DYRS Youth Center Mural
Proposal Draft 03/24/09
By Kelvin T. Olayinka & Mark Cooley
TABLE OF CONTENTS
OPENING REMARKS
2
ABOUT THE ARTISTS
3
KELVIN T. OLAYINKA
MARK COOLEY
3
5
ABOUT SPARC: MURAL CONSULTANTS AND FABRICATORS
6
CONCEPTUAL PARAMETERS
9
VANTAGE POINTS
INTERACTION / PARTICIPATION
DESIGN 1 NOTES: THE CROSSING
SYMBOLISM
PARTICIPATION & INTERACTION
WORKSHOPS
DESIGN 2 NOTES: SELF-REANIMATION
SYMBOLISM
PARTICIPATION & INTERACTION
WORKSHOPS
9
9
10
10
11
11
12
12
13
13
MATERIALS & PROCESS
14
LARGE SCALE PRINTING
MIRAFLAGE INSTALLATION
MURAL MAINTENANCE
14
14
14
PRODUCTION FLOW CHART
15
PROPOSED BUDGET
16
ARTIST RESUMES
17
MARK COOLEY
KELVIN OLAYINKA
17
28
MATERIAL SAFETY DATA SHEETS
MURAL DESIGN IMAGES
APPENDIX
ENCLOSED
DESIGN 1: THE CROSSING
DESIGN 2: SELF-REANIMATION
3D MOCK-UP DVD
ENCLOSED
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March 24, 2009
DC Commission of the Arts and Humanities
Attn: DYRS Youth Center Mural
1371 Harvard Street NW
Washington, DC 20009
Dear Committee Members:
We’d like to start by thanking The DC Commission on the Arts and Humanities, The
Department of Youth Rehabilitation Services and the scholars for presenting us with this
uniquely challenging and outstanding experience and opportunity. We have not taken
this task lightly, it has occupied our minds and our hearts since the beginning of this
process and we are delighted to share with you this documentation of our work.
Throughout this process and especially since our visits to Oak Hill two persistent
questions have framed our conversations and work. They are: How do we represent, in
an open and poetic way, the realities, challenges and rewards that life offers each of the
scholars, and how do we create an enduring work that truly encourages a sense of
shared ownership, participation and expression throughout the years? We’ve meditated
on these problems and we’ve worked toward finding intriguing visual solutions. In this
proposal we exhibit two of many possible solutions to these profound questions.
Technologically, this project represents an important step into the future of muralism by
employing the latest digital mural technologies and techniques available to artists and
industry. To this end we are honored to be working under contract with The Social and
Public Art Resource Center (SPARC) on this project. SPARC’s murals have been known
worldwide for over 30 years and for over a decade SPARC’s Digital Mural Lab on the
campus of UCLA has helped revolutionize the art of muralism by researching and
employing digital imaging techniques unsurpassed by commercially available methods to
produce murals of fine art quality and standards for the 21 century. We are excited,
should we win this commission, to work with SPARC in the production and installation of
this important project.
In closing, we sincerely thank you for the time and consideration you’ve put into this
process thus far. Please feel free to contact us if you have any questions concerning our
proposal.
Regards,
Kelvin T. Olayinka & Mark Cooley
KOlayinka@servarus.com | mcooley@gmu.edu
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ABOUT THE ARTISTS: KELVIN T. OLAYINKA
“I said you’re Afraid to Bleed.” -Malcolm X
Kelvin T. Olayinka, 26, is an African American artist who specializes in illustration and
digital arts. He has obtained an Associate’s Degree in Communication Design from
Northern Virginia Community College, and a Bachelor’s Degree in Art and Visual
Technology at George Mason University. His art has been published in Personae and
Volition the arts and literary magazines of Northern Virginia Community College and
George Mason University respectively. He is included in the 29th edition of the National
Dean’s List, a publication that honors America’s outstanding college students, for his
exemplary performance.
Kelvin has a very quiet, humble, and sometimes evasive demeanor; however, his
artwork is outspoken. The images that he portrays are explicit, unfiltered, and
uncensored as is the subject matter. He is able to hit a note scarcely heard with such
compassion. For example, an early painting of his displays the dream of an imprisoned
man. The piece is a delineation of the dream and the actual man in one integrated
setting. An angel whispers into the man’s ear, and a glimpse of a highway exit sign from
the perspective of an approaching motorist fades into his sheets. The prisoner lays stiff
in shackles with a bullet wound to the heart. He wears a prison uniform with the acronym
DOC, which stands for the Department of Corrections, printed on the chest. The bullet
wound is placed in the middle of the letter O which simultaneously refers to the word
other. The piece comes from the series Otherside which proposes to clarify his culture
in-contrast to American popular culture. The wound, therefore, metaphorically acts as a
wound to the entire sub-culture.
In a broad sense, Kelvin could be labeled as an expressionist. His creations express
personal emotion through distortions of reality. Color and proportion are often amplified
or abstracted, and allegorical content is very meaningful. He has a notable inclination to
portray not unbiased actuality but idiosyncratic sentiment and individual reaction to
issues and events.
His style can be comparable to others, but it is overall as individual as anything human.
To develop his art, Kelvin uses various media and various processes. One series of his
was done with black ink, which was administered as paint on a canvas paper. The
paintings were then scanned into Adobe Photoshop, a pixel based image manipulation
software, and digitally colored. He often mixes media to better conceive his artistic
aspirations. He illustrated a series of Black Nationalists like Marcus Garvey and Malcolm
X with colored charcoal on a collage of different newspapers in order to capture the
complex emotional characteristics carried about by those persons.
In response to an inquiry of his primary influences, Kelvin explained, “I was influenced by
what was in the immediate reach of my senses.” A homeless man in Atlanta, Georgia
introduced him to art. “His drawings intrigued me,” affirmed Kelvin. “I saw a different
outlook of the same area, where I lived, from his pieces. He transformed policemen into
sinister super villains, and showed me how to make visual metaphors.” Kelvin walked to
school and took a shortcut behind a local strip mall where the homeless man lived. The
man drew many pictures for Kelvin, which introduced him to different perspectives of life
and art. Kelvin attributes much of his inspiration to the unknown artist, “His pieces
relayed information that I could understand void of verbal dialogue. As the result of
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exposure to the talent and skill of a friendly homeless man, I commenced my artistic
exploration."
