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Red Bull Music Academy’s 15th anniversary edition is now underway in the heart of NYC. As every year, our new home has been filled with art, to look as bravely appealing as the Academy surely sounds from the studio speakers. With the help of curator Ken Farmer and architect Jeffrey Inaba, four floors have been remodeled, with a local perspective provided by installations from 29 local artists. The works provide refracted yet apposite views from, and of, this iconic city. Since artistic expression can be a conduit for further creation, we hope you’ll discover your own stepping off points among them—amid a supercharged cycle of studio time, club gigs, concerts, and lecture sessions. Farmer, who as the creative director of the ambitious Nuit Blanche

New York project is well accustomed to the artistic reshaping of existing environments, has assembled a forward-thinking collection of New York artists to embellish our halls. The unique mark left by each individual artist here shall echo in the studio spaces, radiobroadcast booth, and auditorium, all of which will be filled with new creative visions as Red Bull Studio New York, after the Academy leaves town in June. The spirit of collaboration and collective creativity that each year shines as a light from our Academy quarters into the world is thus also mirrored in this year’s facilities. Red Bull Music Academy is honored to host these works, providing 38,000 square feet of inspiration.

Ancient Greeks had two notions of time: chronos and kairos. Chronos represented a quantitative, measurable time—the ticking clock; kairos represented a more qualitative moment—an opportunity to be seized. Recognizing the intense duality between urgency and anxiety that Red Bull Music Academy participants confront during their twoweek tenure, kairos presents a selection of works to coexist within the Academy, offering aphorisms, meditation, and comic relief as a temporal reminder of presence and opportunity. The exhibition exemplifies a suspended tension: the held breath, the moment before the bell rings, before the roller coaster dives, before the glass breaks. It is a provocation to take time into one’s own hands. ken farmer, Curator April 2013

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8 BALL 8Ball has built and filled the shelves of Red Bull Music Academy’s reading and lounge locations with vintage and contemporary zines. These independent publications were produced and curated based on their relationships to music and provide leisurely entertainment for students during their downtime between recording sessions and lectures. The formats are various, ranging from fanzines and comic books to photo collages and picture-stories, all collected from New York-based artists and independent bookstores. Lele Saveri, founder and curator of 8 Ball, has organized a small installation of photographs and images from the selected zines in the main reading area on the seventh floor. lele saveri of 8 ball (b. Italy, 1980) lives and works in Brooklyn, New York. 8 Ball is a zine and independent art-book fair begun in 2012 at Grand Billiards in Brooklyn. It began when Saveri, previously a photo editor at Vice magazine and cofounder of the online gallery ithoughtiwasalone, was helping Grand Billiards’ owner Alfredo to stay in business by organizing an assortment of events; he decided to give the green tables to independent publishers to sell their books and make it into a festival. Since then, Saveri has organized an 8 Ball fair in Koreatown in Manhattan, and curated and published two sets of zine anthologies that include works by Peter Sutherland, Ari Marcopolous, and Richard Kern, among other photographers and publishers.

8 BALL “8 Ball Zine Library” 2013 11

AGATHE SNOW Meant as a vision in time, a portion of time in three parts hanging for all to get closer to. A full disclosure for all to inspect from all angles, allowing multiple perspectives and all individual takes. I see time as an ever going, ever standing, ever hanging chain of quasi-similar moments, periods, events, nothings, NOWS firmly attached one to the next in no particular sequence and yet not really ever by chance. I think of two dogs biting each other’s tails, or for a crocodile and an alligator to do again just that, or humans holding hands without ever interrupting the chain and eventually closing it up, first and last lost in the sequence, in the loop, all almost identical in all matters of things and yet all one, individual, new and never seen or known exactly in this formation until now. And we are always running out, running to, hoping for, hanging to some version of events, some longing, some memory, not fully conscious of any real beginning or end, ours or theirs and yet maybe we do remember it all. Amnesiacs are always late, we forget to better remember, to enjoy chasing after the white rabbit seemingly again and always for the very first time. agathe snow (b. France, 1976) currently lives and works in Mattituck, New York. She has shown nationally at New Museum, New York; Whitney Museum of American Art, New York; Sculpture Center, Long Island City; Nerman Museum, Kansas City; and the Parish Art Museum, Water Mill, New York. Snow has also achieved international recognition, exhibiting at prestigious institutions such as Deutsche Guggenheim, Berlin; Jeu de Paume, Paris; and Saatchi Gallery, London. Her work is included in the permanent collection of the Solomon R. Guggenheim Museum, New York, and in the Dikeou Collection, Denver.

