THE FRONT

Melissa F. Clarke

Educator, curator, and an interdisciplinary artists working at the intersections of research, data, science, and design

Interview December 14, 2015

When did you first become interested in technology and bridging the gap between data science and design?

I first came into tech through the New York City experimental sound art and video scene. I was geeking out hard on seismology, and wanted to do something in my work using data from that field of research. I started reading papers on auditory seismology—Florian Dombois and ICAD (International Community for Auditory Display) research. When I got a chance to do a piece on the Hudson River, I found the Acoustic Imaging work of Dr. Frank O. Nietche, and I realized that I wanted to re-mystify, and make the science and data seemingly more organic and amorphous in some way. I wanted to create other layers of meaning and open up the data to larger metaphorical meanings. That piece, Acoustic Imaging the Hudson, was my breakout piece. There’s an article that came out then I now look back on with a smile. It set up a trajectory for my work that on the one hand deals with climate and data, but on the other approaches our experiences of it: the deep time and cyclical nature of this change with other meanings outside of just representing the data. I found my course at that point, and just about everything I do continues in that direction. I got deeper into programming and working with emerging technologies, and continued along the same themes. I knew working with tech and data while introducing the sublime and gothic, the emotive and more theatrical aesthetics was and remains risky in this context. But I’m true to my instincts, and I think somehow it bridges the gaps, albeit unconventionally.

Do women experience technology differently? How?

Things are changing, but I think it’s important to acknowledge the dark times first. There weren’t a lot of women—especially in the sound art world where I started—working with data in art. It was a frustrating beginning. When I would perform, I was self conscious—in the stereotype threat mode. I felt I always had to be more prepared, even if it was an improvisational set, because I was under more scrutiny.

Then I went to grad school to up my game. The NYU Interactive Technology Program was half and half, but a leading professor, Clay Shirky, published an article (called “A rant about women”) that was very damaging to me and others. I already had to synthesize a lot of self doubt learning to program and engineer things for the first time, and then I had to defend myself beyond the average as a woman there. All of this said, I could tell that I brought things to the table through adversity that made my work more interesting. Because I didn’t feel entitled, I relied more on my sense of ingenuity, resourcefulness, my imagination. I was, in fact, a pretty good hack. It made me a stronger artist. Women don’t traditionally get the message that it’s OK to take apart electronics or spend hours in front of a computer being a total nerd. But once we get a chance to experience these things, there’s an explosion of creativity and excitement. Women bring the unexpected—we bring strong and unique concepts to the table.

Fast forward to today: I have about 70 students at Stony Brook University. I teach intro to computational media, web art, installation, performance, and animation—and some of the best programmers and technicians are women, of course. But more important than that, I see another wave of potential female artists, musicians, programmers, and engineers that don’t seem to have the same shyness or fears I initially had. Maybe it’s because they see me up front, in command, totally doing it. I do see their eyes get big sometimes, and I’m like “girl you gotta give them your best.” Maybe it’s a license to dive in and own it, or maybe things are just changing. Whatever it is, it’s one of the happiest things for me to experience. It brings me to tears how strong and bold these women are—I feel encouraged.

What scares you about technology? What excites you about technology?

Just like so many people, it scares me how much our sense of self is now mediated by the internet / technology. Who doesn’t watch Black Mirror with horror and amazement while reflecting on their own behaviors, the way we value ourselves and conduct daily affairs? I teach my students to be literate and try to manipulate that which is definitely influencing you. So I’m always excited to peel back the layers and hack at the things being introduced into our environment on a daily basis. I get very excited about the tools and growing open source community that allows us to explore seemingly hidden worlds and ideas, or open up a concept in new ways. Of course things get faster and more complex—and that’s exciting. I have some projects I’m working on that explore three and four dimensionalities in ways I would not have imagined a while back. I think art and music are opening up in ways that are very exciting. It’s a great time to be an artist—there’s more and more acceptance of tech art, and the boundaries are very fluid.

Name the woman who’s had the biggest impact on your work and/or worldview.

I have to answer this the wrong way. Of course, in tech, we all look up to Ada Lovelace. But if I answer this with total honesty it’s my peers—plural—that impact me and shape my view of the world most. I have female friends that are making work right now and doing things in a way that really affects me. They are very strong, independent, sometimes irreverent while making really smart art without dipping into the tropes that we often see coming from female artists in new media.