As time passed, Kelvin began to create his own depictions of his environment. He was a
troublesome teenager, and his portraits rivaled his turbulent lifestyle. Kelvin was, at
times, homeless and deeply rooted in the troubles and the illegitimate activities of his
surroundings. He quit school in the ninth grade and ran the streets. As time passed,
Kelvin was brought up on a slew of criminal charges to include, but not limited to,
possession of a firearm by a convicted felon, possession of body armor, possession of a
schedule II uncontrolled substance and assault by mob before his career or college level
schooling began. It was only after the death of his mother in 2002 that he showed the
slightest sign of change. Kelvin furthers:
It was hard to stop what I was doing at first, but then it became dire. It was kind
of like being on the titanic and being the only one who knew where the life raft
was. As I rose, my community fell. I went to school, and my childhood friends
faced federal convictions. I graduated. They did time, or died.
The images and the experiences that he acquired became the influence and subject of
his work.
He implements social issues into his works. The painting of the imprisoned man and his
dream, as described before, implements an issue. The prisoner is an allegory of our
nation's biased judicial system. Provided is a dramatic statistic from the Department of
Justice:
At yearend 2007 there were 3,138 black male sentenced prisoners per 100,000
black males in the United States, compared to 1,259 Hispanic male sentenced
prisoners per 100,000 Hispanic males and 481 white male sentenced prisoners
per 100,000 white males.
The dream of the prisoner represents the disparity of his culture.
Why is Kelvin an artist and what is the purpose of his artwork? Kelvin furnishes the most
adequate explanation of his purpose and intentions:
I am an artist because it is an obligation I owe to myself and my peers. The
Almighty blessed me with an ability to express emotion and possibly influence
others, and it just so happens that I come from a culture in need of
representation and appreciation. Our interests are not properly entertained. Our
stories are not properly explained. Our depth of creativity and innovation have yet
to be fully understood. We live our lives on a path unfamiliar to our neighbors.
We are strangers to our country. I would like to be the voice of, and quite
possibly a voice to, my culture.
He bestows his artwork with no expectations of fondness or acceptance. He provides the
images as he has seen them. It is supplied for contemplation, and it is provided from a
point of view rarely attained and properly documented.
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ABOUT THE ARTISTS: MARK COOLEY
Mark Cooley is an interdisciplinary artist and Assistant Professor of New Media at
George Mason University. Throughout his career Mark’s work has frequently explored
the intersections of art, politics, activism, sociology and communications with a special
interest in how individuals fit within the parameters of institutions. Mark’s academic
training concentrated in drawing, painting and critical theory, but over the years his work
has spanned the practices of theatre set design, muralism, installation, site specific
works, video, internet and other forms of new media.
In recent years, Mark has explored interactivity and public participation in the creation of
artworks while focusing on ways in which the voices of marginalized individuals and
communities can be amplified by the use of new communications technologies. Mark’s
project Calling America, an internet based oral histories project that allows participants
to use an ordinary telephone to upload their spoken reports, stories and experiences to
an audio web log, won him exhibition and speaking engagements in Madrid, Spain and
various locations in the U.S. as well as a semi-finalist position for the Transnational
Communities Award at Transitio_MX: Festival Internacional de Artes Electronicas Y
Video, held in Mexico City.
Mark was also recently awarded the WPA Prize for New Media for his work in When
Absence Becomes Presence, an exhibition and screening at The Washington Project for
the Arts and The Philips Gallery, Washington D.C. Mark’s exhibitions and collections
include venues such as Exit Art, NY. Postmasters Gallery, NY. Rhizome.org.
Furtherfield.org. School of the Art Institute of Chicago, The Anthology Film Archives,
NY, The World Social Forum and many other international sites.
Documentation of Mark’s work can be found at. http://www.flawedart.net
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ABOUT SPARC: CONSULTANTS AND MURAL FABRICATORS
ABOUT SPARC
SPARC’s Inherent Nature:
SPARC was born in a time of change – the 1970s. It has, since its inception, been a
catalyst for social change through the arts and a home for artistic innovation. Being a
catalyst has often meant handling the many currents that flow through historical
events at the moment they are occurring and working outside of typical art venues in
the places where people live and work. SPARC is a facilitator – finding ways to tell
richly textured stories that help community participants and artists achieve a measure
of change and transformation. SPARC endeavors to communicate to the larger
public – the means of communication may take many forms, from built architectural
monuments, to murals or to new technological spaces such as the internet.
Since it was founded in 1976, SPARC’s artistic direction was formulated with the
concept that the arts could be engaged with the most important issues of our time and
that ordinary people/community members could be participants in the arts. SPARC
chose to amplify the voices of those marginalized in our Los Angeles communities
and to provide a new vision of what art could do: women, people of color, poor and
working people, day laborers, youth, prisoners, etc became the focus in our
programming. We believed then as we do now that art can exist “outside of the
rarefied white boxes” in places where people live and work, therefore we are focused
on a new “public art.” Our works are monuments that rise out of communities;
memorialize what the people choose to remember. In our 30 year history, we have
taken the work to blighted streets in the inner city of Los Angeles and to concrete
flood control channels; scars where our rivers once ran. We painted a 1/2-mile of the
river with murals with 400 youth, built parks in vacant lots, hung photographic
tapestries in senior citizens centers, and built sculptures for children to play on in
vacant lots and produced hundreds of murals. Los Tres Grandes of Mexico, the
popular culture of low riders, tattoos, political street writing transformed by the
aesthetics of each changing cultural group with whom we work informed our sense of
beauty and order. We continue to capture the rhythm of the streets in giant works that
place an ethnic face on a city where a 129 languages are spoken in our schools but
whose life and aesthetics are often not represented in the cities physical and
aesthetic environments.
This concept, now more accepted, was radical in an era of arts for arts sake thought,
during which we pioneered these aesthetic values. However, the need for our work
has steadily grown with the massive demographic shifts affecting our city and country.
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Still today, no issue raised by a community is too difficult for us to approach with an
artistic solution. 30 years ago, we opened the center with the Jail House break
celebration and examined our own home, the former Venice Police Station and its
historic use. Today we have contemporized our historic processes through the
incorporation of technology in our Cesar Chavez Digital Mural Lab where we produce
large scale imagery both painted and digitally printed, work with communities across
the country and internationally over the internet, and continue to innovate new
materials that seek permanence in outdoor environments. Our programs have been
widely emulated across the country and internationally as we continue to stay on the
cutting edge of innovation of large-scale public art works and community interactive
processes. Organizations like SPARC maintain the spirit and substance of
transformation we need now more than ever in our city and country, by visualizing
change through the arts and by engaging our communities in much needed civic
discourse.
