Skowhegan Two-Channel Video Festival: Week 1

Opening: Monday January 7, 5-8PM

Hours: Tuesday-Friday 10AM-5PM 

By Appointment:

Skowhegan NY  •  136 W. 22nd Street, New York, NY


Week 1: Corner

Sunday January 6 - Friday January 11

Jaye Rhee  (A'09),  Polka Dots , 2017

Jaye Rhee (A'09), Polka Dots, 2017

Jaye Rhee, A ’09
Polka Dots, 02:22

In the 1970s in Korea, imagery associated with the Baby Boom generation became massively popular through advertising, and some of the most frequently used images in ads aimed at women were polka-dotted patterns. As a result, polka-dotted fabrics and clothing came to connote domesticity. In the video “Polka Dots,” I attempted to both evoke and arose their associated significations simultaneously by reconfiguring polka dots in uncustomary ways. This work was made possible, in part, by the Franklin Furnace Fund supported by the Lambent Foundation Fund of Tides Foundation; and Jerome Foundation. Jaye Rhee has exhibited at the Albright-Knox Art Gallery, the Norton Museum of Art, the High Museum of Art, the Queens Museum, the Bronx Museum of the Arts, the Mori Art Museum (Tokyo), the Leeum Samsung Museum, the Seoul Museum of Art, and the Center for Art and Architecture Affairs in Portugal. Her residencies include the Defina Foundation in London (2018), the Skowhegan School of Painting and Sculpture in Main (2009), the Palais de Tokyo Workshop Program in Paris (2009), and the Chandong International Studio Program in Seoul (2008). She lives and works in New York.

Ana María Gómez López  (A ’15),  On Taphonomy , 2017

Ana María Gómez López (A ’15), On Taphonomy, 2017

Ana María Gómez López, A ’15
On Taphonomy, 08:00


On Taphonomy is a video installation about the origin of the scientific discipline that examines what happens to organisms after death, from decay through to fossilization. Taphonomy was pioneered in part by Johannes Weigelt, a German paleontologist who was affiliated with the Nazi party during the Second World War. On Taphonomy delves into Weigelt’s copious photographic documentation of animal carcasses and fossil specimens, juxtaposing these records with his personal Dada-inspired collages. Here, the fossil meets the photographic negative: remnants of prehistoric epochs commingle with snapshots of a more recent past. Stratigraphic layers and visual imprints, both mineral and film-based, peer through Weigelt’s montage techniques. And taphonomy emerges as a reflective dimension of these ancient and scholarly vestiges—a means to interpret geological and ideological traces in the fossil record and the private archive alike.

Ana María Gómez López is a visual artist and independent scholar whose practice centers on self-experimentation and archival research in the life sciences. Ana María has been awarded fellowships by the Max Planck Institute for History of Science, the Rijksmuseum Boerhaave, the Beinecke Rare Books and Manuscripts Library, and most recently the Netherlands Institute for Advanced Study in the Humanities and Social Sciences. Her works have been exhibited recently at the Fonds d’art contemporain Genève, the Haus der Kulturen der Welt, the deCordova Sculpture Park and Museum, and the American University Museum. Her teaching experience includes Bard College Berlin, Humboldt Universität zu Berlin, and the University of Pennsylvania. Ana María completed her MFA at the Yale University School of Art and attended the Skowhegan School of Painting and Sculpture. She is currently a resident artist at the Rijksakademie van beeldende kunsten in Amsterdam.

Mary Vettise  (A ’12),  A reality with forms , 2014

Mary Vettise (A ’12), A reality with forms, 2014

Mary Vettise, A ’12
A reality with forms, 05:54

A reality with forms is constructed from two SketchUp 3-d models made by the same anonymous user and freely available from 3D Warehouse. The amateur CAD models, one of the HMS Titanic and one of the palace of Versailles, are fan-art type depictions that draw from popular culture rather than historical accuracy. The models are detailed, but also full of quirks and imperfections, so that when animated the 3-dimensional space breaks down. One channel of the work re-animates the Titanic making reference to the 1997 film, famed for its special effects budget, and the other channel reanimates the palace of Versailles, with reference to the 1962 film, Last Year at Marienbad, known for its cryptic plot and dreamlike sequences. These contrasting examples of cinema are referenced side-by-side that pays homage to the anonymous creator and to the notion of fan-art. The phrase, ‘A reality with forms’, is the definition of cinema given by Last Year at Marienbad scriptwriter Alain RobbeGrillet. Mary Vettise is an artist based in Berlin. She studied at Camberwell College of Arts and the Slade School of Fine Art, London. Exhibitions include: The Shift, Flat Time House, 2016; I Never Lied To You, Camberwell Space, London, 2015; A reality with forms (solo), Oriel Davies, Newtown, Wales, 2014. Performances and screenings include: No Screening, ICA, London, 2016; ReRecord 6, Prototyp, Prague, 2016; Cinema6, Arcadia Missa, London, 2014.

