Film_Video

Jordan Crandall is Chair of the Visual Arts department. He is an artist, theorist, and performer based in Los Angeles.  His video installations, presented in numerous exhibitions worldwide, combine formats and genres deriving from cinematic and military culture, exploring new regimes of power and their effects on subjectivity, sociality, embodiment, and desire.  His most recent video installation, HOTEL (2010), produced in advanced, 4K high definition technology, probes into the realms of extreme intimacy, where techniques of control combine with techniques of the self.  Crandall writes and lectures regularly at various institutions across the US and Europe.  He is the 2011 winner of the Vilém Flusser Theory Award for outstanding theory and research-based digital arts practice, given by the Transmediale in Berlin in collaboration with the Vilém Flusser Archive of the University of Arts, Berlin.  He is currently an Honorary Resident at Eyebeam art and technology center in New York, where he is continuing the development of a new body of work that blends performance art, political theater, philosophical speculation, and intimate reverie.  The work, entitled UNMANNED, explores new ontologies of distributed systems  -- a performative event-philosophy in the form of a book and a theatrical production.  He is also the founding editor of the new journal VERSION.     He has recently given keynote lectures at several major conferences including "Cosmobilities" at the Academy of Fine Arts Munich; "Architectures of Fear" at the Barcelona Center for Contemporary Culture; and "Sorting Daemons" at Queens University, Ontario.  Other lectures include “Goodbye Privacy” at Ars Electronica, Linz, Austria; the ESRC/Surveillance Studies Network Seminar Series at the Department of Geography, University of Durham, UK; the conference "Everyday Militarism: New Zones of Empire" at UC Berkeley; the Cultural Studies Colloquium Series at UC Davis; and the conference "Architecture in Mind -- Trans-Thinking the City" at the Delft School of Design, Netherlands.  He has have been awarded several research fellowships:  most recently, a fellowship and residency at Newcastle University, School of Architecture, Planning and Landscape (Global Urban Research Unit/Culture Lab), Faculty of Humanities and Social Sciences; and a National Endowment for the Humanities (NEH) Fellowship at the NEH/Vectors Summer Institute on Multimodal Scholarship the Institute for Multimedia Literacy, USC.  He is a researcher in residence at the California Institute for Telecommunications and Information Technology (CALIT2).   An anthology of Crandall's projects and critical writing, Drive: Technology, Mobility, and Desire, is available from Hatje Cantz Verlag.  His writing has appeared in such books as Architectures of Fear (Barcelona Center of Contemporary Culture); Synthetic Times: Media Art China (The MIT Press);  Worterbuch des Krieges/Dictionary of War (Merve Verlag Berlin); and The Aesthetics of Risk (JRP Ringier) -- as well as in journals including Estudio Visuales; CTheory; Atlantica; Art Journal; Journal of Visual Culture, and Theory, Culture, and Society.  His ongoing art and research project Under Fire, concerning the organization and representation of war, has resulted in two catalogues published by the Witte de With center for contemporary art, Rotterdam, and an online archive developed for the International Biennial of Contemporary Art in Seville.  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's 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.     Solo exhibitions include 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, the Tate Modern, and the San Francisco Museum of Modern Art.    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.   

Michael Trigilio is a multimedia artist living in San Diego. Born and raised in San Antonio, Texas, he received his B.A. in Humanities from the University of Texas at San Antonio. His fear of religion notwithstanding, he was ordained as a lay Buddhist priest in 1997, a role from which he resigned five years later. He received his M.F.A. from Mills College in 2003. Michael's work is inspired by material that balances sarcasm and prayer, giving rise to works that examine religion, humor, narcissism, and demystification. His film, "Bodhisattva, Superstar" (2010), was included in the HERE NOT THERE exhibition at the Museum of Contemporary Art San Diego. In December 2010, Michael joined Katie Faulkner, artistic director of San Francisco's Little Seismic Dance in a residency at the Maggie Allesse National Center for Choreography. Together they created the ambitious, large-scale dance-media work "We Don't Belong Here" as a commission for Dancers' Group in San Francisco's Union Square in Fall 2011. Michael is a founding member of the independent radio project Neighborhood Public Radio which was included in the 2008 Whitney Biennial exhibition. This work in public-practice/public- culture/public-sonification was recently hosted in a three-month residency at the Museum of Contemporary Art (MOCA) in Los Angeles in the Spring of 2011. Michael's work in video, sound, and radio has been presented in many venues nationally and internationally, notably the Anthology Film Archives in New York, Southern Exposure in San Francisco, the Musée d'Art Moderne et Contemporain in Strasbourg, the Contemporary Museum in Baltimore, and a commission for a soundwork at the Los Angeles County Museum of Art (LACMA). Michael teaches courses in Media Arts and Sound at UC San Diego.