KEY ACCOMPLISHMENTS 1976-2007
1) 1976-Present: The Great Wall of Los Angeles 1/2 mile long Mural/Education
Project is one of Los Angeles’ true cultural landmarks and one of the country’s most
respected and largest monuments to inter-racial harmony. SPARC’s first public art
project and its true signature piece, the Great Wall is a landmark pictorial
representation of the history of ethnic peoples of California from prehistoric times to
the 1950’s, conceived by SPARC’s artistic director and founder Judith F. Baca. Begun
in 1974 and completed over six summers, the Great Wall employed over 400 youth
and their families from diverse social and economic backgrounds working with artists,
oral historians, ethnologists, scholars, and hundreds of community members.
2) 1988-2002: Neighborhood Pride, a program initiated and developed by SPARC
and sponsored by the City of Los Angeles Cultural Affairs Department produced 105
community artworks in every ethnic community in Los Angeles, commissioned 95
artists and trained over 1800 youth apprentices. In 2002 alone (the last year of the
program), SPARC conducted 80 community dialogues citywide with community
participants determining the placement and content of 15 new large-scale public
artworks. These works confronted some of the most critical issues in our city such as;
the on going migration and integration of the Central Americans particularly in the
1980’s to Pico Union from el Salvador, Nicaragua and Guatemala, and the changing
demographics in our schools, creating the phenomena of “ chocolate schools in
vanilla suburbs” which has resulted in the demise of the age old “neighborhood
school’ concept in many Los Angeles communities.
3) 1990-Present: World Wall: A Vision of the Future Without Fear The World
Wall, conceived by Judith F. Baca, consists of seven 10’ x 30’ portable mural panels
on canvas This 210’ mural addresses contemporary issues of global importance: war,
peace, cooperation, interdependence, and spiritual growth. As the World Wall tours
the world, seven additional panels by artists from seven countries will be added to
complete this visual tribute to the “Global Village.”
4) 1976-Present: The Mural Resource and Education Center (MREC) In the
course of our community cultural development work we have amassed one of the
country’s largest collections of written and visual information about public art,
including an archive of over 60,000 mural slides. Hundreds of students, educators,
scholars, artists and art historians avail themselves of the MREC’s resources each
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year. In addition, the MREC sponsors public mural tours, giving visitors and
Angelenos alike an opportunity to view the city’s unique outdoor gallery.
5) 1976-Present: The SPARC Exhibition Series In The SPARC Gallery SPARC’s
headquarters in the 10,000 sq foot facility of the 1929 old Venice Jail in Venice
California houses a converted cellblock exhibition space. Exhibitions take place year
round in the facility, which is well known for exhibitions of socially relevant work and
the work of children and youth. SPARC’s programming recognizes the vital function
the arts play in any social justice movement.
6) 1996-Present: The UCLA/SPARC Cesar Chavez Digital/Mural Lab is the
leading research and production facility in the country devoted to the creation of largescale digitally generated murals, educational DVD’s, animations, community archives
and digital art. In its community setting at SPARC’s headquarters in the old Venice
jail.
The Lab develops new methods for combining traditional mural painting
techniques with computer generated imagery, collaborates across distance with local,
national and international communities to create public art expressing the concerns of
diverse communities and develops new methods of preservation and restoration for
mural art through use of digital prints and new materials.
ONE COMMUNITY’S TESTIMONY
The impact of SPARC’s work is best voiced in that of a community partner. Works
such as the CARECEN mural, the first significant public work created in Los Angeles
about the migration of Central Americans into the Pico Union district of Los Angeles
represent the partnerships with community groups who wish to visualize the issues
affecting their community. Regarding the experience at CARECEN Angela Sanbrano
Former Executive Director of CARECEN writes, “SPARC’s work parallels the
organization’s belief in art as a reflection of the lives of America’s diverse ethnic
communities. Especially heartening has been the organization’s development of a
community approach in the creation of art for the betterment of society. SPARC’s
work with CARECEN empowered participating youth, enabling them not only to play
an active role in the decision process, but also to work with their parents, professional
artists, ethnologists and scholars. This is an experience that has enriched their lives
while creating meaningful change in the Central American community itself. By
encouraging students to take responsibility for their community and their own
individual development, SPARC has enabled them to grow in new and exciting ways.”
More information on SPARC @ http://www.sparcmurals.org
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CONCEPTUAL PARAMETERS
VANTAGE POINTS
The curvature of the wall and surrounding architectural layout provided challenges and
opportunities for the design process. Rather than shy away from this challenge we’ve
allowed the rather unique space, in which viewers are denied a comprehensive view of
the wall at any one vantage point, to become a conceptual underpinning of our design
decisions. The wall will be seen by most casual observers in its entirety from roughly 3
vantage points along the wall. The length, curvature and relative narrow space of the
room do not allow from most locations an overall view of the wall. This fact, along with
the existing walkway which leads downward (left to right) directly in front of the wall
helped us conceptualize the mural as a path or road that has to be traveled in order to
see an unfolding composition. In this way the mural sets up a symbolic narrative that
starts at the left with an individual and community in peril and ends (to the right as one
walks down the ramp) with an image of profound struggle and transformation, the
acquisition of knowledge and the solidarity of community in the face of adversity. The
unique space also requires that the composition be interesting from any vantage point.
We concentrated on this aspect in our design process. While our design compositions
work as a whole, in most cases the work will not be seen as a whole, this unique
situation that is not present in easel painting or most mural projects, forced us to
compose our designs so that they would work in totality but importantly work when cut in
thirds (the experience of most observers passing through the space). Our designs will
ensure that any vantage point assures an interesting, immersive and moving experience
for observers, but the real strength of our design practically and conceptually comes with
the recognition of movement and the ultimate responsibility of the observer to become a
participant through moving along and interacting with the wall in the creation of meaning.
This process is symbolic of the process through which one becomes an active and
responsible participant in their lives as individuals and community members.
PARTICIPATION & INTERACTION
We are committed to working with the scholars in the creation of the mural and through
artist led workshops we intend to pass on the skills that we employ in the mural’s
creation to a small group of scholars. We also have made it possible for every scholar
residing at the center now and in the future to contribute to the wall and therefore own a
piece of this project as well. Through integrating surfaces for drawing, writing and
tagging on the mural itself we’ve opened up the design process in a way that defies the
traditional practice of mural painting while pointing toward a direction in muralism for a
more direct kind of community involvement than what is currently known.