Lorena Mal  (A ’16),  Invisible Structures , 2010-12

Lorena Mal (A ’16), Invisible Structures, 2010-12

Lorena Mal, A ’16
Invisible Structures, 06:40 (variable)

Invisible Structures is a drawing series that gathers personal maps of lived spaces of different geographies and experienced in different languages. As the spaces are made visible through drawing lines made frame by frame following every hand movement of a person’s description, the dialogue between each is not established by word’s meaning nor common architecture but by the silent body that trace similitudes, differences, and common limits with its gestures. Lorena Mal (n. 1986, Mexico City) is an artist from Mexico city whose work combines mediums such as sound, video, sculpture and performance, focusing on sound and visibility as tools of investigation to question systems of knowledge that are the foundations of lineal and authoritarian perceptions of political and historical narratives. Recent solo exhibitions are ‘Replicas: Notes on material history’, Museo ExTeresa, Mexico city 2017- 2018; ‘Concrete: turning something invisible into matter’, Meinblau, Berlin 2016; and ‘Breaking Point’, BB15, Linz 2016. Her work has been exhibited in venues as Armory Center for the Arts, California; FOFA Gallery, Montreal; Laboratorio Arte Alameda, Mexico city; Lakeeren Gallery, Mumbai; Jumex Foundation/Collection, Ecatepec; Institute of Graphic Arts, Oaxaca, among many others. 

Jonathan Ehrenberg  (A ’11),  Monument , 2010

Jonathan Ehrenberg (A ’11), Monument, 2010

Jonathan Ehrenberg, A ’11
Monument, 01:03 (originally looped)

In Monument, which was created with in-camera effects, the line between inside and outside gives way as houses unfold into landscapes or float to the horizon. Jonathan Ehrenberg’s work explores how we experience reality as a construct, a seemingly coherent world we piece together from sensory information and images we see internally—memories, fantasies, and associations. Ehrenberg received a BA from Brown University, and an MFA from Yale. His work has been included in exhibitions at MoMA PS1, SculptureCenter, Nicelle Beauchene Gallery (New York), LAXART (Los Angeles), David Castillo (Miami), Futura Center (Prague), The B3 Biennial (Frankfurt), Espacio Minimo (Madrid), Temnikova & Kasela (Tallinn), and Nara Roesler (São Paulo). His work has been reviewed in The New York Times, The New Yorker, and Art in America, and he has participated in residencies at LMCC Workspace, Harvestworks, Skowhegan, Triangle, the Fine Arts Work Center in Provincetown, The Drawing Center, and Glenfiddich in Scotland.

Week 1

Sunday January 6 - Friday January 11

Jaye Rhee (A ’09), Polka Dots 
Ana María Gómez López (A ’15), On Taphonomy 
Mary Vettise (A ’12), A reality with forms 
Lorena Mal (A ’16), Invisible Structures 
Jonathan Ehrenberg (A ’11), Monument

Week 2

Monday January 14 - Friday January 18

Elizabeth M. Webb (A ’18), CONVERSE, CONVERSE 
James R. Southard (A ’12), Father’s Flag Part A & B 
Tricia McLaughlin (A ’92), Disposable Heroes 
Josefina Malmegård (A ’16), Heavenly bodies. 
Jessica Segall (A ’10), (un)common intimacy 
Sharon Paz (A ’01), HOMESICK

Week 3

Monday January 21 - Friday January 25

Itziar Barrio (A ’12), Mirroring Basic Instinct 
Alan Segal (A ’15), Internacia Lingvo 
Shana Hoehn (A ’13), Boggy Creek Version 2 
Seline Baumgartner (A ’14), Nothing Else 
Bryan Zanisnik (A ’08), Aquarium Painting 
Lex Brown (A ’12), Projection Affection 
Cooper Holoweski (A ’09), As Above, So Below

Week 4

Monday January 28 - Friday February 1

Richard T. Walker (A ’09), the predicament of always (as it is) 
Kerry Downey (A ’17) and Joanna Seitz, Weather Report 
Angela Willetts (A ’16), Escape Raft 
Orr Menirom (A ’16), Clinton and Sanders Looking at the World and Naming Things for the First Time 
Holli McEntegart (A ’14), Beyond the ultraviolet, beyond the infrared 
Jennifer Calivas (A ’16) and Dan Swindel, Sides