I often curate and collaborate with women, and I’m constantly emboldened by their approach to the world. No fear, cutting right through the bullshit—and a true sense of self beyond the cosmetic or the all-too-often sexualized personas projected in new media.

Calling all creatives to The Front! 

We want to see what you're working on and share your films + videos with the rest of the world! Drop us a line and introduce yourselves and if we like what we see we'll feature you on our socials #frontandcenter

Kendall Tichner 

Mana Contemporary

Digital marketing + Partnerships

Interview December 3, 2015

Tell us a about Mana Contemporary.

Mana is a two-million square foot converted factory, dedicated to nourishing and displaying the creative process. The expansive industrial space is a vessel for daily cross-collaboration between artists of all forms—dancers, painters, photographers, curators. Inside our flagship location in Jersey City we have over 150 artist studios, 7 galleries, a silk screening studio, a dance studio, a dark room, a foundry, a restaurant, a bookstore/publishing company, an art school, and more. We brought in experts in every field to run each arm of Mana, so artists can cross-pollinate, learn new skills and express themselves in diverse ways. We also provide art services in-house including framing, crating, shipping, storage and restoration. We try to be as all-encompassing as possible so artists are able to focus on what they are best at—creating art.

Mana began as an art storage company. The founder, Eugene Lemay, is an artist himself and chose to fill the building with artists instead. The high ceilings, giant windows, industrial elevators are everything that artists dream about. Lemay brought in a team of creatives to help him jump start this vision, and we’ve been watching it multiply since its inception.  

How did you begin working with Mana? What is your role?

I’m Director of Digital Marketing and Partnerships at Mana. I help tell the Mana’s story, and the story of the people behind it—the artists, the employees and the collectors. I also connect Mana to other creatives and creative institutions for new projects and partnerships. Mana fills a void in New York—artists need space, and we’re providing it. Working here allows me to support people and groups I believe in and help them manifest projects they wouldn’t otherwise be able to.

Originally, I was working as the marketing director for a different company that was run out of the factory that we’re housed in now. Gene asked me to switch companies and help him with Mana when it was just an idea. The commute from Brooklyn to Jersey to work in an empty factory was difficult at first, but the rapid transition is remarkable. It’s become a bustling hive of creatives in a few short years, with art and movement around every corner.

What are your goals when working with artists and developing partnerships?

I like to work with people I like. Luckily, so many of the people I associate with happen to be fiercely creative. The projects and artists that come to us are so diverse it's hard to summarize reasons for partnerships—but if someone is authentic and has a good vision, then I’m happy to collaborate. Mana has taught me that there is no limit—we have the space, team, and resources to create installations and projects of any size—so anything is possible.  

Mana has locations in Jersey City, Chicago and Miami—what is Mana's goal in the art industry and how does it want to impact each community?

We’ve been described as a city of art. The goal is to be a home for all layers of the art world. If you walk into our cafe, you see artists talking to collectors, talking to art handlers, talking to gallerists. We want to be a safe space for creators, a space where they have everything they need to maximize their vision under one roof.

Mana’s goal in the art industry is to show the creative process and connect all of the different sects of the art world. When people see the creative process, they are more interested in the final product. Instead of just seeing the finished product on a white wall, we want you to see the messy studios, the mistakes and the inspiration. Most artists keep their studio doors open, the dance studio has a glass wall, the foundry pours metal outside. We want visitors to witness and understand the too often hidden layers of the art world.

What are your thoughts on Miami Art Basel? How is it beneficial to artists, gallerists, institutions and industry at-large?

The art world is good at celebrating people’s otherness and peculiarities. Works are valued for the meaning behind them and for making someone feel something. Art Basel helps to spread this way of thinking to the masses while supporting young artists. The concept of “Art Basel” has transitioned beyond just a singular fair to encompass the entire week. Basel turns Miami into a giant Mana—a place for the art world to get together.

I usually visit the large fairs and spend the majority of my time at subsidiary smaller fairs/events. I love to see new trends and new young artists get recognized for their uniqueness.

What is something you'd like to change about the art industry?

I’d change the barriers to entry. Creating, using your hands and expressing yourself is so cathartic. More people should be doing it—even if just for themselves. Mana is working to break down these barriers. I’m glad I get to work towards changing the art world’s opaque nature and exclusivity.

Do you have any artists or exhibitions you're excited about for this year's Basel?

Erotic selfies and porn screen shots make their way onto hand-woven tapestries by fiber artist Erin M. Riley embracing and celebrating female sexuality.