AGATHE SNOW “Oh, Sandy!”, 2012 Shelf brackets, fishing boat ropes, papier-mâché, fiberglass, plastic candycane lights, vinyl fabric, glass beads, stringed mirrored balls, stuffing, canvas, stretch skeletons, chains, foam moons, foam hearts, fabric balls, anchor and steel wire 120 x 84 x 48 inches | 304.8 x 213.4 x 122 cm Courtesy of the artist and OHWOW, Los Angeles 13

ALEJANDRO CRAWFORD “ffffffff127” is a two-octave polyphonic video organ eXtreme. Coded for the Korg Nanokey2 in VDMX5 and Madmapper, “ffffffff127” is a playable AV instrument based on the Vonome. alejandro crawford lives and works in Broo klyn, New York. Crawford is a poet, programmer, and video artist. He is a former Fulbright Scholar to Portugal and recent graduate of NYU’s Interactive Telecommunications Program. He has appeared in the following selected publications: Morpheu (BlazeVOX 2009), Wasted (Sous Rature 3ssue), Milk (Dandelion, Performance Machine), BHO (EOAGH, ed. Tan Lin), 7CV Chinese Edition(s) (Edit Publications), poemfield3 (GaussPDF). He performs as EX LIBRIS with Danny Snelson and designs VJ systems and/or tours with bands such as MGMT, Tame Impala, Chairlift, Cults, Yeasayer, and others. www.

ALEJANDRO CRAWFORD “ffffffff127” 2013 15

ANDREW NORMAN WILSON The “Uncertainty Seminars” abstract corporate aesthetics across several sections, conflating modes of address from avant-garde cinema and video art with contemporary therapeutic and motivational techniques. The techniques involved address forms of uncertainty in personal, professional, and civic life. andrew norman wilson (b. Colombia, 1983) lives and works in Brooklyn, New York. Wilson will participate in Palazzo Peckham at the Venice Biennale in 2013, Art Basel 2013, and group shows at Betonsalon in Paris, Steve Turner Contemporary in Los Angeles, and Carroll/Fletcher in London. He currently has a solo show up at threewalls in Chicago entitled The Refrain: Medfield/Walpole, and is preparing solo shows for Club Midnight in Berlin and Important Projects in Oakland, California. Dream Factory, his curatorial project with Aily Nash, was recently presented at Import Projects in Berlin and Art Dubai, and will be presented later this year at Impakt in Utrecht and MoMA PS1 in New York. www.

ANDREW NORMAN WILSON “Uncertainty Seminars” 2013 17

ANTONIA KUO The series of “Chemigram Constellations” are simulations of an imagined cosmos, materializing from the reaction of photographic chemicals to exposed, light-sensitive paper. The chemigram technique ( from the Greek, “chemistry that writes”) is a hybrid of photographic processes and painting, embracing a lack of control and experimentation. The images are mutable, in flux, literally not “fixed” (the procedure which would normally stabilize a photographic image from the darkroom); by exposure to light and the passing of time, the pieces will evolve throughout the duration of the exhibition. antonia kuo (b. USA, 1987) lives and works in Brook lyn, New York. Kuo is a multidisciplinary artist working with drawing, painting, printmaking, photography, film, and video. Her work addresses issues of materiality, decay, and the relationship between microcosm and macrocosm. Kuo received her BFA in 2009 from Tufts University and School of the Museum of Fine Arts in Boston, where she was awarded the Mary and Frank Rassieur Prize in Drawing from the Museum of Fine Arts. In the winter of 2012 she had a solo exhibition at Concordia University in Ann Arbor, Michigan. She is currently enrolled in a one-year intensive program at the International Center of Photography in New York and has been awarded the Alan L. Model Scholarship. In 2014, Antonia will be studying at the Central Academy of Fine Arts in Beijing, China. www.

ANTONIA KUO “Chemigram Constellations” 2012 – 2013 19

ANTONIA KUO & LILY SHENG “Seeing Double”, a film comprised of animated collages, speaks to the notion of non-linear time within the fleeting pace and temporality of an immersive optical experience. The deconstruction of time is also evident in the utilization of collage to recontextualize existing source material. The geometric, yet metamorphic forms reflect the dichotomy between the imposed structure and erratic flux of the unfolding imagery. antonia kuo (b. USA, 1987) and lily sheng (b. China, 1987) live and work in Brooklyn, New York. Lily Sheng and Antonia Kuo met while attending School of the Museum of Fine Arts Boston and have been collaborating on film projects for the past couple of years, with several projects in process. Their individual practices come together in a dialogue with collage and animation. In spring 2012, a previous iteration of the film Seeing Double was shown as part of the New England-based experimental film festival From Gust to Hail, which traveled to cities across the Northeast.

ANTONIA KUO & LILY SHENG “Seeing Double” 2013 21

CARLY MARK Carly Mark’s work focuses on that which is habitual, ritualistic, and repetitious. We are all creatures of habit and it is dissection of these habits that sheds light on our lives, revealing the things that make us hurt and make us feel good. Habits are not only autobiographical, they are linear, structuring our days, keeping us mentally on course. Time is kept through works on paper, marks on walls, video, in wood, and so on. carly mark (b. USA, 1988) lives and works in New York City. Mark was born and raised in Bloomfield Hills, Michigan, where she attended Cranbrook Kingswood School for the Arts. Upon graduation Mark moved to New York City to further pursue her interest in painting and drawing. In 2011 she graduated from the School of Visual Arts with a BFA in Fine Arts.

