Using video and software, I create new ways of storytelling called generative video portraits. My custom software constantly recombines video into a non-linear narrative, where each viewing is inherently unique. My method of making work mimics the way I experience life. I believe that every occurrence contextualizes and informs what came before and what will follow.
I make portraits of people, places, events, and processes. My print and video works use the same conceptual framework: I merge multiple viewpoints from different times. This structure allows me to fluidly move between both mediums. In doing so, I have realized portraits of prominent figures, domestic environments, landscapes, high-rise tower construction, and large-scale public interaction.
– Lincoln Schatz
About the Participants
Jordan Crandall (www.jordancrandall.com) is a media artist and theorist. He is Associate Professor in the Visual Arts Department at University of California, San Diego. He is currently at work on a new film entitled Exposure, a meditation on identity and ethics in contemporary network-driven cultures, where operational media and personal media combine in unstable, emergent systems and ecologies. He is also continuing to develop his multi-platform work Showing, which looks at erotic cultures of self-exposure and display.
Lincoln Schatz (www.lincolnschatz.com), since 2000, has focused on the experience of place and the meanings produced by the collisions of nonlinear sections of time. His recent series of generative video memory works selectively record and display images culled from specific environments, amassing thin slices of video/time over a minimum of eight years. Onscreen, those slices overlap and juxtapose with live images to create participatory experiences where the viewer shapes the memory of a space. Like the human mind, past and present events wash over one another, resulting in new possibilities and impossibilities. His latest project, CUBE, is currently on view at Quint Contemporary Art in La Jolla and was recently featured as a special project at PULSE Miami 2007, concurrent with Art Basel Miami Beach. CUBE, a 10’ x 10’ translucent architectural structure, extends from the artist’s formal background as a sculptor and draws on his more recent practice in generative video. CUBE is designed with 24 video cameras mounted at varying heights within the structure. During a one-hour sitting, digital capture from each video camera is streamed to a computer that houses the artist’s specially designed software. The resulting portrait is compiled from thousands of randomly selected video files; these infinitely reconfiguring images are presented on a plasma screen powered by a computer. Through this process, 24 cameras generate a 24-hour rendering that extends beyond the historical notions of portraiture as a static image and creates a lasting record that is wholly dynamic in its ability to reconfigure images and reorder time. Hearst Corporation in New York recently commissioned Schatz to create CUBE portraits that will celebrate the 75th Anniversary of Esquire magazine in Summer 2008.
Monica Jovanovich-Kelley has been the Managing Director of the haudenschild Garage since 2006 and is a PhD candidate in Art History, Theory and Criticism at the University of California, San Diego. Her research in early 20th century American art and architecture focuses on urbanism, depictions of labor, civic imagery and the corporate sponsorship of public space. Her dissertation explores corporate mural commissions in Los Angeles during the 1930s. Monica has taught at San Diego State University, Point Loma Nazarene University and UCLA Extension. In addition, she has been a guest lecturer at the San Diego Museum of Art lecturing on American landscape painter Asher B. Durand and at the Timken Museum presenting on George Inness’ Italian landscapes and 19th century American genre paintings. She was involved with the San Diego Museum of Art exhibition Paper Traces: Latin American Prints and Drawings from the SDMA Collection and has lectured for the Latin American Arts Committee of San Diego. Monica has presented at the California American Studies Association, Association of Historians of American Art and the annual Art Deco Conference in Los Angeles. In 2011 she co-chaired a double panel on corporate commissions in the United States at the Southeastern College Art Conference and was a James and Sylvia Thayer Research Fellow at UCLA. In 2013 she presented her research at the College Art Association conference and the Business History Conference.