Graffiti is only graffiti if it is uninvited. From our first conceptual notes and sketches we
were interested in the idea of inclusion and set about finding ways to employ
participation and co-authorship into the mural’s development. Tagging is often an
attempt to claim territory in contexts that seek an exclusive public. We’ve not only
created ways for scholars to participate in the mural’s initial construction (please see
“Workshops” sections of this document), but we intend to make the mural a living
artwork by inviting scholars to make their marks on the mural throughout its history.
Both of our designs have ensured the ability for scholars to participate by writing, tagging
or drawing on parts of the mural. Design 1 features black silhouettes (human figures
and gun) that will be composed of chalkboard surface for drawing on with chalk. Design
9
2 has many areas including protest signs and road signs left open for scholars to add
their own content via dry erase markers. In addition, our laminating material mimics the
surface of dry erase boards so it is conceivable that marks could be made on any
reachable surface of the mural and easily erased. We’ve created our designs with this
important fact in mind (please see more concerning durability and washing in the
“Materials and Process” section of this document).
In addition to the surface treatment of the wall itself, the underside of the wall overhang
will be painted with chalkboard paint and feature quotes written by the scholars. All
scholars will be responsible for finding or writing a quote for inclusion on the chalkboard
surface located beneath the overhang. Coordination with teachers and lesson plans will
get the most out of this experience. Since the writing will be in chalk, old quotes may be
removed and new ones written as time passes. This system may be devised by DYRS in
conjunction with the artists but it is our intention that every scholar that comes into the
facility will be allowed to contribute a line of text. The written words will be invisible until
one stands directly under the overhang and looks up along the wall. At this proximity to
the wall, because of its size and curvature, observers will see very little of the entire
mural but will see, in an intimate context, the thoughts, dreams, fears and inspirations
written by the scholars themselves on the wall and the wall overhang.
NOTES ON DESIGN 1: THE CROSSING
Symbolism: Design 1
The cherry blossom is a well-known symbol of Washington DC. The planting of cherry
trees in Washington DC’s tidal basin was largely initiated as a gift from Japan in 1912 to
signify friendship that extends across territorial and cultural borders. In the Japanese
samurai tradition cherry trees were a symbol of the contemplation of life and death. This
was not some morbid fixation. Admitting their own mortality forced the warriors to accept
that life is a precious and fleeting gift. They regarded the cherry blossom as a symbol of
this insight. Cherry blossoms bloom for a brief period and then fall at the very height of
their beauty. In this particular work the cherry tree grows out of the stock of a gun
signifying the possibility of growth and life coming from ruin and death.
Water is an important element in many belief systems of the world. Crossing a river is a
metaphor used in many cultures to indicate an immense mental or spiritual passage.
Walking on water is a common expression used to indicate a near impossibility or
miracle. In ancient Greek Mythology the giant hunter and son of the gods Orion walked
on water. Christian, Hindu, Buddhist, Jewish, Egyptian and Greek traditions have stories
about characters crossing, walking on or parting water.
Clasped and raised hands are nearly a universal symbol of strength through solidarity
displayed at rallies, demonstrations, religious services and other gatherings worldwide.
The gesture was used in civil rights demonstrations and was an important symbolic
gesture used during the Million Man March in 1995 inspiring many photographs.
The Lincoln Memorial is truly a loaded symbol that embodies some of the most idealized
values of this nation’s identity and also some of its deepest contradictions. The Lincoln
Memorial is well known as the site of many important moments in movements toward
equality and justice in the United States and the world and symbolizes the ongoing
potential for society to live up to values of equality and justice for all.
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Participation & Interaction: Design 1
The silhouetted figures in Design 1 will be made from photographs of each of the 60
scholars. The figures will be painted with chalkboard paint and available to write on by
scholars based on a system devised by the artists and DYRS. The design also features
a silhouette of a gun, which will also consist of a chalkboard surface.
As in both designs, the underside of the wall overhang will be painted with chalkboard
paint and feature quotes written by the scholars. All scholars will be responsible for
finding or writing a quote for inclusion on the chalkboard surface located beneath the
overhang. Since the writing will be in chalk old quotes may be removed and new ones
written as time passes. This system may be devised by DYRS but it is our intention that
every scholar that comes into the facility will be allowed to contribute a line of text. The
written words will be invisible until one stands directly under the overhang and looks up
along the wall.
Workshops: Design 1
Workshop 1 & 2 will consist of photography sessions with a gathering of scholars serving
as models. Pedestrian clothes of the scholar’s choice (within budget parameters) shall
be provided. Photographs will be made of the scholars enacting the roles of the
silhouetted figures and raised hands of design #1. The photographs will be turned to
silhouettes and replace the current silhouetted figures in design#1. Over the course of
the two workshops all 60 consenting scholars will be photographed either as individuals
or in groups for possible inclusion in the mural.
Workshops 3, 4 & 5 will consist of traditional and digital art demonstrations to a small
group of scholars. The workshops will consist of manual and digital painting, digital
collage and montage methods used in the production of the mural. Scholars will be
stepped through a creative process similar to the process of the artists in creating the
mural and produce their own poster size piece that will be printed and presented to them
upon completion. Computers available at DYRS youth center will be used with additional
computers and software donated or purchased as needed out of commission funds. The
donated and/or purchased computers shall remain the property of the youth center and
be available for future students in their artistic pursuits.
Additional workshops will be held as necessary for scholars to complete their artworks.
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NOTES ON DESIGN 2: SELF-REANIMATION
Symbolism: Design 2
The back drop is composed of various merged nebulas including the famed Eagle
Nebula. In representation of the United States, this eagle shaped star cluster is
populated by many forming and newly formed stars. These celestial wonders symbolize
the scholars who are also emerging into stars, metaphorically speaking. They can
achieve heights of inconceivable magnitude through mere self-realization.
Malcolm X is integral to the mood of the piece. The orator continued to change
throughout his life as he accepted himself in entirety. It is important for the scholars to
have an example that they can relate to. Malcolm too was a wayward youth essentially
misguided by his surroundings. He managed to turn immense negativity into the driving
force that propelled him to greatness.
The sidewalk/waterfall is a visual metaphor of the travel one makes over water as
described in Design 1. However, the water in an imaginative sense can denote any
medium of travel like a familiar sidewalk in the city. On the concrete blocks, the scholars
travel through life and hopefully reach the point where the sidewalk stops and they make
their transition.
Signs of protest can be viewed as a catalyst of change and as a symbol of the
revolutionary climate of our nation. There was no better image that we could use to
break up the geometric cell rendition to the left side of the piece. As you move right, the
geometric shapes reminiscent of the old facility break up into more organic shapes. The
visual becomes more fluid as you move right representing the architectural style of the
new facility.
