With Instagram’s new video feature, people with smart phones now have video artist tools at the palm of their hands. Long gone are the days of battery packs, VHS & film transfers, heavy duty lighting equipment, permits, and distribution companies. Long gone are the traditional methods used by Nam June Paik and Bill Viola. It’s 2013 and the times are changing. Video art is far from dead. It’s evolving. Follow us on Instagram @LAFreewaves and keep up with the latest in Videogram art. We’re your filter to the vast world of online video art.
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Missed the latest Out the Window video on the bus? No worries. Check out all our Out the Window videos at out-the-window.org. Updated weekly, we bring to you the best up and coming video art from around the world shown to over a million bus riders.
FREEWAVES is offering two paid internships for undergraduates this summer through generous support from The Getty Grant Program.
FREEWAVES Multicultural Undergraduate Summer Internships 2013 are for 2 positions, Web Intern and Marketing Intern, both for 10-weeks, full-time, $3,500 gross salary in Hollywood.
In accordance with The Getty Grant Program, candidates must be:
Members of underrepresented groups, particularly individuals of African American, Asian, Latino/Hispanic, Native American, or Pacific Islander descent.
Currently enrolled as undergraduates, who will have completed at least one semester of college by June 2013, and will not graduate before September 2013.
Residents of or attending college in Los Angeles County. Students who have previously served as interns for this program more than twice are not eligible for this internship. (more…)
OUT THE WINDOW
Freewaves is seeking 2-minute artists-activists-storytellers’ videos about health, environment, rights, or anything else on your mind to show to I million riders per day on all 2,000 Metro buses in L.A. County in 2013. On Transit TV we will show animations, documentaries, narratives and experimental videos. Riders include more women, more people of color, and more low income Angelenos. Demographics are linked at transitv.
In a mobile environment with competing sounds, visuals are more important. Accepted videos will be included in a one-hour program of news, ads, and quizzes. Videos will be shown for approximately 2 days as part of the Summer or Fall screening periods. Freewaves will post accepted videos on our web site (if you agree) for at least two years with a GPS location tag on our L.A. map.
Freewaves will pay $100 – $400 per video. ($100 for pre-existing, $200 for custom editing, $400 for newly commissioned works). Freewaves will ask bus riders to text us in response to messages appearing on Transit TV about places in L.A. *For more information, and to submit your video, Visit the Open Call.
that explores socially engaged art in Southern California from East to West. Join the dialogue with SoCal artists, scholars, activists, and administrators as we think about socially engaged art in relation to zoning, technology, ethics, food, ritual, performance, gentrification, museums, democracy, nature and art support structures in the here-and-now. Where is our collective dialogic imagination now?
The series of individually produced events takes place at venues across L.A.,
What are lines that our regulations and laws draw around the arts, exploring the edges between art and the city? Do artists represent only gentrification for our communities? How does art, and how do artists add value to urban life? How should planners consider art and artists? How do planning regulations aid the creation of a creatively vibrant city that adds not only economic value but also cultural excitement to the lives of urban residents?
Salon-style discussions about collectives and artists-run initiatives, graduate programs in social and public practice, and museums dedicated to novel fulfillment of educational programming. Dialog prompts, generated by well-known artists and institutions, will be presented to the public for an evening of critical discussion and lively debate, comfortably hosted within the historic rooms and gardens of the Schindler house.
Fun, hands-on activities to help green the food desert and support sustainable change in the East L.A. food environment.
Through presentations from artists and curators who participated in or visited one of this year’s most important exhibitions in contemporary art, the evening will look at projects and reflect on the relation to social practice right now. What can we learn from the art projects, curatorial practice, expanded notions of location, pedagogy, and their intersections?
Artists address the question in the format of a PechaKucha and roundtable discussion outdoors
Artists working on various civic projects with diverse goals will share one project each. A roundtable discussion will follow with questions about collective process and individual creation, technology’s assets and limitations, corporate and community involvement, documentary and artistic aspirations, and other complications.
Roundtable discussion, Everyone Welcome
is a time to gather around the fire and exchange knowledge and stories of indigenous history, culture and traditions, organized monthly by Olivia Chumacero. This event highlights storytelling by Tongvans.