CARLY MARK “Wrap Her” 2013 23

CHEN CHEN & KAI WILLIAMS This o∞ce for Ryder Ripps takes inspiration from the film Jurassic Park. In the film, the character Dennis Nedry is a computer programmer who has a workstation in the control center of the park but it is completely covered in empty soda cans and candy-bar wrappers. This mash-up of a futuristic o∞ce with the detritus of a teenage bedroom is then combined further with construction-site aesthetics. The raw under-construction look of the space is a nod to the classic animated gif featuring the same phrase with a stick figure digging with a shovel, a reference to Ripps’s Internet Archeology which catalogs imagery of that era of the Internet. chen chen (b. China, 1985) and ka i willia ms (b. USA, 1984) live and work in Brooklyn, New York. The duo met while studying industrial design at Pratt Institute in Brooklyn. In 2011, Chen and Williams decided to begin a lasting collaboration by founding a design studio. The studio is primarily focused on material properties and is guided by the principle that no materials are inert, allowing for objects to assume a naturally occurring form. Chen and Williams have been included in exhibitions at Moss, New York; Phillips de Pury, New York; and the Venice Architecture Biennale, Venice. Their work has appeared in publications such as The New York Times T Magazine, PIN-UP, W, Surface, Apartamento, and the It’s Nice That Annual 2012.

CHEN CHEN & KAI WILLIAMS “You Didn’t Say the Magic Word” 2013 25

CONFETTISYSTEM Through the combined use of simple materials such as tissue paper, cardboard, and foil, this site-specific installation creates a heightened moment and spontaneous interaction with the viewer that in turn transforms the energy and mood of the space. Composed of nicholas andersen (b. USA, 1979) and julie ho (b. Taiwan, 1978), CONFETTISYSTEM is a duo working as artists, stylists, and designers. CONFETTISYSTEM lives and works in New York City. A friendship born from their shared love of communal celebration and craft-making, CONFETTISYSTEM has art directed and created installations and sets for fashion brands such as Lanvin, Lane Crawford, and J.Crew as well as music industry clients like Beyoncé, Yeah Yeah Yeahs, and Beach House. In addition to decorating for private celebrations and working as creative consultants for numerous private labels, CONFETTISYSTEM has also created custom design work for MoMA, PS1, The New York Times, and American Ballet Theatre.


CONRAD VENTUR A 1972 video of Marlene Dietrich performing Pete Seeger’s anti-war song is multiplied and animated in several software programs then projected onto a rotating disco ball. Hundreds of small singing Dietrichs radiate off the mirrors, a face nearly in each small frame spinning like a constellation around the exhibition space. conrad ventur (b. USA, 1977) lives and works in Brooklyn. Situated within the media of performance, photography, and video installation, Ventur’s projects deal with how people perceive, record, and perform their lives within a contemporary technological landscape. He has chronicled his New York life with photography and the underground publication Useless for over a decade. In 2012, Ventur’s “13 Most Beautiful: Screen Tests Revisited” videos were acquired by the Whitney Museum of American Art.

CONRAD VENTUR “Where Have All the Flowers Gone” 2008 29

CYNTHIA DAIGNAULT For this project, Cynthia Daignault creates a series of paintings representing “live” feeds of the Academy. Paintings depicting the studios are installed in the lobby and those depicting the lobby are installed in the studios. The works create a link, bridging public and private space and unifying thinking across the building to reinforce the expanded singular moment that the Academy embodies. cynthia daignault (b. USA, 1978) lives and works in Brooklyn, New York. Cynthia Daignault was born in Baltimore, Maryland, attended Stanford University and was a MacDowell Colony Fellow in 2010. She edited the monograph on Sean Landers, Improbable History, which was published by JRP Ringier in 2011. Her work was featured in a solo show at White Columns in 2011. She is a recipient of the 2011 Rema Hort Mann Foundation Grant.

CYNTHIA DAIGNAULT “Live Feed” 2013 31

DYLAN LYNCH April 5, 2013. Woke up. Got on the First Avenue F train to Jay Street / MetroTech. Transferred to the B61 Bus. Walked into my studio. Ate an everything bagel with cream cheese. Brought a 55 gallon steel drum downstairs and loaded it into Louis’s truck. Covered the drum with moving blankets and secured it to the flat bed. Drove through the Holland Tunnel. Took the Fairfield Rd exit off of the US-46 highway. Arrived at Jan’s chemistry laboratory in Fairfield, New Jersey. Cleaned the drum and filled it with some water. Grabbed six extension cords from the chemistry lab’s workshop. Checked outlets, making sure each one was 120 volts. Wrapped the drum with heating pads. Plugged the extension cords into the working outlets and attached the opposing sides to the heating pads. Placed thermometer into the drum. Waited for the water to boil and for the steam to push the air out of the steel drum. Put on gloves, removed the heating pads and sealed the bung hole. Poured five buckets of ice water onto and around the steel drum. Drum Imploded. dylan lynch (b. USA, 1987) lives in New York City and works in Brooklyn. Lynch graduated with a BA from Eugene Lang in 2011 and is a core member of the NYC collective Still House Group. Lynch has exhibited at Rental Gallery in NYC, Frank Pictures in LA, Workshop Arte Contemporanea in Venice, and C-L-E-A-R-I-N-G in Brussels, the group’s permanent space in Red Hook last year.

