IEA Spring 2024 Resident Artists

Spring 2024 Resident Artist Schedule:

Jessica Earle - January 8th - 21st.

Public Presentation Wednesday, January 17, 4:30pm Holmes Auditorium

Jessica Earle received her BFA from Eastern Washington University (2015), where she focused on digital media and sculpture, and went on to graduate from Alfred University (2017) with an MFA in Electronic and Integrated Art. She works with a variety of digital and electronic media, such as video installation, sound, and digital print media. She works with personal and found imagery to explore themes of landscape, identity, and mental health. Jessica works in iterations, reworking and re exploring her work to unearth her true intentions, and to find new context within new installation sites.

Chris Fritton - January 22nd - February 4th

Public Presentation Thursday, February 1, 4:30pm  Holmes Auditorium

Chris Fritton is a poet, printer, and fine artist, who has over two decades of experience writing, printing, and making his own books, in addition to collaborative efforts with other authors and artists. He is the former Studio Director of the Western New York Book Arts Center in Buffalo, NY, and has been a panelist to judge the New York Foundation on the Arts Fellowship in Drawing, Printmaking, and Book Arts (2014). He co-founded the highly-acclaimed Buffalo Small Press Book Fair with Kevin Thurston in 2007, and organized the fair solo from 2009-2016. Currently, Fritton is working on a long-term project called The Itinerant Printer, where he’s visited almost 200 letterpress print shops throughout North America in six years, covering over 75,000 miles and making over 30,000 prints on the road. He recently culminated the journey in an over-sized coffee table book featuring all the places, prints, and people from along the way.

He has been an artist-in-residence at AS220 in Providence, RI, the Denbo Fellow at Pyramid Atlantic Art Center (2015), a TEDx Buffalo speaker (2017), a main presenter at Typecon (2019), the featured speaker at the 10th Annual Los Angeles Printers Fair, and an instructor/visiting artist/presenter at numerous institutions, including the Library of Congress, the Letterform Archive, the Penland School of Craft, MIAD, RISD, MICA, VCU and the School of Visual Concepts. Fritton has been featured in Uppercase magazine, Pressing Matters, Carrier Pigeon, and others. He holds a BA in Philosophy (1998), a BA in Poetics (2000), and a BA in Art History (2010) from SUNY at Buffalo, as well as an MA in Poetics from the University of Maine at Orono (2005).

Kara Güt and Clare Gatto - February 5th - 18th

Public Presentation Thursday February 8, 4:30pm Holmes Auditorium

Kara Güt and Clare Gatto are two image-based digital artists working collaboratively on hybrid installations inspired by fantasy role-play video game design. These installations are based in the world of a fictitious fantasy of their own making, called “The Cloud of Unknowing.” Each installation serves as a “level” for the game, becoming a generated constellation of patterns and texture, using the image as its central building material. Using strategies of input/output, they construct spaces that collage the physical and digital, creating imperfect translations and impossible objects. Existing within this precarious duality, the works emerge as copies of copies, or artifacts extruded through digital space and back again. The duo attended Ohio State University and Cranbrook Academy of Art. They live and work in Detroit, MI and Cleveland, OH respectively. Each maintains an individual practice, are involved in the artist community of the Midwest, and exhibit nationally and internationally.

Mizin Shin - March 11th - 17th

Born and raised in South Korea, Mizin Shin is a US-based visual artist. Leading numerous printmaking workshops with a number of art organizations, Shin focuses on both traditional and contemporary printmaking practices to promote a multidisciplinary approach to the medium.
Shin’s work has been shown nationally and internationally at institutions across the United States, Belgium, Spain, the UK, India, and South Korea in exhibitions including Multiple Ones: Contemporary Perspectives in Printmedia, International Print Center New York: New Prints, Wheaton Biennial: Printmaking Reimagined, and Screenprint Biennial. She is a 2022 fellow of the Civitella Ranieri artist residency in Italy.

Mizin Shin graduated from Hong-ik University with a B.F.A in Printmaking and received her M.F.A from State University of New York at Buffalo. Shin is an Assistant Professor in the Department of Art & Art History at University of Rochester and a co-founder of Mirabo Press in Buffalo, NY. She has served as a board member of the Mid America Print Council and vice president of the Print Club of Rochester from 2020-22.

