Geoffrey Alan Rhodes
BA, 1996, University of Washington; MFA, 2005, State University of New York at Buffalo; PhD (pending), York University, Toronto. Exhibitions: International Society for Electronic Arts, Belfast; European Media Arts Festival, Germany; Mediations Biennale, Poland; Microwave International, Hong Kong; Abandon Normal Devices, UK. Screenings: Tribeca Film Festival; Sarajevo International Film Festival; Mumbai International Film Festival; Moscow International Film Festival. Awards: Princess Grace Foundation, USA; New York Council for the Arts; Fulbright Foundation; New York Council for the Humanities; New York Foundation for the Arts; Canadian Media Research Consortium; Provost's Learning Innovation Award, RIT; Applied Humanities Research Council, UK.
Medialogies : Micro-Essays on Visual Culture, 2008—
Micro-essay insights into current trends in media and visual culture.
Designing electronic publications at the School of the Art Institute of Chicago (2012)
An article for Adobe.com "Education resources," January 2013, describing the use of the Adobe Digital Publishing Suite to make apps as art books during my 3-week summer interim course, Electronic Publication Studio.
Augmented Reality as Virtual Public Art in Sacramento
A report in Media-N, Journal of the New Media Caucus, College Art Association, Fall 2014.
Augmented Reality in Art: Aesthetics and Material for Expression
Chapter 6 in the book Augmented Reality Art: From an Emerging Technology to a Novel Creative Medium, edited by Vladimer Geroinko, Springer Series on Cultural Computing, Springer Press, 2014
Buried Land: Filming the Bosnian Pyramids (co-authored with Steven Eastwood)
Chapter 11 in the book Screening Nature: Cinema Beyond the Human, edited by Anat Pick and Guinevere Narraway, published by Berghahn Books, Oxford/ New York, 2013
I have moved between disciplines as an artist. As an undergrad I bounced between departments eventually receiving a degree in Italian Literature. In Seattle, I performed and composed in bands playing in the ripe post-grunge music scene, and then later returned to an earlier fascination with cinema. I joined a new MFA program in Media Art Production at the University at Buffalo, and there I was exposed to the Buffalo heritage of structuralist video and film: Peter Campus, Paul Sharits, Hollis Frampton. This 70's wave of micro-cinema and late avant-garde moving image became a touchstone for my intellectual artistic desires and was my entrance to the art world. I began creating film shorts and installations that fed off of each other, both installed in galleries and screened in art-film festivals. I also began curating and installing work in galleries and developed a fascination with the structural apparatus of media–a McLuhan-esque interest and belief in the fundamental power of Medium to change experience.
I took a Fulbright scholarship to join a PhD program in Communication & Culture in Toronto, and there helped in the creation of the Future Cinema Lab. It was there I was practically introduced to the production of New Media and became fascinated with alloying the traditions and aesthetics of art and cinema with the techniques of augmented reality.
I have taught in Communications departments, Film and Animation departments, and now in the department of Visual Communication Design at SAIC (my first teaching position at an art school).
My works, diverse in media, have in common a sense of play in apparatus and traditional structures: actual subjects performing roles, transparent media machinations serving as a "stage," and collisions of one medium with another. Major productions include: Made Over in America (2007), a feature documentary that resamples and critically examines the producers, productions, and audience of reality make-over television; Double Narcissism (2008), a multi-channel video installation that re-visits the auto-performances of Will Wegman, Vito Acconci, and Peter Campus in light of the new digital video medium; 52 Card Psycho (2009), an augmented reality installation in which the famous sequence of shots comprising Hitchcock's Psycho are translated into a deck of augmented media cards; Buried Land (2010), a feature fiction film, shot on location in Visoko, Bosnia, in which the actual subjects of the transformative archeological claims (the existence of giant pyramids buried in Bosnia) perform in a scripted narrative exploring the nature of fact and fiction, history and myth.
Disclaimer: All work represents the views of the INDIVIDUAL ARTISTS & AUTHORS who created them, and are not those of the school or museum of the Art Institute.