Andrea Parkins is a New York-based sound artist, composer and electro-multi-instrumentalist who also makes/arranges objects and images. Known especially for her dynamic timberal explorations on the electric accordion and inventive use of customized sound processing, she wields a sonic language that is both fractured and fluid – releasing awkward electronic disruptions, concretized sampling and explosive feedback into the rising flow of her electric accordion’s sonority. Parkins performs internationally as a solo artist, and has collaborated with Nels Cline, Fred Frith, Thomas Lehn, Otomo Yoshihide, and ROVA Saxophone Quartet, among many others. She also creates sound art works, and compositions for solo and ensemble instruments. Her audio works and performances have been presented at the Whitney Museum of American Art, The Kitchen, and Experimental Intermedia, among other contemporary ar/t/multimedia venues, and she has collaborated in this context with sound artists Michael J. Schumacher, Stephen Vitiello, Anne Wellmer, and others. Parkins appears on more than 50 recordings on labels including Hatology, Cryptogramophone, and Atavistic.
I am a New York-based composer, sound/installation artist and electro-multi-instrumentalist. My work is deeply rooted in audio/visual and audio/gestural interactivity, and is influenced by post-Cagean compositional strategies, and the poetic and gestural non-materialism of the Fluxus arts movement. As a performer, my tools are electronically-processed accordion, laptop electronics, acoustic piano, and amplified objects; and my visual materials include objects, video, drawing and photographs.
For the past several years, I have been developing a series of interactive sound/image pieces that are inspired by the structures of Rube Goldberg’s circuitous machines, and have been performing these works in both the United States and Europe on an ongoing basis – most recently in May 2008 at the Contemporary Art Museum in Roskilde, Denmark. An important conceptual thread running through these pieces is the discovery and expression of metaphors for the slippage and tension between object and meaning that occurs through the passage of time. As both a sonic and visual artist, I try to build and layer idiosyncratic systems and structures that point to these shifts in meaning.
Other recent projects include the New York premiere this past spring at Roulette Intermedium of ob-jest, the jettisoned: 15 short electronic works for 4 speakers, with a live ensemble featuring Highland bagpipes, cello, amplified objects, and electronically-processed accordion; and the completion of Faulty Objects, an hour-long audio work scored for amplified objects, laptop electronics and accordion feedback. The piece is based on a 10-channel installation work that I presented in New York last year at Diapason Gallery for Sound and Intermedia, and will be released on Important Records in Fall 2008.
One important focus for the past 20 years has been the development of an individual textural and gestural language on my electronically-processed accordion — which I view as an extended instrument. During this time, I have also explored density, gesture and interactivity with a wide range of electronic instruments, sources and processes– analog and digital, including: synthesizers, live tape manipulation, analog effects boxes, Foley, samplers, and generative sound processing. I have also recently been working to extend my performative scope through the design of a series of digital controller sculptures to be used with my customized processing software.
All of these explorations have been – and are currently – greatly augmented by ongoing collaborations with many and diverse sonic colleagues. Of critical importance has been my longtime participation in the vital community of musicians in downtown New York City who are committed to the exploration (together) of a wide range of artistic/improvisational/compositional strategies and expression. As a member of this community, which is by now both local and global, I’ve had the opportunity to develop recording and performance projects with artists who challenge me both conceptually and aesthetically: including guitarist Nels Cline, saxophonist Ellery Eskelin, and bagpiper David Watson; and sound artists Anne Wellmer, Stephen Vitiello and Michael J. Schumacher, among many others.
As an educator, I want to support students’ pursuit and articulation of a personal creative vision, and to facilitate their absorption of the range of materials, processes and resources that are available in order to help them achieve this. This is with the recognition that this may at times seem like a risky endeavor – full of experimental moments of “not knowing,” that may or may not lead to a clear creative outcome – yet is indeed a worthwhile process that can provide a vital sense of agency to any artist.
I have taught music improvisation and composition, sound art, and multi-media performance at the college and graduate school level: conducting workshops, classes and master classes at music and art academies in the United States and Europe, including the Integrated Media Program and Music Department at California Institute for the Arts, Mills College, the University of Michigan Music Department, and the Hochschule fur Musik, Karl Maria von Weber in Dresden, Germany. I have also led workshops at artist-run music improvisation schools and collectives in New York City and in Europe.
My work has been supported by grants from Meet the Composer, American Composers Forum and New York State Council on the Arts; and residencies from Harvestworks Media Art Center, New York City; and the Frei und Hanseastadt Hamburg Kulturbehoerde, Germany.
Websites: Diapason Gallery, Artist Page, MySpace Page
The Harvestworks New Works Residency is a national program that offers American artists and legal US residents commissions of up to $5000 to make a new work in our Technology, Engineering, Art and Music (TEAM) lab. The new Emerging Artist Residency in Sound (EARS) will support NYC emerging artists who are using sound as a creative medium in and of itself and in conjunction with expanded media. Each artist receives up to a $2000 artist fee with the balance of the award used for TEAM lab activities including research and development, sound and image production, programming and prototyping. The artist works with a team comprised of Harvestworks’ Project Manager and consultants, technicians or instructors. The proposed projects should explore new aesthetic premises and push the boundaries of conventional art forms and media.
