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jcrandall@ucsd.edu
Biography:
Jordan Crandall (http://jordancrandall.com) is a media artist and theorist. He is Associate Professor in the Visual Arts Department at University of California, San Diego. His ongoing art and research project Under Fire, concerning the organization and representation of political violence, opened in October 2006 at the International Biennial of Contemporary Art of Seville. To date, two catalogues of Under Fire have been produced, in 2004 and 2005, published by the Witte de With center for contemporary art, Rotterdam. The third volume will be produced by the Seville Biennial in early 2007.
Crandall is currently completing a new 3-channel video installation entitled Homefront, which combines live-action video, surveillance footage, and military tracking software, and which explores the effects of the new security culture on subjectivity and identity. His work has been presented in numerous solo exhibitions worldwide, including the Museum of Contemporary Art Kiasma in Helsinki; the Neue Galerie am Landesmuseum Joanneum in Graz; ARTLAB in Tokyo; the Museo de Arte Carillo Gil in Mexico City; the Centre d’Art Contemporain de Basse-Normandie in Caen; the Kunst-Werke in Berlin; the Kitchen in New York; AGORA in Rio de Janeiro; the Edith Russ Site für Medienkunst in Oldenburg; and the TENT Centrum Beeldende Kunst in Rotterdam. His work has also been presented in group exhibitions at major institutions such as the Whitney Museum in New York.
Crandall writes regularly on technology and culture. An anthology of his projects and critical writing -- entitled Drive -- was published by Hatje Cantz Verlag, in conjunction with Zentrum für Kunst und Medientechnologie (ZKM), Karlshrue, in 2002. He is currently completing a body of writing on the culture of tracking, which looks at tracking as a technology, a discourse, and a perceptual modality. His most recent essay is entitled "Precision+Guided+Seeing," published in CTheory in January 2006. Crandall has written on technology and culture for magazines such as Artforum, Parachute, Framework, Cultural Politics, Journal of Visual Culture, and TRANS (arts.cultures.media). Crandall’s other books include Trigger Projekt (Frankfurt: Revolver, 2002); Heatseeking (Caen: Esac, 2002); Suspension (Kassel: Documenta X, 1997); and Interaction: Artistic Practice in the Network (New York: D.A.P., 2001).
Crandall lectures widely on technology, representation, and culture. He has lectured at such institutions as Columbia University in New York; Akademie der Bildenden Kunste in Vienna; the Washington Project for the Arts/Corcoran Museum in Washington DC; the University of Sao Paulo and the Museum of Contemporary Art in Sao Paulo; the Cité Internationale Universitaire de Paris and the Université Paris 8; the University of Southern California and the Museum of Contemporary Art, Los Angeles; and the Institute of Contemporary Arts (ICA) in London. He has participated in many international conferences including “Visual Arts in a State of Emergency” at Cornell University; AIM III in Los Angeles; “Instituting Data” in Plymouth, UK; “Global Intersections” in New York; ARCO in Madrid; “Artifices4” in Saint-Denis; “Object vs. Pixels” in Amsterdam; the film+arc Biennial in Graz; the Festival of Computer Arts in Maribor; the Conference on Internet and Society at Harvard University; “Media Arts in Transition” at the Walker Art Center, “Global Circuits” at the Institute of International Visual Arts (inIVA), London; and the Art, Technology, and Culture Colloquium at UC Berkeley. He has organized many online conferences including “Networks and Markets,” in conjunction with the Institute of International Visual Arts (inIVA) in London, and “Artistic Practice in the Network,” in collaboration with Eyebeam Atelier in New York.
Crandall’s videos have been presented at many international film and media festivals including the World Wide Video Festival in Amsterdam; the Transmediale International Media Art Festival Berlin; the Montreal International Festival of New Cinema and New Media; the Video Archeology Festival in Sofia, Bulgaria; the MIX Festival in New York City; the Berlin Biennial; the European Media Art Festival in Osnabruck, Germany; “Cine y Casi Cine” at the Museo Nacional Centro de Arte Reina Sofia in Madrid; the Kasseler Dokumentarfilm und Videofest; and the Rotterdam International Film Festival.
Crandall works in film, video, and new technologies that are particular to military and surveillance culture. His earlier works include the site-specific video installation Suspension (1997) commissioned by Documenta X in Kassel; a seven-part video installation entitled Drive (1998-99), commissioned by the Neue Galerie am Landesmuseum Joanneum and the Zentrum für Kunst und Medientechnologie (ZKM) in Karlshrue; a six-part video installation entitled Heatseeking (2000), commissioned by inSITE in San Diego and Tijuana; and Trigger (2002), a two-channel video installation which debuted in October 2002 at Henry Urbach Architecture, New York, supported by the New York State Department of Cultural Affairs and ARTSPACE, San Francisco and New York.
http://jordancrandall.com
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