The street signs are there to convey meaning through familiarity. The scholars are very
proud of where they come from. So, we found it meaningful to incorporate imagery that
represents where they’re from and simultaneously who they are. In front of the
microphones, we placed the highway sign for MLK instead of the reverend’s actual face.
We hope to convey the idea that behind every great individual lies the environment or
condition that drove them to become who they are.
Shunning their neighborhoods and ideas will only create more distance between the
scholars and those that wish to help the scholars. Therefore, it is encouraged that the
scholars be able to express themselves, appropriately, directly on the piece. The street/
highway signs will be left blank for the scholars to elaborate and the large dark areas will
be treated as blackboards on which the scholars may also decorate.
The backdrop switches color schemes to reinforce a theme of continuous change.
Participation & Interaction: Design 2
Picket signs are left blank and treated with a surface like that of dry erase boards these
areas are left open to be filled by the scholars. The black lines at the bottom of the
composition will be surfaced with chalkboard paint.
As in both designs, the underside of the wall overhang will be painted with chalkboard
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paint and feature quotes written by the scholars. All scholars will be responsible for
finding or writing a quote for inclusion on the chalkboard surface located beneath the
overhang. Since the writing will be in chalk old quotes may be removed and new ones
written as time passes. This system may be devised by DYRS but it is our intention that
every scholar that comes into the facility will be allowed to contribute a line of text. The
written words will be invisible until one stands directly under the overhang and looks up
along the wall.
Workshops: Design 2
The artists will host at least 5 workshops created to engage the scholars of the DYRS
youth center. The following gives a rough outline of workshops associated with Design 2:
Workshops 1 - 5 will consist of traditional and digital art demonstrations to a small group
of scholars. The workshops will consist of manual and digital painting, digital collage and
montage methods used in the production of the mural. Scholars will be stepped through
a creative process similar to the process of the artists in creating the mural and produce
their own poster size piece that will be printed and presented to them upon completion.
Computers available at DYRS youth center will be used with additional computers and
software donated or purchased as needed out of commission funds. The donated and/or
purchased computers shall remain the property of the youth center and be available for
future students in their artistic pursuits.
Additional workshops will be held as necessary for scholars to complete their artworks.
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MATERIALS & PROCESS
LARGE SCALE PRINTING
The printing process will involve using a polyester fabric backed vinyl wallpaper because
it provides an high quality bright white surface to create vibrant colors and sharp lines
while remaining cost effective and durable. The artwork will be printed in 12 panels with
1” overlap and bleed to all 4 sides. Each strip will be 50” wide. The substrate will be
printed using an UV curable printer at a slow setting to achieve high ink saturation.
These inks have one of the strongest color spans available in printing today. The printer
uses a 12-color system ensuring accurate color reproduction. A full-scale strip printout
would be sent to you for approval before the mural is printed. Rip and rendering software
will be used to render and rip the provided file and produce the full-scale artwork in
accurate strips for installation. These strips will be flood coated with a UV stabilizer and
an anti-graffiti laminate to protect the final artwork from paints, solvents, scratches and
color loss.
MIRAFLAGE INSTALLATION
Miraflage is a traditional technique that can be traced back to the renaissance.
Originally, it is the practice of taking canvas and adhering it to a wall in such a way that it
seems as if the piece has been directly painted onto the surface. For our mural
installation, a mechanical roller evenly applies glue to the artwork. This coating is applied
onsite once the wall is primed and prepared. The strips are overlapped in such a way
that the seams lay down evenly and blend together. While hairline seams are rare, they
can be in-painted with permanent markers or acrylics.
The installation will require that the handrail on the wall be removed prior to the
installer’s arrival. Expansion joints must be resolved prior to installation as well. Our
solution involves creating expansion molding that will float above the gaps on the wall.
This allows the wall to flex without damaging the aesthetic look of the mural and
maintains a continuous image across the surface. The wall will require a drywall mud
treatment to level off the current texture. After the joint compound is applied to the wall, it
will receive a topping and light sanding. The wall will be primed and inspected for any
touch ups. Professional clay strippable pro 774 is the adhesive used to install the
artwork. Any obstructions such as fire alarms and switches are dealt with during install.
Expansion molding is added to the expansion joints and mural is inspected for quality.
MAINTANENCE
The artwork offers reasonable resistance to light knocks and scuffs. If necessary, it can
be cleaned with a mild soapy detergent and a soft cloth or sponge. Do not use polishes
or abrasive cleaning agents. Heavy solvent based cleaning agents can potentially
discolor the protective coating. Always carry out a cleaning trial in an inconspicuous
area first to ensure the cleaning agent is suitable. Graffiti from spray paint or permanent
markers can be removed with rubbing alcohol and should be removed immediately. If
tagging is left untreated it may compromise the protective coating. Should the mural
need a partial replacement or removal, professional installers can do it– if one or
several strips are damaged, they can be reprinted and installed without the need of
using expensive conservators.
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PRODUCTION FLOW CHART
Project Flow Chart for Production:
File Prep: File is generated from a vector composite and rasterized or generated
from a high-resolution scan. 1in to 1ft at 1200 resolution .tiff flattened LZW
Compression.
File Rip and Render: The file is processed to create accurate 1” bleeds for overlap
installation. The document is scaled without loss of image quality.
Printing: The print is outputted on a UV curable roll-to-roll printer on fabric backed
vinyl wallpaper. Once color corrected, it is outputted onto ten 5ft strips and three 4inch strips for expansion molding.
Laminate: Strips are anti graffiti liquid laminated on a Liquid Laminator and
shipped to the site for miraflage installation. The liquid laminate contains UVLS
which reduces color fading due to UV light exposure.
Site Prep: The railing is removed prior to installer arrival. The installer prepares the
wall surface using joint compound followed by topping, sanding and self-leveling
primer. Miraflage is done using standard adhesive.
Install: Mural is overlapped and seamlessly installed. Obstructions are cut around.
Expansion joints are covered with miraflaged expansion molding to create seamless
transition over the gap. This still allows for wall expansion.
Final Inspection: Wall railing is reinstalled and final inspection is done. The mural
can then be cleaned with mild soapy detergents and soft cloths or sponge. The
original artwork file and materials are archived for conservator purposes.