DYLAN LYNCH “21 Just Rd. Fairfield, NJ” 2013 33

JAMIE ALLEN “Imaginary Sound Works” is a place online where descriptions of unrealized sound projects are collected. Initiated by Jamie Allen, the work collects imaginings of sound-based works, acoustic investigations, and signal manipulations. This includes wholly conceptual ideas involving sound and/or music (things that don’t really need doing /hearing /making); ideas that are possible, but no one would ever actually want to do; nonsensical works that are somehow unrealizable, unimplementable, yet remain mentally resilient (you can’t get them out of your head); elaborate or comprehensive works you would or could one day complete (when a climate of creative patronage becomes suitably favorable, for example). Imaginary Sound Works is indebted to Christophe Migone’s As Palestine As Possible. jamie allen (b. Canada, 1976) lives and works in Copenhagen, Denmark. Allen works with human relationships in connection with creativity and technology all while trying to give viewers a new subversive and fun way to interact with these ideas. Allen is currently the head of research at the Copenhagen Institute of Interaction Design and a PhD candidate with the European Graduate School (Media and Communications). His projects and events have been featured in a number of media outlets including and The New York Times.

JAMIE ALLEN “Imaginary Sound Works” 2012 – 2013 35

JEREMY COUILLARD “My Apocalypse Fantasy” is a 3D animation where the viewer is led through various dreamlike landscapes revolving around a psychedelic castle in the middle of the ocean while a robot shares her fantasy of survival in an apocalyptic future. Fake plants that look like they were textured and sculpted in a computer are placed throughout the space, as if they fell out from the video to serve as possible omens for polychromatic end times where the space between the digital and physical become completely enmeshed. “PMMA 322412” is a gizmo that would exist in such an end time. Powered by plastic plants and glass crystals, kinetic wheels pull the viewer deeper and deeper into an animation of a labyrinthal temple. At the center, rather than salvation, one finds the very sculpture being observed. jeremy couillard (b. USA, 1980) lives and works in Brooklyn, New York. Couillard makes vibrant and hard-edged acrylic paintings, animations, and kinetic sculptures which explore a fixed set of characters, textures, scales, and colors as they move across different vectors and psychological spaces. The colorful but disorienting interiors are filled with strange gadgetry and furniture that call up an illusory, almost hallucinatory vision of the future as we thought it might look from some fictitious but familiar past. He has a BA from Michigan State University (2004) and an MFA from Columbia University (2012). His first New York solo show is currently on view at Louis B. James gallery until May 31.

JEREMY COUILLARD “My Apocalypse Fantasy” 2012 JEREMY COUILLARD “PMMA 322412” (not pictured) 2012 37

KORAKRIT ARUNANONDCHAI “The Fountain of Youth.” The fountain of youth is a product that promotes good behavior. The fountain of youth keeps you young and energized and helps you achieve your goals. The fountain of youth makes you popular among guys and girls. The fountain of youth* is a promise to yourself that you will live every minute of your life to the fullest. Exclusively here at the Red Bull Music Academy is a oncein-a-lifetime chance to enjoy the glorious taste of the premium and original, the one and only “The Fountain of Youth.” Presented with commercials with no breaks. korakrit arunanondchai (b. Thailand, 1986) lives and works in New York City and Bangkok, Thailand. Arunanondchai arrived in America seven years ago. He studied printmaking at the Rhode Island School of Design for four years and completed his Master of Fine Arts at Columbia University. Last year he also took part in the Skowhegan School of Painting and Sculpture in Maine, a nine-week summer artist residency. In addition to his work in the art world, he has also collaborated with musicians Mykki Blanco and Jaki Doyka. Over the course of the next two years he plans to work on a feature film which will, he says, “be about many things, but most importantly Buddhism and Steve Jobs.”

KORAKRIT ARUNANONDCHAI “The Fountain of Youth” 2013

*The fountain of youth is widely enjoyed by the population of Thailand.


LIZZI BOUGATSOS Lizzi Bougatsos sources advertising imagery and recontextualizes their messages into new pieces of sweet and bastardized information. “Rat” was first exhibited in 2010 for her solo show at James Fuentes LLC’s show Slut Freak. “Sunrise” is a postcard with imagery of a romanticized smiling purple paradise that she had received from her dentist and collaged with additional found smiles. Lizzi’s work captures the best of grime, pleasure, and sass, in clever naughty filth and entertainment bliss. lizzi bougatsos (b. USA, 1974) lives and works in New York City. Lizzi Bougatsos’ practice is multifaceted—it includes and incorporates writing, performance, sculpture, collage, and installation. Bougatsos has had solo shows at the Breeder, Athens, Greece (2009); and James Fuentes LLC, New York (2007, 2009). Bougatsos presented two-person exhibitions at Reena Spaulings with Kim Gordon (2005) and Jess Holzworth at American Fine Arts Co. (2000). Additionally, Bougatsos tours extensively with her two band projects Gang Gang Dance and I.U.D.