Application Deadline: January 4, 2017
APPLY HERE: NOTE: There is $0 fee for the application
Special Initiatives: The Harvestworks Creative Residency Program in Emerging Technology will commission artists using emerging technology such as biosensors, immersive audio and video, camera and eye tracking systems, data sonification or visualization, mobile, new computer interfaces and controllers and new ways to engage with social media and communities.
The Emerging Artist Residency in Sound (EARS) will support emerging artists who are using sound as a creative medium in and of itself and in conjunction with expanded media. This program is supported by the Jerome Foundation, created by artist and philanthropist Jerome Hill (1905 – 1972), and seeks to contribute to a dynamic and evolving culture by supporting the creation, development and production of new works by emerging artists. Applicants will be asked to define their relationship with “emerging” before submitting their applications.
Composers are encouraged to apply to explore new technology for space and spatialization of sound in contemporary music.
A limited number of scholarships and 24 hour Technology Lab Workspace Residencies will be recommended by the panel depending on our funding. The Technology Lab Workspace Residency includes 24hr access to the Harvestworks studios and collaborative working environment, access to classes, rehearsal and limited technical assistance.
How to apply: Projects may be realized through multiple channel audio or video installations, live performances with interactive performance systems and live processing methods, data visualization as single or multiple channel video or computer images and hardware hacking or circuit bending as custom built interfaces or instruments. Project activities may include developing new work in music, theater, dance, media art and interdisciplinary performance; experimenting with new creative concepts, approaches, or methods and researching and developing new technology for use in performance (e.g. musical instrument invention or preparing technology for an existing premiere performance) or exhibition.
Up to 12 residencies will be selected (depending on project size and funding) along with up to five project scholarships. Priority will be given to the creative use of the Harvestworks’ production facility and the innovative use of sound, picture and emerging technology.
Working with [engineer/programmer] Tommy was an essential part of developing this project. It was really more of a collaboration, as we sort of bounced ideas off of each other and it was very much a back and forth. It was so helpful to work with someone who was able to wrestle with the technical aspects of the project so that I was able to act in a more creative capacity. – Lea Bertucci 2015 AIR
Eligibility: The New Works and the EARS program is designed to assist individual working artists. Collaborations, groups, ensembles and collectives have to designate a Lead Artist to apply to the program. Only new work proposals are accepted. Proposals that document an existing work are not eligible. Students who are currently enrolled in a university are not eligible. Program recipients from the past 2 years are not eligible to apply this year. Lead artists must reside in the U.S.
Residencies run from January 31, 2017 through December 30, 2017.
Presentation: Work produced in the program is premiered in the Harvestworks’ New York Electronic Art Festival or in our TEAM Presentation Lab or in collaboration with other venues. Residents are also featured on the Harvestworks website.
It was amazing experience at Harvestworks because all of the technicians were very helpful and supportive and they worked very hard for my project. Each technician specialized for specific technical fields and has unique characters but they all communicate and understand well each other, so they create unique and strong program. – Bohyun Yoon 2015 AIR
Working with [engineer/programmer] Tommy was an essential part of developing this project. It was really more of a collaboration, as we sort of bounced ideas off of each other and it was very much a back and forth. It was so helpful to work with someone who was able to wrestle with the technical aspects of the project so that I was able to act in a more creative capacity.– Lea Bertucci 2015 AIR
The residence has left me full of ideas for how I can use what I’ve learned here and I think I’ll feel the results for a long time. There are many new ideas buzzing about my head that I’m longing to try now. I want to do more multi-speaker work after this but I think the creative stimulus will also spill over into other work. – Viv Corringham AIR 2015
2016 New Works Residents:
2016 New Works Residents: Daniel Fishkin, Shelley Hirsch, Faith Holland, GH Hovagimyan/Rhys Chatham/Raphaele Shirley, Richard Jochum, Okkyung Lee, Thessia Machado, Ziboukle Martinaityte, Alfredo Salazar-Caro, Christina Wheeler.
More information and sample projects :
Application Deadline January 4, 2017
This is an online application, and there is no fee for using this service. You will upload all text based information through a web interface. Provide us with a link to your video and audio worksamples. We prefer YouTube for video and Soundcloud for audio, since these have been shown to be faster for reviewing purposes than Vimeo or files located on your website. Do not use Facebook URLs! If you make your worksamples “private”, please do not forget to include your access codes in your application. To start your application, please visit this link: http://harvestworks.slideroom.com/
Question: Can I apply to both the EARS Program and the New Works Program?
Answer: The New Works Program as two special initiatives: The Creative Residency Program in Emerging Technology and The EARS Program. Both initiatives require the artist to propose the creation of a new work of art.
The Creative Residency Program in Emerging Technology is a national program and is focused artistic works that use a wider range of technology such as biosensors, immersive audio and video, camera and eye tracking systems, data sonification or visualization, mobile, new computer interfaces and controllers and new ways to engage with social media and communities.
If you are an emerging artist, live in NYC and make sound art, you should apply to the EARS program.
More Questions: Questions can be directed to Carol Parkinson at 212.431.1130 or by email to carolp[AT]harvestworks[DOT]org
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