Babette Mangolte was born and raised in France. She discovered Cinema with the New Wave. In 1964 she became one of the first women accepted by "L'Ecole Nationale de la Photographie et de la Cinematographie" in the section "Cinematographie, Class 1965 66." This school, known as "Vaugirard," was funded by Louis Lumiere in 1922. Mangolte worked as an assistant camera on several feature films in the late 60's, and shot her first feature as a Director of Photography in 1970, L'Automne, directed by Marcel Hanoun. Her interest in experimental work led her to visit the U.S. and the New York film scene in 1970. There she discovered dance, performance, and theater and got involved in the Soho art scene of the early 70's. She has lived in New York City since 1972. Mangolte is well-known for her cinematography of Jeanne Dielman (1975), with Delphine Seyrig, and News From Home (1976), directed by Chantal Akerman, and Lives of Performers (1972) and Film about a Woman who... (1973), directed by Yvonne Rainer. She has worked as a cinematographer with Michael Snow, Richard Foreman, Robert Whitman, and has made films for Trisha Brown and Robert Rauschenberg. She worked in England with Sally Potter on The Golddiggers (1981), with Julie Christie. She also worked with Jean Pierre Gorin on Routine Pleasures (1986) and My Crasy Life (1991). In 1975 Mangolte completed her first film, What Maisie Knew, which received the "Prix de la Lumiere" at the Toulon Film Festival in 1975 (Marguerite Duras was president of the jury). The film is in the collection of the Museum of Modern Art in Paris at Centre George Pompidou. Her second film, The Camera:Je, La Camera:I, is in the collection of The Museum of Modern Art in New York. The Cold Eye, her third feature, is at the Berlin Cinematheque and the Royal Belgium Cinematheque in Brussels. Her fourth feature, The Sky on Location, was co-produced with Zweites Deutches Fernsehen, West Germany. These films have been selected for major film festivals: Berlin, Edinburgh, and Toronto, and have been shown in all the major showcases in the U.S.: Museum of Modern Art, New York; Whitney Museum, New York; National Gallery of Art, Washington, D.C.; Pacific Film Archives, Berkeley; Anthology Film Archives, New York; The Film Center at the Art Institute of Chicago; The Museum of Fine Arts, Houston; Film in the Cities, Minneapolis; Boston Film and Video, Boston. Other films by Mangolte include Visible Cities (1991), which premiered at the 1991 Oberhausen Film Festival in Germany, and was acquired by the Berlin Cinematheque in 2000, and Four Pieces by Morris (1993), produced with funding from the National Endowment for the Arts and the Guggenheim Museum. Since the late 1990s Mangolte has had numerous showings of her past films here and abroad and has had two complete film retrospectives. The first retrospective was in 2000 in Germany in three cities Berlin, Hamburg and Munich and was organized by Madeleine Bernstorff and Klaus Volkmer from the Munich Film Archives. The second retrospective was in New York City in September 2004 at Anthology Film Archives. Among the important group shows of the last years are The American Century Show at the Whitney Museum in fall 1999, Screening Manhattan, a week-long event in Vienna (Austria) in 2000 and Fate of Alien Modes at the Secession Museum also in Vienna in 2003 and in Karlsruhe Germany in 2004. Mangolte has finished in 2003 a video documentary about the making of the 1959 Robert Bresson’s Pickpocket entitled Les Modèles de Pickpocket. An early version of the film synopsis under the title Breaking Silence was published in Robert Bresson, edited by James Quandt and republished in a literary magazine Brick (Toronto, Winter, 1998). Les Modèles de Pickpocket opened in New York City in September 2004 and toured all through 2004 and 2005 in the US and abroad. Articles and reviews on Mangolte’s films have been published in Cahiers du Cinema, Camera Obscura, Village Voice, Monthly Film Bulletin, Chicago Reader, and Afterimage. Numerous books on feminist film practice mention Mangolte's contribution as a cinematographer and/or as a filmmaker. Among the most noteworthy are Issues in Feminist Criticism, edited by Patricia Erens, University of Indiana Press, 1990 (essays by Annette Kuhn, Ruby Rich, Teresa de Lauretis); Indiscretions: Avant Garde Film, Video and Feminism, by Patricia Mellencamp, University of Indiana Press, 1990; The Future of an Illusion: Film, Feminism, and Psychoanalysis, by Constance Penley, University of Minnesota Press, 1989. Scott MacDonald, has written about her films in Critical Cinema, UC Press, 1988 and in Interdisciplinary Studies in Literature and Environment in “Ten (Alternative) Films and Videos on American Nature” (Winter, 1999) and recently in his book The Garden in the Machine (UC Press 2001). Lucinda Furlong analyzes The Sky on Location in “Landscape as Cinema: Projecting America,” Visions of America: Landscape as Metaphor in the Late Twentieth Century, Harry Abrams, 1994. Madeleine Bernstorff wrote on Visible Cities in Frau and Films (Germany). Recently Jonathan Rosenbaum wrote about Les Modèles de Pickpocket in Chicago Reader