LIZZI BOUGATSOS “Sunrise” 2013 LIZZI BOUGATSOS “Rat” (not pictured) 2010 41

MAGGIE LEE Paralleling ideologies relating to alternative pop culture, Lee creates diaristic imagery that references these other worlds and transforms and collages them with her own vision. “Video Salad” is a documentation and collection of captured footage from 2008-2013, chopped and screwed. Facebook emoticon interpretation, playing with a toy hairbrush, flies having sex at home, stacked business cards collapse to the sound of Electribe, a twirling flower, new sentences are formed constantly. Over-stimulation and idiosyncratic mannerisms collaged with techno and punk music. maggie lee (b. USA, 1987) lives and works in Brooklyn, New York. Lee is a multimedia artist with works that range from photography and video to printmaking and publishing for online and print. Lee received her BFA in printmaking from Pratt Institute in 2009. She recently exhibited at China’s Shanghai Biennale for Cleopatra’s & Chris Rice’s CKTV and at Bodega Gallery for Sex Life. Works have been published worldwide in collaboration for New Museum, Sex Magazine, Vice, PictureBox, Decathlon Books, and Gottlund Verlag.

MAGGIE LEE “Video Salad” 2008 – 2013 43

MARTIN ROTH Martin Roth takes meticulous care to provide a bonsai plant with the ideal soundscape in which to grow. Two speakers pointed at the bonsai emit a live feed of a chorus of fish, birds, and crickets. The artist uses environmental sounds, provided by creatures to create a simulated habitat for a tree that could be considered a beloved pet than plant. Above all, Roth’s work accentuates the multilayered relationship between animals and plants, as well as their connection to human culture, while delicately playing with the balance of nature and artificiality. martin roth (b. Austria, 1977) lives and works in New York City. Roth has shown internationally in group and solo shows. He most recently had a solo show, Untitled (Bonsai), was featured in his solo show at Louis B. James Gallery in 2013. He received his MFA from Hunter College in 2011. www.martinroth. at

MARTIN ROTH “Untitled (Bonsai)” 2013 MARTIN ROTH “Untitled (Gecko)” 2013 45

MICHAEL BELL-SMITH light up your life with a romantic, smoke free, beautiful, burning fire. michael bell-smith (b. USA, 1978) lives and works in Brooklyn, New York. Bell-Smith holds a BA in Semiotics from Brown University, Providence, RI; and an MFA from Bard College, Annandale-on-Hudson, NY. He takes familiar visual elements—from games, advertising, interiors, and corporate design, among other places—and positions them within unexpected conceptual frameworks. His digital animations and appropriations wryly reflect upon our cultural moment: as he tracks the circulation and proliferation of images and sounds, he charts a rapidly changing history of viral content. Bell-Smith mixes flatness with deep perspectives, and motion and stillness, in dynamic meditations on the image’s hold on truth.

MICHAEL BELL-SMITH “Digital Fireplace Upside Down” Modified DVD 2011 47

MILES HUSTON Abstraction was not invented, it was discovered. In this sense it has always been there. I consider my work similar in that it is solution-based. The solution has always been right in front of you. The materials are reorganized till the solution presents itself. A work will have many solutions particular to a set of many variables. This should also be made visible in the work. Content is gathered through research and collaboration. Process is a rigorous form of iteration. Content is material/materialized. Collaboration helps a work move through a multitude of professional fields, to become art or not. Art is a design problem. “If a man’s work illustrates my dream, his work is mine.” —Picabia miles huston (b. USA, 1981) lives and works in Brooklyn, New York. Huston graduated from MIT and SMFA in 2007 and received a MFA from Yale University in 2010. Huston is the director at Friends of Friends design studio and co-owner of Know More Games located in New York’s Donut District.

MILES HUSTON “Blank Verse: The Walking Dead Seasons 1–4” 2013 49

OLYMPIA SCARRY Olympia Scarry captures actions and reactions to moments of frustration and boredom and turns them into something tangible. Often Scarry’s objects frustrate our expectations by rendering habitual urges impossible or by glorifying an involuntary response like a yawn. Her work looks to bring the audience and herself into conscious form. In creating environments and records of the human touch, Scarry voluntarily allows forms to overpower the physiology; one is inviting the other to lose themselves or rather find one’s self again. olympia scarry (b. Switzerland, 1983) lives and works in New York. Scarry completed her BA in psychology in 2007. Her fascination with the subject is a constant driving force in her works which focus on the examination of reality and self. Scarry is completing her MFA at NYU 2014.

OLYMPIA SCARRY “Everlast” 2013 51

RYDER RIPPS “Hyper-Current Living” is a performance by Ryder Ripps in which he “lives” and “works” at Red Bull Music Academy for one week—he is drinking Red Bull and creating digital stuff at hyper speed, collaborating with Jules LaPlace from OKFocus. In the stream, our output is valued by its proliferation and its likes and favs—what incentive is there to spend four years writing a novel if it will just be a link in a stream lasting a few hours? The piece brings this trait into light by designating a time and space to the creation of such fragmented, short interactions native to social media. ryder ripps (b. USA, 1986) lives and works in Queens, New York. Ryder Ripps is a conceptual artist and entrepreneur from Past projects include Internet Archaeology,, iPhone Poetry, GitHub Poetry, Internet Therapy, Val Kilmer Art, Howl 2.0, HDBoyz, Facebook Art and newmoticons. He has collaborated with Tim Baker, M.I.A., Jules LaPlace, Ryan Trecartin, and Item Idem, and operates the creative agency OKFocus. His physical work strives to freeze a moment of Internet time and his virtual work strives to create a good Internet time.