15
PROPOSED BUDGET
SPARC Project Oversight, Production and Installation*
* As of 3/25/09
ADDITIONAL BUDGET*
Photography Fees Including Boat Rental and Potomac Guide Service - $1,000.00
Clothing for Models - $1,000.00
2 Computers and Peripherals for DYRS Workshops - $3,000.00
Art Materials for Workshops - $400.00
Site Preparation by Contractor - $1,000.00
Travel and Lodging in Los Angeles & Venice CA for Artists to Work in SPARC Digital
Mural Lab + Lab Fees - $4,000.00
Artists Fees – Divided between Kelvin Olayinka and Mark Cooley – $34,503.69
GRAND TOTAL – $75.000,00
*Additional Budget figures may change as project requires.
16
Mark Cooley: CV 2000 – 2009
flawedart@yahoo.com http://www.flawedart.net
Exhibitions, Performances & Screenings
2009
Sketchbook to Suspension: Trajectories in the Age of Synthesis,
The Mitchell Gallery, St. John's College, Annapolis, Maryland
Curator - Helen C. Frederick
2008
When Absence Becomes Presence, Washington Project for the Arts and
The Phillips Collection, Washington D.C.
WPA Prize for New Media Award.
Curators - Niels Van Tomme & Sonja Simonyi
HOME, School of Creative Media of the City University of Hong Kong
Organized by Art Fete Brings Hope
http://www.cityu.edu.hk/scm
Don’t Tread on Me. The Park School, Baltimore, MD.
Curator - Richard Delaney
http://www.parkschool.net
It’s Not Easy. Exit Art. New York. NY.
Curator - Lauren Rosati
http://www.exitart.org
A Story, or something like it. SoundCast III. The Daily
Constitutional. Curators - Derek Cote, John Blatter
http://www.dailyconstitutional.org/soundcast.html
Visionary Landscapes: The Electronic Literature Organization
2008 Conference Exhibition, Washington State University
Vancouver, WA
http://eliterature.org
The Extensible Guitar Festival. Clark University. Department of Visual
and Performing Arts. Worcester, MA
Primavera en la Habana: XII International Electroacoustic Music
Festival, Havana, Cuba
http://www.electroacustica.icm.cu/en
Society of Electoacoustic Music of The United States Annual (SEAMUS)
2008 National Conference, Salt Lake City, UT
http://www.seamusonline.org
2007
Transitio_MX: Festival Internacional de Artes Electronicas Y Video,
Mexico City, Mexico
Transnational Communities Award Semi-finalist
17
Intimacy: Across Visceral & Digital Performance, Symposium, workshops
and exhibition, University of London, London,
Co-directed by Maria Chatzichristodoulou (Maria X) and Rachel
Zerihan
http://www.intimateperformance.org
Velocity: Festival of Digital Culture, ArtCast, Multiple U.K. cities and
online, Curated by Folly
http://www.folly.co.uk
http://www.folly.co.uk/?q=ArtCast
(Dis)Location, (Dis)Connection, (Dis)Embodiment, Pyramid Atlantic,
Silver Spring MD, Founder - Helen C. Frederick
Exhibition with Mark Cooley, Edgar Endress and the students of
the Department of Art and Visual Technology, George Mason
University
http://www.pyramidatlanticartcenter.org
Multimediale, Provisions Library & other Washington D.C. locations.
Curator – Niels Van Tomme,
Organized by Niels Van Tomme and Randall Packer.
http://www.multimedialedc.org
http://www.icpa.be
ArtDC, Washington D.C. international art fair
Represented by Pyramid Atlantic
http://www.dc-artfair.com
http://www.pyramidatlanticartcenter.org
Dear Internet, A collaborative project with Edgar Endress
Maryland Art Place (MAP), Baltimore, MD
Curator - Kay Hwang
http://www.mdartplace.org/index.html
2006
Digital Divide / Digital Provide, The Arts Center, St. Petersburg, FL,
Project Creo, Curator / Director - Melissa Christiano
In War/At War: The Practice of Everyday,
Open Source Art, Champaign, IL
http://opensource.boxwith.com/archives/000076.html
New Filmmakers Series, Anthology Film Archives, New York, NY.
Programmed by Bill Woods
http://www.anthologyfilmarchives.org
Unfurled: A Public Exhibition of Flags,
Polymer Culture Factory, Talinn, Estonia,
Curated by POND / Marisa Jahn
www.mucketymuck.org
18
Freedom Ltd., Anne Kittrell Art Gallery, University of Arkansas,
Fayetteville, AR
One Small Step: a Myspace LuvStory
Curator - LeisureArts
http://www.myspace.com/concept_trucking
http://leisurearts.blogspot.com
International Multimedial Art Festival (IMAF8)
Various venues, Odzaci, Novi Sad, Belgrade, Serbia
http://www.imaf.org.yu/imaf_8/participants.html
2005
Unfurled A Public Exhibition of Flags, Galerii Y, University of Tartu,
Estonia,
curated by POND / Marisa Jahn
http://mooste.ee/mogs http://www.mucketymuck.org
Mechanized Labor Day @ the Frying Pan, New York, NY,
Curator - Pursue the Pulse media arts collective
http://www.pursuethepulse.org/asktherobot.html
American Dreams, Version05 festival, Chicago, IL
http://versionfest.com
American Dreams, Lobby Gallery, Chicago, IL
Solo show
2004-05
YOUgenics v3: exploring the social implications of biotechnology,
Betty Rymer Gallery, School of the Art Institute of Chicago
Curator – Ryan Griffis
http://www.yougenics.net
2004
The Presidency, Exit Art, New York, NY,
Curator - Jeanette Ingberman, Associate Curator Jodi Hanel,
Assistant Curator Camila Marambio
http://www.exitart.org
DissensionConvention, Networked performance projected at Postmasters
Gallery and other public platforms in Manhattan NY coinciding
with the 2004 RNC
Curator – Furtherfield.org – Marc Garrett, Ruth Catlow
http://www.furtherstudio.org/dissensionconvention
Art Against War, Traveling Exhibition,
Majlis Cultural Center, Mumbai (Bombay) India
under the auspices of the World Social Forum
Curators - Frank Shifreen and the Drinkink Collective
"Plays well with others", Curator Billie Giese-Vella,
NIU Art Museum Gallery, Chicago, Illinois
19
"Plays well with others", Curator Billie Giese-Vella
BAD DOG GALLERY, DeKalb, Illinois
"Biting Tongue" A performance by Billie Giese-Vella with video work by
Mark Cooley, NIU
Chicago Gallery, January 15, 2004, Chicago, Illinois
