Digital Media Collective info night

The Digital Media Collective seeks to advocate for greater acknowledgment of time based works in the Hunter MFA community and the contemporary art
world. Our goal is to create a platform of feedback and support that would represent each individual DMC voice inside as well as outside Hunter community.

Join us for the Digital Media Collective Info Night this coming Friday, February 21, @ 6:00pm, Room 312. We will be talking digital and time based: from membership structure, goals for the semester, group dynamic, equipment, art talks, workshops, screenings, studio visits, DMC open studios show and more!

The Digital Media Collective advocates for greater acknowledgment
of time based works with the focus on representing us in the contemporary art world outside of Hunter as well as within MFA community.

If you cannot join at the scheduled time but are interested, please shoot us an email at

DMC Info Packet


Focus & Motivation

Tuesday, April 16
6-8 PM
Hunter College Art Dept
68th St & Lexington Ave, North Building
11th Floor Central Critique Room


DMC co-founder Maya Jeffereis presents her work alongside four other talented artists followed by a panel discussion moderated by Ellie Krakow as part of Hunter College’s Focus & Motivation lecture series.

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Evening with Michael Gitlin

Wednesday, April 10
7-9 PM
Cinema Balash



My early films and videos were most often engaged with teasing apart the

mechanics of narrative. This period of my work culminated in the short feature, Berenice

(1996), which is very loosely adapted from the Edgar Allan Poe story of the same name and

was included in the 1997 Whitney Biennial Exhibition. Other projects involve a more purely

formal experimentation, such as Shudder (top and bottom) (2001) and Dust Studies (2010),

which premiered in the Views from the Avant-garde section of the 2010 New York Film

Festival. The main body of my work for more than a decade has been a series of research-

based experimental essay films that examine American social or cultural phenomena. This

set of projects began in 2000 with the short video, Nine Guided Tours, about

commercialized cave tours in Pennsylvania, and has continued since then with a series of

long-form pieces. The Birdpeople (2004), which premiered at the Museum of Modern Art in

2005 and was acquired by the museum for its permanent collection in 2007, investigates

the social construction of nature, centered on ornithology and its amateur counterpart,

birdwatching. The Earth Is Young (2009), for which I was awarded a Guggenheim

Fellowship in 2006, is an examination of the rhetorical strategies and re-contextualized

natural history imagery employed by Young Earth Creationists, counter-pointed with images

of the slow and patient work of conventional paleontologists. I’m currently working on two

related long-form projects simultaneously: one project is an experimental essay, somewhat

similar formally to my previous work, that examines certain literary, philosophical and

political aspects of delusional thought in schizophrenia, calibrated at scales ranging from

the personal to the social; the other project is an observational film that I’ve been shooting

for the past year-and-a-half at an art space located on the grounds of a state-run psychiatric

hospital. This film is a portrait of a semi-autonomous community operating in the face of a

repressive system, and explores the reparative function that creative activity has for the

members of that community. These new projects build on themes developed in the earlier

films, which are, at their root, epistemological inquiries that ask, “What do we think we know

and how do we organize that knowledge?” The new projects, with their investigations of

non-normative mental states, continue this inquiry by exploring the space between the

interior realm where private meaning is made resonant and exterior systems where shared

meanings are validated.


Michael Gitlin’s 2010 HD project, Dust Studies, had its premiere as part of the Views

from the Avant-Garde section of the 2010 New York Film Festival. His previous work has

been screened at numerous venues, including the Museum of Modern Art in New York,

the Toronto International Film Festival, the Full Frame Documentary Festival, the

London Film Festival and the Whitney Biennial Exhibition. His 16mm film, The

Birdpeople (61 minutes, 2004), is in the permanent collection of the Museum of Modern

Art in New York. Gitlin was the recipient of a Guggenheim Fellowship in 2006. His work

has also been supported by the Jerome Foundation, the New York State Council on the

Arts, and the New York Foundation for the Arts. Gitlin received an M.F.A. from Bard

College. He teaches at Hunter College in New York City.

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Oliver Warden: global spectacle as a language of power

Oliver Warden’s work is a combination of autobiographical exploration and cultural observation.
Circling around questions of how the global spectacle operates as a language of power,
transformation and consumption, my paintings, video game photography and interactive
sculpture disregard allegiance to medium with favor towards conceptual rigor. The
works delve deep into modes of observation, control and participation in the hopes of
hacking the spectacle and bringing into the realm of art as a practice of dissent.

“Personally, as a Japanese American, my history weaves intricately into my work with
one essential dilemma: growing up on both sides of the bomb. Discovering how I am
Japanese and American, my enemy and my own hero, has been a lifelong pursuit,
manifesting in the duality of making paintings that are both images and objects,
paintings and sculptures, digital and analog, virtual and physical, abstractions and
representations. The dualities carry into all of my other works as well to create tension
and curiosity.”

Born in Cleveland Ohio, Warden was practically raised in the Cleveland Museum of Art.
At 17 he left for LA and attended Otis Parsons Art Institute where he became Robert
Overby’s assistant. Half way through he transferred to the School of Visual Arts in NYC
where he received his BFA with honors in sculpture. He later received his Master’s from
NYU’s Interactive Telecommunications Program (ITP) where he studied new media. He
has had a Bushwick (Brooklyn, NY) studio since 2000 where he makes large oil
paintings, video game photography and interactive sculptures. He has shown at
Danziger Gallery, Jonathan Levine Gallery and the New Museum’s Festival of Ideas for
a New City. He most recently appeared with his interactive sculpture Untitled Box 2.0 at
the Bushwick Open Studios with Agape Enterprise and CultureFix in the Lower East

Untitled Box 2.0, 2010, 22x36x74″, Mixed Materials


DMC will have an exchange studio visit with Oliver Warden on February 27th.