RYDER RIPPS “Hyper-Current Living” 2013 53

SARAH E. WOOD Sarah E. Wood employs a spare and formal vocabulary using industrial materials. The resulting sculptures are elegant, black, rhythmic, and spare, simple gestures tracing lines through suspended form. In preparation for “Untitled (Necklace)”, Wood started “thinking about the particular gravity of a necklace on a person’s body, building a line in space as a way of emphasizing shifts in weight.” The work uses fine metal chain and welded steel to create three suspended passageways from ceiling to floor. The two very different materials form a continuous line. sarah e. wood (b. USA, 1976) lives and works in Brooklyn, New York. Wood spent her childhood in Louisville, Kentucky, before receiving her undergraduate degree at Maryland Institute College of Art in 1999 and her MFA in sculpture at the Mason Gross School of the Arts at Rutgers University in 2001. Wood held her debut solo exhibition at P.S. 122 in New York City in 2008, and presented her second solo exhibition, titled Tilt, at Kate Werble Gallery, New York City, in 2010. She was awarded an outdoor-sculpture commission as part of NADA Miami Beach in December 2010.

SARAH E. WOOD “Window Shadow” 2008 Courtesy of the artist and Kate Werble Gallery, New York. SARAH E. WOOD “Untitled (Necklace)” 2010 Courtesy of the artist and Kate Werble Gallery, New York. Photo © Elisabeth Bernstein 55

SIEBREN VERSTEEG I currently develop algorithms that generate abstract compositions by visually miming the properties and application of paint. For me, this method of engagement implies awareness and authorship of the entire field of possible pictorial conditions. As a fixed matrix of pixels, the digital image offers seemingly unlimited, but ultimately finite potential. Depending on the size of the image, the code I write assigns each of approximately 192 million image bits (2–3 million if on a screen), one of 16,777,216 colors. I embark on this activity methodically; hypothetically breaking down the act of making a painting into granular values that can be steered by a myriad of variables. Material conditions are distilled into semantics and calculated with practical albeit idiosyncratic monikers like “viscosity”, “paintcol”, “drippyness”, “erasechance”, “resetsmurf ”, etc. As the code progresses, a modest form of computer vision responds to “marks” already made. An image evolves continuously, and is saved in versions at regular intervals. Where decisions are necessary, but desire or understanding is absent, I often rely on external parameters (most often random number generators) to help me make them. I am most pleased when I get lost in the abstract complexities of this undertaking and especially when I am surprised at the results. Prior to this body of work, I was making programs that arbitrarily scraped images from the Internet in real time and presented them as if they were composed the old fashioned way.

SIEBREN VERSTEEG “Looks Like Thinking” 2011 SIEBREN VERSTEEG “Down” (not pictured) 2011 SIEBREN VERSTEEG “Ideas Are Executions” (not pictured) 2011

siebren versteeg (b. USA, 1971), lives and works in New York City. Versteeg studied at School of the Art Institute of Chicago, the University of Illinois at Chicago, and was an attendee of the Skowhegan School of Painting and Sculpture in 2004. Versteeg’s multimedia installations engage critically with the systems used to disseminate images within our culture, as well as with the technology used to create them. Solo exhibitions include the Museum of Contemporary Art, Chicago; the Museum of Art at Rhode Island School of Design; and Hallwalls, Buffalo, NY. Group exhibitions include the Hirshhorn Museum, Washington, DC; ESSL Museum, Vienna; and Muzeul de Art Cluj, Romania. He is a founding member of the Queens-based exhibition collective Regina Rex.

SIEBREN VERSTEEG “Untitled Projector” (not pictured) 2013 57

TAMARA GONZALES Upon first seeing the pink room I wanted to hear Brooke Candy remake “Sugar Walls,” Sheena Easton’s hit song from the ’80s. I’ve tried to create a place where that could happen. A dollhouse boudoir that invites one to duck in for their own taste of synesthesia. “Yolo”, an oversize neon skeleton rock hand, provides both humor and a lovely violet light that will mirror and bounce around the various reflective surfaces of the space. My painting process falls under the auspices of kairos. Through trial and error, moments of success are seized—and many are lost. Traces of both remain on view. tamara gonzales (b. USA, 1959) lives and works in Brooklyn, New York. Originally from California, multidisciplinary artist Tamara Gonzales has lived in New York for more than three decades. In her most recent paintings Gonzales pushes paint to the optical extreme through her unique process of spray painting through found lace tablecloths, doilies, and curtains. Vibrant and witty, layered and textured, she combines large gesture with tight pattern to create compositions that at once mimic the grand heroic gestures of the post-war painters, while capturing all-over free spirit found in the gra∞ti that appears daily on the streets near her Bushwick studio. Gonzales studied at Parsons School of Design and her exhibitions include Derek Eller Gallery, NY; Martos Gallery, NY; Norte Maar, Brooklyn; James Fuentes, Dependent Art Fair; The Journal Gallery, Brooklyn; Daniel Weinberg Gallery, LA; and Shoot The Lobster, NY. More of her work is presently on view in Swing State with the Jane Kim Gallery, Lost & Found at Hal Bromm Gallery, and Art In the Corner Room.

