who problematizes old and new media structures, interfaces, and conventions. He is a kludge artist and a creative problem creator. By day, he fixes things, interviews folks, and creates digital tools at studiothread. By night, he breaks things in search of the unique blips inherent to the systems we use.
Satrom performs realtime audio/video noise and new-media (often w/ XTAL FSCK, I ♥ PRESETS, & Magic Missile), develops artware (in partnership w/ PoxParty), and has co-programed and experimented with organizational and curatorial systems w/ dirty new-media && glitch comrades (including GLI.TC/H && r4wb1t5!.)
The artistic process is one of iteration, where the artist continually revisits the work to reflect and refine.
This recursive process can manifest itself in the formal and conceptual qualities of the artwork itself, producing works that embody, parallel and explore the patterns of artistic perception and creation.
NIU’s Jack Olson Gallery will explore those themes this spring with “Pattern Recognition,” an exhibition open from Friday, Jan. 22, through Thursday, March 3. An opening reception is planned from 4:30 to 6 p.m. Thursday, Jan. 21; Jon Satrom’s video performance is scheduled for 5 p.m.
This program considers the technologies of moving images and their reverberating influence on contemporary life. In Jane Veeder’s (MFA 1977) trailblazing 1982 computer animation Montana, stylized mountain peaks and erosion patterns dance with symbols of the technological age. Louis Hock’s (MFA 1973) Silent Reversal (1976) derails cinematic conventions while drawing comparisons between the mechanics of projection and transportation. Jon Satrom (BFA 2003) exploits the fallibilities of analogue and digital data storage devices in his multimedia performance MicroMonotaur. Nick Briz (BFA 2009) breaks down the structure of paid influence and teaches us How to/Why to Leave Facebook (2014). Deborah Stratman’s (BFA 1990) Hacked Circuit peels back the layers of fabrication inherent in movie-making, sound recording, and aural perception through an astonishing single-shot portrait of the Foley process. Jenny Perlin’s (MFA 1998) quietly unnerving Transcript reveals the reach of Cold War surveillance by using the transcript of a 1953 dinner party—which had been recorded (and augmented) by an FBI informant charged with tracking people tangentially related to the case of Juilus and Ethel Rosenberg—as its script. Jodie Mack’s (MFA 2007) exquisite Posthaste Perennial Pattern (2010) animates woven florals to bridge design and nature. Arcade (1984) by pioneering video artists Lyn Blumenthal (MFA 1978) and Carole Ann Klonarides’s Arcade (1984), is a pop-montage of recycled television images, flashing graphics, and surveillance-like footage. Multiple formats.
Founded by filmmaker Bruce Baillie in 1961, San Francisco Cinematheque is the Bay Area’s premier venue for avant-garde/experimental, underground and personally expressive film and video work. In our steadfast dedication to exhibiting works of aesthetically radical cinema from all historical eras and geo-political locales, San Francisco Cinematheque celebrates the breadth and depth of this vibrant art form in all its myriad expressivities.