Thailand New Media Art Festival,
Cultural Exchange and Computer Arts (ICECA) in
partnership with Srinakarinwirot University of Bangkok, Thailand
Artistic Director, Founder - Francis Wittenberger
Installation by ACM - a collaborative project with Ryan Griffis
http://culturebase.org/home/thailand/MAF04
EXP, Experimental Exposure Film Festival,
The Urban Institute of Contemporary Art, Grand Rapids, MI,
Curator - 14a Consortium
http://www.uica.org, http://www.14a-consortium.com
2003
Immedia, 8th Annual Digital Arts Exhibition,
Digital audio category, Ann Arbor, MI,
Presented by the Ann Arbor Electronic Arts Coalition
http://entity.ummu.umich.edu/immedia
Arte Digital Rosario 2003 Muestra 0,
The Center of Contemporary Expression,
Rosario, Argentina, Net Art Curator - Gabriel Otero
http://www.nonetart.com.ar/rosario2003.html
EXP, Experimental Exposure Film Festival,
The Lo-Fi Project Site, Grand Rapids, MI, 06-7-03
The Loft, Chicago, IL, 08-09-03
Curator - 14a Consortium
http://www.14a-consortium.com
YOUgenics: exploring the social implications of genetic technologies,
MSU Art & Design Gallery,
Curator -Ryan Griffis
http://www.yougenics.net
Art Against War, Macy Gallery,Teachers College, Columbia University
Gallery of New York Arts Magazine - Alternative Artists
Space/Gallery @ 450 Broadway Gallery, NY, NY
Curated and organized by Frank Shifreen
http://www.drinkink.org
Athens Institute of Contemporary Art, Virtual Art Gallery, Version 4,
Curator - Deirdre Dunphy, Digital Media Department,
University of GA
http://www.athica.org/virtualgallery.html
20
Rhizome Artbase, Rhizome.org is an affiliate of the New Museum of
Contemporary Art, New York, NY
Executive Director – Rachel Greene
http://rhizome.org
Furtherfield.org, Featured Works - 11/03 - 1/04
http://www.furtherfield.org
Reviewer - Marc Garrett
http://www.furtherfield.org/displayreview.php?From=Index&review
_id=59
American Dreams, Re:Design Gallery, Springfield, MO
The Blair Bush Project (BBP) is a CITY+SUBURBAN studios
(Johannesburg) initiative. BBP, orchestrated by artists nathaniel
stern and Christian Nerf http://odys.org/theblairbushproject
NetArt Open 2003 Irish Museum of Modern Art
(not to be confused with THE IMMA), Dublin, Featured site as part
of Violence Online Festival Version 6.0,
Curator - Agricola de Cologne http://www.stunned.org/imma/netart_open2003.htm
Violence Online Festival 6.0 and Violence Online Play Station,
Curator - Agricola de Cologne
http://www.newmediafest.org/violence/violence.html
Anti-war Web Ring, Project founder - Andy Deck
http://artcontext.org/antiWar/index.php
The Wartime Project
http://offline.area3.net/wartime
goto("nert_art"), Project founders - Clemente Padín & Isabel Aranda,
http://www.escaner.cl/netart/_ARTISTAS.html
Istanbul Contemporary Art Museum Web Biennial 2003
http://www.istanbulmuseum.org/webbiennial/state.htm
Arte Digital Rosario 2003 Muestra 0
http://Www.nonetart.com.ar/rosario2003.html
MSU Faculty Exhibition, Missouri State University, Springfield, MO
2002
NWEAMO - Annual International Electro-Acoustic Music Festival, Solo
performance, Smith Recital Hall, San Diego State University, San
Diego, California, Organizers Joseph Waters & North West
Electro-Acoustic Music Organization
http://www.nweamo.org
21
American Dreams, Installation, Blitz festival, Manchester, UK
Curator - NATO - Northern Arts Tactical Offensive
Agitate, UHC collective virtual exhibition, http://www.uhc-collective.org.uk
Digital Visions, The Center for Contemporary Art, Sacramento, CA
Jurors -Brian Clark, Steven Holsapple
Individual Concerns 2002, Gallery of Social Political Art, Boston, MA
YOUgenics: exploring the social implications of genetic technologies,
ORLO, Portland, OR, Curator -Ryan Griffis
http://www.yougenics.net
http://www.orlo.org
2001
2001 Faculty Exhibition, Art & Design Gallery, MSU, Springfield, MO
Responses, Traveling exhibition organized by Exit Art, NY, NY, recording
aesthetic responses to 9/11/01 and now permanently
housed in the Smithsonian, Washington D.C.
PhenomANON: 2 Decades of Ephemeral Urban Guerrilla Artfare,
public art by by ArtOfficial Construction Media
The Independent Media Center, Seattle, WA
Beeswax, Brackish Water and Junipers,
Gray Gallery, East Carolina University, Greenville, NC
MEDIAtions, Beth Hall & Mark Cooley, Mendenhall Gallery, East Carolina
University, Greenville, NC
MEDIAtions, Beth Hall & Mark Cooley, Dunn Performing Arts Center, NC
Wesleyan College, Rocky Mount, NC
2000
American Dreams, Performing Arts Center Gallery,
University of South Carolina, Beaufort, SC
Gallery Director – Efram Burk PH.D
Abandoned houses, Permanent Grin, Raleigh, NC
Origins, Gallery 25, Fresno, CA, Curator - William Raines
Current Work: A National Competition,
Rosenthal Gallery, Fayetteville State University, Fayetteville, NC
Juror - Ron Platt - Curator, Weatherspoon Museum,
Greensboro, NC
Twenty-Eighth Annual Competition for North Carolina Artists,
Fayetteville Museum of Art, NC
Juror - Robert E. Haywood- Professor of Contemporary Art,
University of Notre Dame
22
Twin Rivers Media Festival, premier of frameworksforhow, soundtrack,
Minden, WV
First Place - Film Soundtrack
Permanent Collections and Archives
2007
The Field Museum of Art, Rhizome Artbase,
Rhizome.org is an affiliate of the New Museum of Contemporary
Art, New York, NY
Executive Director - Marisa Olson
Dear Internet, Rhizome Artbase,
Rhizome.org,
Executive Director - Marisa Olson
One Small Step: a Myspace LuvStory, Rhizome Artbase
Rhizome.org,
Executive Director - Marisa Olson
2006
spacer.gif{ART}, Rhizome Artbase,
Rhizome.org,
Executive Director - Marisa Olson
2004
E Pluribus Unum, Rhizome Artbase,
Rhizome.org,
Executive Director - Rachel Greene
youConnect, collaboative installation with Ryan Griffis, Rhizome Artbase.
