photographs of the disaster's vernacular shrines to the dead on the site of the mudslide—chain link barriers a rubble of mud, destroyed house frames, roofs, retaining walls, play yards, swing sets and crushed cars. She has recorded video and audio in these site visits at quiet times of the day, developing a time-based record of the cyclical power of the tides, the freeway sounds, and the voices of residents who would sometimes guide her into precarious parts of the ruin. Her working methods perform an intimate and subtle connection to the architectural conditions of the site, which also give rise to graphite and ink study drawings of the threat of debris flow. The drawings are repetitive and performative as if to retrace the edges of that which cannot be visualized. Given the impossibility of representing trauma, McPhee's images reach through obsessive layers of visual data towards an integration beyond the material facts of the site. The large-scale images that result from this process are topologies of absence and recovery. Like the prayer flags they record, the images are performance gestures, signaling an attempt to remain in touch with hope and life in the face of indifference.

Videos for the exhibition were produced in part through a residency at the Experimental Television Center, New York, in November 2005. A related interactive narrative on La Conchita will be featured online at New York's Turbulence.org beginning in early October.

Artist and theorist G.H. Hovagimyan has stated that McPhee has updated the work of Ana Mendieta into the realm of new media. "I love what Christina McPhee does," he states. "She uses digital tools and scientific data to get to a deeply human emotion. Some philosophers say all digital media is alienating. Christina, like Christophe Bruno, uses those tools to humanize."

Christina McPhee's photography, drawing and time based arts explore the phenomenology of place. She has recently created theatrical video for Pamela Z's "Wunderkabinet", an opera based on stories from the Museum of Jurassic Technology, opening this month at REDCAT Theatre, Walt Disney Music Hall, Los Angeles. Her media art has shown at FILE Sao Paulo, prog:me Rio de Janeiro, ICA /Cybersonica; Pacific Film Archive, Berkeley; and is in the collections of Cornell University Rose Goldsen Archive of Electronic Media Art, the Whitney Museum of American Art Artport, and the New Museum of Contemporary Art / Rhizome Artbase. Her paintings and drawings are found in American museums including the Kemper Museum of Contemporary Art. Her multichannel video installation "Carrizo Diaries" on seismic memory was shown this summer (2006) at the Cartes Centre for Art and Technology, Espoo (Helsinki), Finland with support from the American Scandinavian Foundation.

SARA TECCHIA ROMA NEW YORK is located at 529 West 20th Street, between Tenth Avenue and Eleventh Avenue. The gallery is on the second floor. Hours are Tuesday through Saturday, 10am to 6pm. For more information, contact 212-741-2900, or visit www.saratecchia.com


Fwd: Yeep!Yeep! Jen Dunlap's art at Riverfawn!

Begin forwarded message:

> From: Brian Caiazza <brain@in8.com>
> Date: October 13, 2006 7:39:51 AM EDT
> To: Brian Caiazza <brain@in8.com>
> Subject: Yeep!Yeep! Jen Dunlap's art at Riverfawn!
> Hello,
> I just wanted to let you know that our very own
> Jen Dunlap is finally
> having her Riverfawn show.
> Don't miss this one. Jen's work is amazing.
> Please come and see seven 40x50 inch pieces and selected smaller
> works in person.
> See the playful line work, the palettes, and compositions.
> Friday October 20th (7-10pm)
> @ the Riverfawn Gallery
> 11 Harrison St, New York, NY 10013
> (between Hudson & Greenwich in Tribeca)
> 212 625 0114
> Enjoying free beer and wine while socializing with a vast array of
> goodlookin' folks.....
> (FYI. Riverfawn is an online, one-of-a-kind "gallerystore" annex
> to iN8Skils
> Riverfawn is dedicated to showcasing unique and limited edition
> art, music, jewelry, clothing and other
> design-conscious curiosa created by up-and-coming, multi-
> dimensional artists, musicians and designers.)
> http://www.riverfawn.com
> http://www.in8.com
> http://www.funlap.com
> See you there!
> Brian
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HD_RANTS today Video dumbo 5:30

The First New York showing of HD_RANTS will be at video-dumbo today at 5:30. 16 Main Street in Brooklyn, as part of the Dumbo Arts Festival.
I believe it's a five dollar admission for the whole program.
Here's the Press release for the program today.


It's worth it to see these on the big screen.



I've just returned from Split, Croatia where I was a part of the New
Media jury and a presenter for the Split New Film Festival. You can
read an extended report and hear an Art Dirt Redux sampling here at:
I highly recommend this festival as a place to submit your work if
you are a filmmaker or new media artist. I saw some top-notch stuff
and Split is a beautiful city on the Adriatic coast.

While in Split I had a chance to interview Branko Karabatic the head
of the festival for Art Dirt Redux. http://spaghetti.nujus.net/

I've also put up a new website with all the HD\_RANTS I produced in
collaboration with Brian Caiazza this summer. Brian pushed the
rants to a new level. You can get 1/2 resolution mp4 and avi files
here. http://nujus.net/gh\_04/hd\_rants/index.html

HD\_RANTS will be part of the video - DUMBO festival http://

I'm also presenting them one at a time on RANTAPOD to download onto
your iPod. http://spaghetti.nujus.net/rantapod

Part of the fun for me was having the [PAM ] http://
perpetualartmachine.com people at Split at the same time. They are
still in Europe for the SCOPE London Festival and have a surprise
launch of a new application coming up.

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