Adie Russell, The Most Extreme Perfect That Exists, 2011, single channel video

COTA, Celebration of the Arts, is in their fifth year and going strong. This year, they wanted to include video works for the first time, and we were asked to participate. They have arranged for a truck with a ramp to serve as a small video room. We thought this was a very cool idea and jumped on the opportunity. Given the family-oriented nature of this festival and the viewing-room-set-up, we collected short videos that have definite beginnings and endings, without any nudity. All of them participated in our last year’s festival, but all but one is showing new pieces. Even within these confinements, the group still represents a wide array of styles and techniques.

Artists:

Kyra Garrigue
Anna Lindemann
Nathan Meltz
Adie Russell
Keiko Sono
Elizabeth Unterman
and guest artists, Gilbert and Marco Marrero

On the website of the Woodstock Chamber of Commerce, I found a not-for-profit called Max’s Kansas City Project. Max’s Kansas City was a club in New York that was a hub for artists and musicians in the 60s and 70s. So many big stars were hanging out at this club – Iggy Pop, Andy Warhol, David Bowie, Lou Reed, Brice and Helen Marden, John Chamberlain, and many more – it represented the reason why all aspiring musicians and artists, including myself, wanted to live in New York.

I was more than curious, therefore, when I found this organization. I gathered from the website that its founder and president is Yvonne Sewall, the former partner of the first MKC’s owner, Mickey Ruskin. I sent her a brief email of inquiry, to which she replied without missing a beat: “I Like what you are doing. Why don’t we meet for tea or coffee maybe Friday if that works for you.” Two days later, we met for coffee, and she agreed right away to be our conduit sponsor.

I have come to recognize by now, that the secret of a successful collaboration is to stick with partners who are responsive. The decisive manner in which Yvonne accepted my request was exhilarating. Not only she lifted my worries in a snap, she also gave me a huge emotional boost in going forward. Ever since I started planning this festival one month before the pilot one last year, I’ve felt that this event has a life of its own, and that I’m just a conduit serving this invisible force. This encounter with Ms. Sewall, again, was another instance of such inkling. I look forward to working with her.

I introduced myself to Barbara two days ago at the tour’s reception at the magnificent Opus 40. I had heard from many people that the Saugerties tour is a cut above the rest, in terms of organization, exposure, promotion, and sales. They are a perennial recipient of DCAC grant, for which we are applying this year, so I had many questions.

Despite the evening being her big reception and my rather forceful approach, she answered my questions generously, and gave me much more in advice and inspiration. Two things she said especially struck a chord with me:

1. The secret in having a successful tour is to screen the artists and maintain a high quality in art works.

She and her committee made it clear that they would not include hobbyists. Only artists who are practicing professionals with solid visions were selected to be on the tour.

2. Organizing and planning such a public event is art-making in itself.

This is my opinion exactly, and that is why I’ve been getting more involved in public projects in the last few years. It is obvious that this is a shared perspective among many artists. We belong to a growing number of artists who pursue social practice art, “art around community building.”

Meeting artists like Barbara, and those in the tour, is food for the soul. I am grateful for their effort, their passion, their gift—the gift that we now pass onto others through our festival.

There were about 10 people attending, including the director of Arts Upstairs and organizer of Shandaken Artist Studio Tour, and Amy Raff, the Woodstock Library director.  I was impressed by how supportive and open the atmosphere was. We all introduced ourselves and briefly described our projects. Many of them seemed to like our idea and wished me luck. The program director, Eve Madalengoitia, was also very helpful and encouraging. This positive experience is telling me that going through this process, despite its grueling application preparation, is worth the effort. As the proposal guideline states, “the grant application process is an educational one.” I will learn a lot from this.

Nam June Paik

This festival is a celebration of the peculiar, undefinable yet irresistible domain occupied by video art, within the vast realm of art and culture. In the age of Youtube, what defines video art? Can video artists sustain themselves? Is video art relevant outside of the art establishment? 46 years after Nam June Paik placed a magnet on a TV, video art is still defining itself. This is a place where we can ponder upon these questions while relishing on the feast for eye and soul.

The ideal art space that never opened.

Life, being the finicky thing that it is, swung an axe on this year’s festival. The place we were preparing to host the festival in is no longer available. At this point, there is not enough time for us to search for a new venue, so we have no choice but to skip it this year. But new ideas are brewing, so please keep posted.

The question: is video art vital outside of the mainstream art establishment?

Can video art be in our living environment like a painting or a garden sculpture? What differentiates video art from video? What is the role of video art in the age of youtube? What are possible ways to experience video art outside of galleries and museums? Are there any tangible plans for video artists to generate revenue?

In order to search for answers, we came up with a framework that takes video art into the community and brings the community into video art.

Participating artists are asked to think of their works beyond the insulated environment of galleries. How should their works be viewed and experienced in private homes? Can they provide a stimulating alternative to the digital aquarium in a doctor’s office? Can they be projected on the sidewalk at night? Can they be played in the lobby of a nursing home?

At the festival, each featured work will be presented in its own station that represents its possible viewing environment outside of the art establishment. Each installation will be a collaboration between the festival staff and the artist. Visitors will be able to move around from one station to another, come and go and pick and choose as they please. As with last year’s festival, we aim at creating a comfortable and fun feast for the senses and the soul.

Leading to the festival, various businesses, institutions and homeowners will be invited to consider installing video works in their spaces. At the festival, we encourage matches between venues and artists that will lead to next year’s festival, when we’ll place video works in those spaces.

In addition to the featured works, a compilation of works that represent a wide array of video art will be shown in one station.

Submit your work

Featured video works will have their own station, in settings that represent the artists’ intent for optimal viewing experience, or recommended environment (see This Year’s Framework).  Artists who wish to be included in this category must provide their concept for installation beyond a gallery space. Those who can attend the festival and promote their work to potential venues for next year’s festival are given priorities. Send us a link to your video clip and a brief description of your possible/optimal installation environment. Deadline is August 25th.

There will be one or two stations that will show collections of video works. For this category, a wide variety of styles are accepted. Send us a link to your video clip. Deadline is September 15th.

There is no fee for submitting work, but those who are selected to be featured artists are asked to contribute thirty dollars towards the expense of the festival.

And it is this feeling of lavishness that we want to spread through this festival. There is no theme. We want to include something for everyone, and that requires a wide range of styles and genres. We are looking for works that tickle our senses, stretch our spines and open our chakras, and make us feel good about ourselves for appreciating them.

Submit your work