Roundtable Workshop to explore the possibilities and limits of current organizational models and curatorial strategies that support Social Engagement Art practices. From trust building and community process to funding and timing, this session invites participants to grapple with fundamental questions – How to sustain a project? How to represent in the community? How long will the work really take?
Does the role of an artist at museums stop once his or her art enters the collection and is displayed in the galleries? A growing number of museums are bringing artists into the fold – whether or not their art is displayed – and asking them to call on their own practices to devise creative opportunities for engaging diverse audiences and communities. This panel of artists who have engaged museum audiences, and museum staff who have engaged artists, explores how museums reach communities through artists, and asks whether this is true engagement or mere flirtation.
Is the community or the artists the protagonists? What is the role of the artist as community and vice versa? How can Artists/community drive the visioning and planning of an arts district before it happens? How do we move beyond participants, observers, beautifiers and “decorators” and into a more integrated part of development planning?
Faculty and students from the Roski School of Fine Art’s M.F.A. Program and M.A. program in Art and Curatorial Practice in the Public Sphere, as well as from the American Studies Program join together to discuss the implications of Occupy, the movement’s relationship and effect on academia and on the multiple artworlds, and the Capitalocentric nature of our economy. The panel will be followed by a discussion with the audience.
Anonymous, After the Fall: Communiques from Occupied California (February 2010)
Working Artists and the Greater Economy (W.A.G.E): FAQs
Occupy LA Comprehensive Analysis from the Los Angeles City Hall
Artur Zmijewski, “Foreword,” Galit Eilat in Conversation with Artur Zmijewski, “A Good Drug Dealer,” Renzo Martens in Conversation with Artur Zmijewski, “Artists Come to Create Beauty and Kindness,” Forget Fear, Artur Zmijewski and Joanna Warsza, 7th Berlin Biennial for Contemporary Art (Berlin: KW Institute for Contemporary Art, Verlag der Buchhandlung, Walther König, 2012)
Go Metro and receive a FREEWAVES DVD. For more details, click here. Metro provides Bus and Rail transportation all over Los Angeles County. For your best route or more info on service till 2AM on Fridays and Saturdays, visit the Metro Trip Planner or call (323) Go Metro or (323.466.3876).
While I know some people find art to be alienating, the intensely commercialized streetscape of Los Angeles can feel alienating to me. I wanted to find out if other L.A. pedestrians and public transit users felt the same way, and if putting art on the bus could be a force for de-alienation. In 2010, my organization started an ongoing project called Out The Window, which screens video artworks on the Transit TV monitors aboard LA Metro’s 2000 buses. In our first round, we screened 50 video artworks by local artists about Los Angeles. We surveyed 540 riders, and overwhelmingly, the response confirmed my hypothesis. When asked, “What would your video be about?, ” riders said they wanted to make films that would reflect and uplift the lives and spirits of their fellow bus riders.
Inspired by riders’ profound reactions, we wanted to find efficient systems to reach new audiences inexpensively. Then, at the very same time, game designer Happy Dojo’s Joe Kim emerged out of the media-activist mist. Together, Freewaves and Happy Dojo developed a video art gallery app highlighting the most challenging and controversial Out the Window videos that didn’t make it onto the Metro Bus screens. The app, called Out the Window UNCENSORED, makes these videos viewable in the privacy of your own mobile device! Out the Window UNCENSORED is available for iPhones and iPads via iTunes for free until September 30th.
See samples of the 16 eclectic video experiences about LA:
Introduced by me, Freewaves’ director Anne Bray, the program’s brief text helps viewers enter an edgy set of two-minute animations, narratives, performances and documentaries created by L.A. artists:
Info about the videos concludes the app, so that viewers can compare their interpretations with the curator’s. If you’re among the culturally hungry, you can follow a link to even more artwork at the end of the app.
Public – yet – personal media, and viewable from anywhere, Out the Window UNCENSORED offers new opportunities to bring art with you; to share on the bus, at a party, even at school.
Art can go anywhere. This art is both collectible and sharable. iGallery!