Kamari Carter - March 18th - 31st

Public Presentation Thursday, March 28, 4:30pm Holmes Auditorium

Kamari Carter is a sound designer, and installation artist primarily working with sound and found objects. Carter’s practice circumvents materiality and familiarity through a variety of recording and amplification techniques to investigate notions such as space, systems of identity, oppression, control, and surveillance. Driven by the probative nature of perception and the concept of conversation and social science, he seeks to expand narrative structures through sonic stillness. Carter’s work has been exhibited at such venues as Automata Arts, MoMA, Mana Contemporary, RISD Museum, The Perez Art Museum Miami, Lenfest Center for the Arts, WaveHill and has been featured in a range of major publications including ArtNet, Precog Magazine, Flash Art Magazine, LevelGround and WhiteWall. Carter holds a BFA in Music Technology from California Institute of the Arts and an MFA in Sound Art from Columbia University and is represented by Microscope Gallery in New York City.

DB Amorin - April 8th - 21st

Public Presentation Thursday, April 11, 4:30pm Holmes Auditorium

DB Amorin (b. Honolulu, Hawai’i) is an interdisciplinary media artist who explores audio-visual non-linearity as a container for intersectional experience. He frequently emphasizes the generative role of error as an opportunity for creation, resulting in media-centered projects driven by DIY methodologies, lo-fi translations, and persistent, inquisitive experimentation with available materials. His work has garnered awards from esteemed organizations including the Jersey City Arts Council, Oregon Arts Commission, the Ford Family Foundation, Regional Arts & Culture Council, the Precipice Fund grant funded by The Andy Warhol Foundation for the Visual Arts and the Calligram Foundation and administered by Portland Institute for Contemporary Art (PICA). His visual art, performances, curatorial & collaborative programming have been presented internationally at A4 Arts Foundation; the ImagineNative Film + Media Arts Festival; Onassis Foundation; Mass MoCA; ICA at MECA&D; Luggage Store Gallery; Soundwave ((7)) Biennial; PICA; Portland Art Museum; the Honolulu Museum of Art; Honolulu Biennial 2019.

Michael Betancourt - April 22nd - May 5th

Public Presentation Thursday, May 2, 4:30pm Holmes Auditorium

“I break things and play with the pieces; I realize this act is an historically nihilistic gesture, but that is not my interest: the flash of recognition—faces, words, stories, spaces—is my focus. My work challenges understanding the computer as only an instrument of valorization, seduction, or assault. The reason I began systematically corrupting and damaging media in 1990 was to create a critical expression by rupturing the illusionistic perfection of technical images, but my intentions are irrelevant to my semiotic approach: the audience will see what their hopes and fears, education and desires taught/allow them to see. The immanent give-and-take between those quotations the audience recognizes, what’s called “intertext,” and what’s produced using the medium, the “text,” connects glitches to the visionary tradition by crafting a dramatic art from perception itself—the shapes and patterns of this iconography are performers whose actions can neither be anticipated nor described in advance, but arise directly from digital technology—an unknown adventure in an unknowable space. Yet I’m not interested in technological determinism, formalist exploration, nor anything arbitrary and capricious: I’m interested in articulating basic human emotions—ecstasy, sensuality, fascination—via glitches that encourage viewers to find poetic meaning in their everyday life.”

The IEA is supported by the National Endowment for the Arts, The New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature, the Schein-Joseph Endowment and the Ralph C. Wilson, Jr Foundation.

The IEA is a high technology research studio facility within the School of Art and Design, which encourages and supports projects that involve interactive multi-media systems, experimental sonic/video production, digital imaging, and publications. The IEA is committed to developing cultural interactions spurred by technological experimentation and artistic investigations.

The IEA offers two types of residency: Time-based/ New Media and Print Media. The IEA video and sound studio offers artists an integrated system with real-time video, image-processing software, hardware and video capture. The IEA’s Experimental Print Media Program Residency seeks artists who want to explore Digital Printmedia technologies to further and expand their working practice. Artists  have access to state-of-the-art digital arts facilities.