and a long dossier on Mangolte including an interview, a review of Les Modèles de Pickpocket by Brian Price and an article by Malcolm Turvey on Mangolte’s films “A Neutral… Average Way of Looking at Things” was published in Framework Spring 2004 (Wayne University Press). Mangolte is also a well-known photographer of Dance, Performance, and Theater. Her photographs are published in numerous books and art magazines such as October, Artforum, Performing Arts Journal, The Drama Review, etc. Several of her photographs were included in the Whitney Museum Catalog, The American Century Art and Culture 1950-2000 and in the Tate Modern Century City catalog (2001). In fall 1998, October published Mangolte’s article, “My History: The Intractable,” an essay on photography illustrated by more than 30 photographs. Mangolte is currently at work on sorting out her photo archives as solicitation for prints for shows have increased in the last five years. In 2001 a dance film for 3 screens shot in 1973 but never released Roof Piece (choreography by Trisha Brown) was produced as an installation by the Tate Modern in London and featured in their Century City show (Winter 2001). The Roof Piece installation was included with photographs and Four Pieces by Morris in Art Lies and Videotapes: Exposing Performance a reflexive show on performance curated by Adrian George at Tate Liverpool in Fall 2003. Recently Mangolte wrote a text reflecting on changing technologies “A Matter of Time: Analog versus Digital, the perennial question of shifting technology and its implications for an experimental filmmaker’s odyssey” published in Camera Obscura Camera Lucida: Essays in honor of Annette Michelson (Amsterdam University Press 2002) that has been translated in French (Trafic # 50 Spring 2004) and in German (Frau and Films upcoming Fall 2004). She is currently at work on an article reflecting on the work and writings of Robert Bresson.

Louis Hock began making films when he was studying psychology and poetry at the University of Arizona, graduating with a BA in Psychology in 1970. In 1973 he received an MFA from the School of the Art Institute of Chicago. Louis Hock's artwork - films, video tapes, and media installations - have been exhibited in solo shows at numerous national and international art institutions including the Museum of Modern Art in New York, the Whitney Museum of American Art, the Museum of Contemporary Art, Los Angeles, and the San Francisco Museum of Modern Art. In 1986 Hock completed a four part, four-hour video about the life and times of a community of undocumented Mexican workers in southern California, THE MEXICAN TAPES: A Chronicle of Life Outside the Law. The series was broadcast internationally on the PBS in the U.S., BBC in the U.K., and Televisa in Latin America. THE AMERICAN TAPES, a follow-up to that series is now in production with an anticipated release date of 2010. Along with the production of work for institutionalized sites such as theaters and galleries, since 1980 Hock has been engaged in a public art practice. The early 80s works, Southern California, an itinerant cinema mural, and NATURE, a searchlight/freeway signage installation, directly addressed the audience at public sites. This was followed by a series of seven collaborative, intentionally provocative media events initiated by an art gesture. Dealing with the Superbowl and San Diego's undocumented Mexican work force, the first was a bus billboard project in 1988, Welcome to America's Finest Tourist Plantation. In 1990, the “NHI”(No Humans Involved) project --- a billboard, book, gallery installation, performance, and panel -- addressed the fate of 45 locally murdered women. In 1993, Art Rebate/Arte Reembolso, sponsored by the Museum of Contemporary Art, San Diego and the Centro Cultural de La Raza, opened a dialogue on the “undocumented taxpayer” through as a media event. Installations based on these collaborative projects have traveled to the Wexner Center (2004), the Puerto Rico Triennial (2004), Museo del Barrio in New York City (2008), and Museo del Palacio de Bellas Artes in Mexico City (2011) and other locations. Friendly Fire, was sponsored in 1996 by the Museum of Contemporary Art in Los Angeles. The collaborative project consisted of a store and factory installation in San Diego, a website, and exhibition in Los Angeles at the Museum site. In 2000, the Los Angeles County Museum of Art commissioned Hock, in collaboration with David Avalos, Elizabeth Sisco, Deborah Small and Scott Kessler, to develop a new art project for “Made in California: Art, Image, and Identity, 1900-2000” titled oracle@casa_de_cambio. These public and collaborative projects have been reviewed in Artforum, Art in America, The Los Angeles Times and The New York Times, most recently “Money Changes Everything,” Ken Johnson, July 14, 2006. Writings on Hock's public artwork appear in Afterimage, Summer 1994; Is It Art?, Bay Press, 1994; Dialogues on Public Art, MIT Press, 2000; Art After Appropriation: Essays on art in the 1990s, Breach & Gordon, London, 2000; Intervention: Issues in Installation and Site-Specific Art, Univ. of Minnesota Press, 2000, and The Expediency of Culture: the Uses of Culture in the Global Era, George Yudice, Duke University Press, 2004.                                                                                                                                          