Can art be everywhere? Freewaves’ presents Out the Window UNcensored a new app of video art pieces now FREE for download on iPhones and iPads in collaboration with game designer, Happy Dojo. This app includes 16 radical video experiences about L.A., created by L.A.-based digital artists. Public but personal media, and viewable from anywhere, Out The Window offers new opportunities to bring art with you, to share on the bus, at a party or even at school. The program helps viewers enter an edgy set of two-minute animations, narratives, performances and documentaries created by:
These videos were intended for the L.A. Metro buses, but a few did not make it to public screens. Through this app, the most challenging and controversial videos are available for viewing in the privacy of your phone. Info about the videos concludes the app so viewers can compare their interpretations with the curator’s. Even more artwork is linked at the end for the culturally hungry!
Los Angeles, Calif. – CELEBRATE with Freewaves and the artists the completion of “SEE CHANGE,” 2 groundbreaking video installations featuring 27 original, site-specific artworks, located in the lower-level arrivals hall of the Tom Bradley International Terminal at LAX, permanently accessible to the public.
The reception, on Saturday, June 16, from 5 to 8 p.m. is free and open to the public. Parking will be validated.
“SEE CHANGE” includes 2 large-scale displays: a 58-screen, 90-foot linear video filmstrip is suspended from the ceiling, and a 25-screen media wall. The installations provide 4 hours of original programming.
Video Wall Programming by Jon 9
Public media arts consultant and curator Anne Bray
Sponsored by LAX and City of L.A. Department of Cultural Affairs
Patty Chang and Noah Klersfeld/Current
Seoungho Cho/City of Light
Felipe Dulzaides/Taking Chances
Todd Gray and Joseph Santarromana/Intersect
Ryan Lamb/Five-Dimensional Parade
Chip Lord/To & From LAX
Esther Mera and John Reed/Crossroads
Paul Rowley and David Phillips/Local Time
Steve Shoffner/Cloud 29
Caspar Stracke/Cities Out of Cities
People, SoCal objects, nature and places are the artists’ subjects. Half of them are from L.A. and some of them refer specifically to L.A. but all considered the factors: airport, waiting, and international travelers. The videos range from meditative to chaotic from heavily montaged to linearly documentary, and from digitally manipulated to hand drawn animations.
Artists, engineers, curators, administrators and a programmer negotiated over 7 years to make this complex system come to life. Each artist took this colossal opportunity in a different direction; yet each explored the arena between space and time (3d to 4d), compressing or expanding “real time” of human eyes.
Trillions of pixels swim around the 80+ synchronized TV screens of video art at LAX. These many screens’ significant advantage over one screen is their accent on differences. Different images side by side beg for comparison. Difference is their norm.
The modernists’ decisive moment has been replaced by many moments often from different angles, like from different window seats in a plane. Are you looking from the point of view of travelers, greeters, airport managers or cleaners? The multiple monitors of related images ask viewers to compare and contrast frames unconsciously. How they differ hints at artists’ intentions. Some present micro-changes between frames asking one to analyze subtle variations in nature, specific neighborhoods and distant cities. How similar are they? The meaning inhabits their differences, for example, are we careening around the world or spying on one patch of nature?
The results remind us that motion is the blend of time and space. Categories can be blurrier than we think. Chance might play a role. The frames’ relationships show how far in time or space we have moved. Which place or time is right? Can they both or neither tell the truth? Can we separate them to see each independently? How many truths are there? Come to LAX to find out!
When we are presented with something new, we instantaneously judge with minimal information regardless of being wrong or right. Allowing our perception to be clouded by volley of information, we absorb what we can from art and strangers.
The short art clips of Aaron Bourget’s Rorschach Revelations and Lior Bar’s Israeli Jewish White Male uses different methods but both play with identity. As Rorschach Revelations’ images gradually become identifiable, labels keep being hurled on top of the inkblots, words contradicting images. Israeli Jewish White Male on the other hand uses a fixed approach with slight variations of specific words to suggest a controlled number of distinctions.
Both clips display the power of the ideas and labels that are given to specific groups and simultaneously show how we struggle to shake the labels that we are given.