TAMARA GONZALES “I Like Your Room. Did a Pole Come With It?” 2013 59

THE JOGGING Jogging created a series of sculptures that reference the high-energy output of their blog. A series of vitrines encapsulate individual pieces of sporting equipment. These works reference Jogging’s mode of production—known as athletic aesthetics—wherein art is overproduced quantitavely and there is always an excess of production for the viewer to keep up with. Jogging’s “Immersion Strategy” installation is formulated to enliven the environment they are displayed in with a formal and material energy. the jogging (b. USA and Norway) lives and works in New York City. Founded in 2009, Jogging is a group of artists whose projects seek to address the contextual dimensions of the place their work is shown through, be it Tumblr, stock photography, magazine features, or any other form of publicity.

THE JOGGING “Immersion Strategy” 2013 61

TODD FISHER Sourcing images from everyday life, Todd Fisher draws inspiration equally from strangers, friends, the street, and gatherings. Untitled and uncategorized, this work reflects a particular way of seeing. The original context is left vague or absent allowing the viewers to create their own narratives. The images are often mysterious, humorous, intimate, or disturbing. Fisher’s photography has a powerful luster in that sense, and conveys all of the above in a single frame. todd fisher lives and works in Brooklyn, New York. Fisher moved to Brooklyn in 1998. His work has been exhibited and published worldwide in collaboration with Capricious, Cederteg, Catherine Edelman Gallery, Arnhem Mode Biennale, Milk Studios, Live with Animals, Vice, and JSBJ. His most recent book, Someone Cuts My Hair While I Sleep, was published by Pogo Books.

TODD FISHER “Various Photographs” 2009 – 2013 63

TOM FORKIN “Untitled (Various Spinners)” consists of multiple discrete objects installed throughout the RBMA. Each one consists of found photographs (some printed to scale, some not) with wingtip edges folded outward. Powered by passing air movements, the photos spin atop a clunky stone base, like a pinwheel. The science is primitive and the logic absurd, as if some proto-human sat down and made an animated gif. tom forkin (b. 1986) lives and works in Brooklyn, New York. He received a BFA from Pratt Institute in 2010 and is currently an MFA candidate at Mason Gross School of the Arts at Rutgers. In 2010, he was selected to take part in the Summer Studio Program at Virginia Commonwealth University. Forkin has participated in numerous group exhibitions at alternative art spaces in New York, including Public Assembly Loft, Et Al Projects, 321 Gallery, and 258 Macdougal Street. His work often explores the absurd juxtaposition of analog and digital, utilizing items that have come to be identified with the modern age, like Mac power adapters and sturdy, elemental objects like rocks and clay.

TOM FORKIN “Untitled (Various Spinners)” 2013 65

DOUBLEDAY& CARTWRIGHT From our earliest meetings with the founders of the Red Bull Music Academy, Many Ameri and Torsten Schmidt, we recognized exactly what we require in a collaborator: kindred taste, a semi-maniacal commitment to an outsize vision and a preference for bear hugs over handshakes. It has been an epic challenge and a great pleasure to work on RBMA New York. In making all of the Academy materials from the outdoor campaign to show flyers to the participant t-shirts, we have tried to communicate the amazing depth and variety of the festival in a language that is true to our home city and the spirit of RBMA. The unique key art for the 38 shows is not featured in this book, but you will see these pieces all over the city. In curating them, it was our privilege to commission an incredible roster of co-conspirators, and although we can’t acknowledge all of them here, we couldn’t be happier with what they made collectively. As the festival begins, we are getting ready for some more late nights and ink-stained hands while we publish RBMA’s o∞cial newspaper, The Daily Note. We also look forward to busting out our floor moves when Giorgio Moroder plays Cielo. —Doubleday & Cartwright doubleday & cartwright is a Brooklyn-based creative agency and design studio born at the intersection of sport and culture. Founded in 2009, D&C specializes in storytelling across a range of media including animation, apparel design, branding, custom publication and out-of-home advertising. In addition to the agency’s rapidly growing portfolio of client work, D&C runs the pioneering sports culture brand, No Mas NYC, and publishes Victory Journal, recipient of a 2012 gold medal from the Society of Publication Designers (SPD).