In 1997 Hock participated in inSITE97, an international exhibition spanning the U.S./Mexico border region with his installation, International Waters / Aguas Internacionales. Poinsettia, a multimedia installation by Hock, was commissioned by the Ex Teresa Arte Actual in Mexico City in 2000/01. The work centered on the Flor de Noche Buena (the Poinsettia plant), and its emblematic relationship to U.S.& Mexico. La Panaderia in Mexico City exhibited Hock's Piramide del Sol: A Monument to Invisible Labor in 2002. In the fall of 2003 the International Center for Photography in New York showed Hock's photos, the Nightscope Series, in their traveling exhibition, “Only Skin Deep,” curated by Brian Wallis and Coco Fusco. At LAMOCA 2004, Hock screened a new media installation, FERAL, as part of the LA Freewaves event and again in 2009 at the Montalvo Center.  A single channel version of the FERAL work has traveled to many international locations including the Oberhausen Film Festival, Casa de Cultura de Espana in Buenos Aires, and Reina Sofia in Madrid.  The Long Beach University Art Museum filled its space with Hock’s installations, including American Desert, as a large one-person show in 2006. Hock's commissioned permanent video installation, Homeland, opens in 2011 at LAX.   In 2004, Hock screened a new digital version of his 1979 cine-mural, Southern California, at the Getty Center for a one-person event and again, as part of the Pacific Standard Time pan-institution exhibition in 2011, portions of that work will be a component of a gallery installation at the Getty.                                                                                                                                                      Hock has been the recipient of numerous awards and grants including the National Endowment for the Arts, the American Film Institute, the Rockefeller Foundation, and California Arts Council (2002). At the University, his research is associated with the Center for Latin American Studies (CILAS), Center for U.S./Mexican Studies, and the Center for Research in Computing and the Arts (CRCA).                                                                                                                       More information and images: www.louishock.info

Sheldon Brown is the Director of the Arthur C. Clarke Center for Human Imagination and is UCSD Site Director of the NSF Sponsored Center for Hybrid Multicore Productivity Research (CHMPR). He is the former Director of the Center for Research in Computing and the Arts (CRCA) and is a Co-PI and founder of New Media Arts for the California Institute of Information Technology and Telecommunications (Calit2). In the Visual Arts Department his undergraduate teaching is in the Computing in the Arts area and with the Interdisciplinary Computing in the Arts major. His courses focus on the engagement of real-time computer graphics, media and electronic controls for installation works. At the graduate level, his teaching is across all disciplines. His artwork examines relationships between information and space, which manifest as public artworks, and installations that combine architectural settings with mediated and computer controlled elements. Recent projects include: The Scalable City an interactive game installation, 3D movie and other artifacts show at venues including the Shanghai MOCA, The Exploratorium, The National Academy of Science, Ars Electronica, and many others. StudioLab, 2003 installation at Image/Architecture, Florence Italy; Smoke and Mirrors, 2000-2002 an installation at the Fleet Science Museum, and a touring environment; Istoria, a series of sculptures; Mi Casa es Tu Casa/My House Is Your House, 1997 - 2000, a networked virtual reality installation between the National Center for the Arts in Mexico City and the Children's Museum of San Diego; In the Event, 1995, at the Seattle Center Key Arena, Seattle WA, 60ft. x 8 ft. x 2 ft., 28 video monitors, 9 computers, video disk, 3 live feeds, 70 cast aluminum panels; The Video Wind Chimes, 1994, at the Yerba Buena Center for the Arts, San Francisco, CA, four video projectors, electronic controls, aluminum, plastic; and Apparitions, 1994, a virtual reality environment, at the University Art Gallery at UCSD. Brown has received awards and fellowships from the National Endowment for the Arts, The National Science Foundation, The Rockefeller Foundation, the Seattle Arts Commission, the Hellman Foundation, the Asian Cultural Council, AT&T Foundation, Intel Corporation, IBM, nVidia, Sony, Silicon Graphics Inc., Sony Corporation, and others. He has previously been on the faculty of the School of the Art Institute of Chicago and the Kansas City Art Institute. His current work, Istoria, is a set of tableau sculptures, developed with visualization software he is developing through a residency at the Institute for Studies in the Arts at Arizona State University.