Read this article on the artist’s Video Game Art:

Oliver Warden’s interactive sculpture:

The Edge of the World #3, 2005, 30×40″, Digital Print on Archival PaperImage

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Michael Gitlin on the Selection Committee for the Documentary Fortnight at MoMA

Michael Gitlin on the Selection Committee for the Documentary Fortnight at MoMA

Michael Gitlin served on the Selection Committee for the upcoming Documentary Fortnight at MoMA, which starts on February 15th. Follow the related events and screenings.

Here are links to information on Michael Gitlin’s work:

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Michael Gitlin on Selection Committee for the Documentary Fortnight at MoMA


Michael Gitlin, a documentary filmmaker and a video artist, who will visit Digital Media Collective this spring served on the Selection Committee for the upcoming Documentary Fortnight at MoMA, which starts on February 15th.

Check out the attached flier for more information and related events at MoMA.

Here are links to information on Michael Gitlin’s work:

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Wednesday, October 17th
6:30pm- 7:30pm
2nd Floor Lounge, Hunter MFA Building

Based in Brooklyn, New York and Melbourne, Australia, Ukrainian born, Australian artist Katya Grokhovsky works across disciplines including performance, video, installation, photography, sculpture, drawing and text. She has an MFA in Sculpture (2011) from the School of the Art Institute of Chicago, USA, a BFA in Painting (2007) from Victorian College of the Arts, Australia and a BA (Honors, 2000) in Fashion from Royal Melbourne Institute of Technology, Australia. Grokhovsky’s work has been widely exhibited in Australia, USA and Europe. She has traveled extensively, partaking in numerous residencies and performance art events and received various awards and scholarships. Grokhovsky’s work has been shown in venues such as Watermill Center, NY, Chashama, NYC, Ukrainian Institute of America, NYC, Pool Art Fair, NYC, Fountain Art Fair, NYC, Gallery 151, NYC, Fowler Arts Collective, Brooklyn, Museum of Russian Art, Jersey City, New Jersey City University Gallery, Grace Exhibition Space, Brooklyn, The Bedroom, Brooklyn, Cue Foundation, NYC, Chelsea Art Museum, NYC, Galerie Protege, NYC, Santa Fe Art Institute, New Mexico, Defibrillator gallery, Chicago, Sullivan Gallery , Chicago, Zhou B Art Center, Chicago, Heaven gallery, Chicago, Boomerang Space, Chicago, Het Wilde Weten, Rotterdam, Performing Arts Forum, France, Margaret Lawrence Gallery, Melbourne, Australia, Bus Projects, Melbourne, Australia, ODESSA gallery, Melbourne, Australia, Conduit Arts, Australia, COFA space, Sydney, Australia, Phoenix gallery, Melbourne Australia, George Paton gallery, Melbourne Australia and many more.

Artist statement:
Grokhovsky’s practice is interdisciplinary and research – based. A sense of ongoing profound geographical and cultural displacement pervades all of her work with which she explores the personal-public and private-political of a female body. Themes of labor, time and endurance stem from her own experience of life as a woman in the East and West under different political regimes. Past ideals, societal stereotypes, desires as well as current ideological and economic states intertwine onto an emotionally charged, artistic platform, on which she tends to operate. Conditions of being are collaged from vast collected materials.

Grokhovsky explores the languages of cultural clichés, dance, art history, cinematic genres, feminist theory, social media and pop culture. She investigates the idea of fashion through the lens of the feminist space of protest. The terrain of the female living under sexist and gendered patriarchy is analyzed, critiqued and observed via multidisciplinary combinations of various media, making up a complex landscape of complete environments. Often involving live durational and sometimes participatory performative elements and actions. Post-performance, post-eventual residue and ephemera is often exhibited and in itself re-constructed and created as evidential presence.


Wednesday, October 10th – galería perdida lecture and Q&A

galería perdida lecture and Q&A
Wednesday, October 10th
6:30pm- 7:30pm
2nd Floor Lounge, Hunter MFA Building

galería perdida is a collective multi-disciplinary practice established in 2005. The cooperative employs various media including films, photography, and sculpture as well as utilizing curatorial projects to observe slippages across cross-cultural and historical platforms. Recent exhibitions include La Carne de Burro No Es Transparente at the Luckman Gallery, Los Angeles; Matryoshka at Recess Activities, NY, all we ever wanted was everything at the Elizabeth Foundation for the Arts, NY and the upcoming The New World at the Wignall Museum. They are currently based in Brooklyn, NY.

 “The buildings stand one beside the other. They form a straight line. They are expected to form a line, and it’s a serious defect in them when they don’t do so. They are then said to be ‘subject to alignment’, meaning that they can by rights be demolished, so as to be rebuilt in a straight line with the others.”

Digital Media Collective – INFORMATION MEETING!!!

The Digital Media Collective will be hosting an informational meeting for new and current members this Wednesday, October 3rd at 5:00pm in room 410 of the MFA Building.

We’ll be answering all of your questions in regards to Equipment Rentals, DMC Exclusive Artist Studio Visits, Software Training Workshops, Curate Group Show Participation, Artist Talks, Screenings, Event, and more…

Also to be discusses will be the new lower fee system (which you can find out more about in the attached information packet).

The DMC is a great opportunity for those of you interested or working with Video, Animation, Installation, Time-based Performance, and/or Sound Art. Full membership is not required to participate and there are additional discounts on fees for active members.

Come to the meeting to find out more!!!!

Hunter Colllege Digital Media Collective

Hunter College of The City University of New York Master of Fine Arts Open Studios Spring 2012