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INABA jeffrey inaba is the founder of the New York-based architecture and urban-design firm INABA, whose combination of analytical precision and creative problem solving has created projects at every scale from city blocks to public squares across the US, Europe, and Asia. INABA is at the forefront of urban solutions. Their recent publication Adaption explores the impact of technology on architecture and cities. Jeffrey Inaba is also features editor of the quarterly Volume Magazine, and you can find him at design conferences around the world, discussing everything from science-fiction urbanism and counterculture to architecture’s social dimension. Inaba is also the founding director of C-Lab, a think tank at Columbia University’s Graduate School of Architecture, Planning, and Preservation. Despite these qualifications, it was a tricky prospect to find a simple spatial solution for the multitude of different activities that will take place during the Red Bull Music Academy in New York. “It’s uncommon to find a place in any city that has these types of learning spaces plus a professional recording studio,” explains Inaba. “The main area will have a continual mix of simultaneous uses, including receptions, private workshops, and music production. It will have a special energy because people are both relaxing and working.” Shaping this energy through the 38,000 square feet of Manhattan’s Monahan Building has proven a challenge, but one which INABA managed to solve with their own unique twist. “We’ve tried to strip away a lot of things you find in many interiors in the city, so the form is about presenting content. It’s about filtering out some of the visual noise of the city, if you will, so the spotlight is cast on the ideas, music, video, and art.”


KEN FARMER ken farmer is an arts programmer whose collaborative interventions serve to activate urban space, and creatively reimagine public art as a democratic medium. As creative director of Nuit Blanche New York, Farmer has cultivated a unique curatorial style through which contemporary art and new media serve as catalysts for social and communal experience. His ambitious vision and place-making sensibility have led to innovative new works and site-specific adaptations with many renowned visual artists, including Vito Acconci, Rita Ackermann, Jonah Freeman, Justin Lowe, Marilyn Minter, and Guido van der Werve. Prior to Nuit Blanche New York, Ken worked with Project for Public Spaces, a nonprofit organization committed to community-driven activation of the public realm. He is also cofounder of DoTank:Brooklyn, a collective of urbanists and artists enhancing the city through positive action and small-scale change. Throughout his diverse projects, Farmer remains dedicated to creating more accessible platforms for artists to engage the built environment.


Farmer’s recent activities include Bring to Light, a festival of light, sound and projection art at the parks, piers and industrial interiors of the Brooklyn waterfront; She’s Crafty, a short residency program through which female artists exhibited their creative processes in the New Museum’s lobby window; and The Autumn Bowl, an audio-visual series in a former rope factory and skating bowl. Farmer’s forthcoming projects for summer 2013 consist of a performance series at the Palais de Tokyo, a projection on the façade of the New Museum, and the premiere of Marco Brambilla’s Megaplex trilogy in St. Patrick’s Old Cathedral.


maggie lee (b. USA, 1987) is an artist based in New York City whose prolific output takes the form of film, photography, writing, and zines. Lee studied at Pratt Institute where she received her BFA in 2009. A regular contributor to Vice Magazine since 2008, Lee has photographed four covers and since contributed to a variety of publications, including Sex Magazine, The Journal, Gottlund Verlag, PictureBox, Decathlon Books, ‘Sup Magazine, Urban Outfitters, and The aNYthing Glob. Lee has curated the film screening Video Syrup at Spectacle Theater which featured artists Kathy Rose, Trisha Baga, Petra Cortright, and William Strobeck. Curator Ken Farmer invited Lee to exhibit in his show She’s Crafty at New Museum. Lee created a zine library and press in the window display which was open to the public. Visitors created reading packets and photocopied manipulated zines from the artists’ books, contemporary zines, and alternative ’90s publications. Prior to that, Lee’s book Frenching #2 Reader was exhibited at New Museum’s Live Archive in conjunction with The Generational:Younger Than Jesus; JAM, published by Decathlon Books, can be found in the New Museum’s Resource Center collection.




1. Dylan Lynch 2. Maggie Lee 3. Agathe Snow 4. Tom Forkin 5. Martin Roth 6. Cynthia Daignault 7. Jamie Allen 8. CONFETTISYSTEM 9. Olympia Scarry 10. Krit Arunanondchai

1. Alejandro Crawford 2. Antonia Kuo 3. Conrad Ventur 4. Martin Roth

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1. 8 Ball Zine Lounge 2. Cynthia Daignault 3. The Jogging 4. Antonia Kuo & Lily Sheng 5. Sarah E. Wood 6. Jeremy Couillard 7. Miles Huston 8. Siebren Versteeg 9. Carly Mark 10. Ryder Ripps 11. Chen Chen & Kai Williams 12. Tamara Gonzales 13. Lizzi Bougatsos 14. Andrew Norman Wilson 15. Todd Fisher 16. Michael Bell-Smith

1. Zine Lounge 2. Chen Chen & Kai Williams Studio


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cover artwork Steady is a bi-monthly newsprint magazine dedicated to showcasing the work of various photographers focused on a single subject. Created by Brook lyn shooters Brian Kelley, Dan Zvereff, and Justin Hogan, the publication was founded on a desire to see printed photography in a world increasingly defined by digital frameworks. Now on its third

iteration, Steady’s debut issue featured an eclectic portfolio of work exploring the NYC subway system, while the sophomore e≠ort, “Embark,” dealt more broadly with the theme of travel and foreign experience. Steady is available in its printed form from select bookstores and boutiques around New York City and online via

TWITTER @rbma INSTAGRAM RedBullMusicAcademy TUMBLR FACEBOOK Red Bull Music Academy #RBMA

Red Bull Music Academy Art Book