Rhizome.org
Executive Director - Rachel Greene
Selected Publications
2008
e-terview. Post.Thing.Net
http://post.thing.net/node/2133
2007
Daily Constitutional: A Publication for the Artists’ Voice, Issue V,
Spacer.gif{ART}space
Editor –in-Chief: John Henry Blatter
http://www.dailyconstitutional.org
Shifter Magazine, Issue 10,
Spacer.gif{ART}space
Editor: Sreshta/ Rit Premnath
http://www.shifter-magazine.com/index.html
Drain: Journal of Contemporary Art and Culture –
Issue #08 Horror Vacui.
One Small Step: A My Space Love Story
Managerial board: Avantika Bawa, Celina Jeffery, Adrian Parr
23
Art Editors: Avantika Bawa, Michelle Barczak
http://www.drainmag.com/index.htm
2006
Mark Cooley & Charles Cohen, “Absence / Presence: A Conversation
With Charles Cohen,” Rhizome Digest: 9.29.06
New Media Fix: 9.28.06
http://newmediafix.net/daily/?p=987
http://rhizome.org/thread.rhiz?thread=23105&page=1#44461
2004
Mark Cooley, “Some thoughts on computer security and the living dead,”
Rhizome Digest: 7.30.04
2003
Rhizome Digest: 7.25.03 - Mayuir Sidhpara questions Mark Cooley Filtered by Rachel
Greene, http://www.rhizome.org
Mark Cooley, "Mirroring Media," featured artist, 02,2003,
http://getunderground.com/underground/features/article.cfm?Article_ID=852
2000
Mark Cooley, Efram L Burk PHd., American Dreams, exhibition
publication, USCB, SC
Selected Bibliography
2007
Gregory Minissale, “An Introduction to Representations of the Horror
Vacui,” Drain: Journal of Contemporary Art and Culture – Issue
#08 Horror Vacui.
http://www.drainmag.com/
Niels Van Tomme, “Multimediale in Washington DC: More Than Just a
Show,” hART magazine, May 2007
www.kunsthart.org
2005
Sirp (Estonia daily news), Aug 5, 2005 (article concerning Exhibition
Unfurled in Estonia)
'Unfurled.' Posttimes, Aug 5, (article concerning the exhibition Unfurled)
2004
WarProductWar, RANDOM: Net Art Magazine, Director - Valentina Tanni
http://random.exibart.com
Terri Cohn, “Unfurled.” / ArtWeek /(7/04) (article concerning the exhibition
Unfurled)
2003
Marc Garrett , “WarProducWar” Furtherfield.org, New work & reviews 11/03 - 1/04
Clare Hurley, “The Art of Making Protest Art”, review for Art Against War,
World Socialist Website, 7/5/03 http://www.wsws.org/articles/2003/jul2003/anti-j05.shtml
24
“Art Against War Exhibit in Macy Gallery,” review for Art Against War,
Columbia University News Bureau,
2002
Yougenics, exhibition catalog, Orlo, Portland, OR
http://www.orlo.org/
2000
Ryan Griffis, “American Dreams”, New Art Examiner, Vol. 29, No. 4
Curating & Editing
2009
New Media and Cybercultures Reader, edited by Pramod K. Nayar.
Textbook review for Blackwell Publishing. Cultural Studies Editor
- Jayne Fargnoli
AgriArt: Companion Planting for Biological and Social Systems, George
Mason University
April 2009, Curators – Ryan Griffis, Mark Cooley
2008
Provocations: Art of Social Action, George Mason University, Exhibition
Juror – Mark Cooley, Symposium organized by Lynne M.
Constantine, Ellen Gorman, Tracy McLoone
2002-07
Rizome.org, Site editor - site editing for new media art blog and database
Editorial Coordinator - Marisa Olson
2003
Contextin’ Art, An ArtOfficial Construction Media Project, Online journal,
Curators - Ryan Griffis, Mark Cooley
2002-04
Independent Media Video Series @ MSU, Founded and programmed by
Mark Cooley with the intention of encouraging critical debate
concerning important public affairs issues on the campus of
Missouri State University and surrounding communities.
Lectures & Presentations
2008
Technocracy: Techno-Lust vs. Technophobia.
Society for Photographic Education.
Carnegie Mellon University. Presentations and panel discussion
with Amanda Crowley, Eyebeam (NY), Chris Borkowski, Perpetual
Art Machine and Mark Cooley, Interdisciplinary artist moderated
by Thomas Sokolowski, Director of the Warhol Museum.
Artist’s Talk, Skopelos Art Foundation, Skopelos, Greece
Artist’s Talk, Visionary Landscapes:
The Electronic Literature Organization
2008 Conference Exhibition, Washington State University
Vancouver, WA
http://eliterature.org
Provocations: Art of Social Action Juror’s Talk, George Mason University,
25
Symposium organized by Lynne M. Constantine, Ellen Gorman,
Tracy McLoone
2007
“American Dreams,” Visiting Artist and Lecturer, Northern Illinois
University, Dekalb, IL
“Calling America,” Presentation for Inclusiva-net, MediaLabMadrid,
Madrid, Spain Inclusiva-net.org Meeting
http://www.medialabmadrid.es
http://www.inclusiva-net.org
“Recent Work: more or less,” artist’s talk, St. Mary’s College, St. Mary’s
City, MD
MULTIMEDIALE Preview: Mark Cooley | Artist Talk
Curator’s Office gallery, Washington D.C. 1/18/07
Introduction by Multimediale curator Niels Van Tomme
Curator’s Office director and founder - Andrea Pollan
2003
"Hans Haacke, Martha Rosler: New Genre Public Art," Faculty Advisor &
guest lecturer for Performing Unpopular Culture, MSU Theater
Department, Part of The Odyssey Project: Unpopular Culture,
Sponsored by MSU College of Arts and Letters.
2002
"Re-viewing the Panopticon: Online Surveillance and Aesthetic R
esistance since 9/11,"
Colloquium on Censorship, Missouri State University - Presenter
& Panel Member
2001
Visiting Artist, University of North Carolina Greensboro - Lecture,
workshop, studio visits & critiques.
"Web-Based Collaboration and Public Art: Rtmark.com and ArtOfficial
Construction Media," Focus on Process, MSU Art and Design
Colloquium - Presenter & Discussant
Out From the Desert, Performance participant,
Performance by Billy X. Curmano and ensemble, ECU, NC
http://www.onlineartforsale.net/artists/billy_curmano.html
2000
Visiting Artist Lecture, University of South Carolina Beaufort
Academic Appointments
2005
Assistant Professor of Art, Department of Art and Visual Technology,
George Mason University, Fairfax, VA
Courses: Digital Art, Internet Art, Networked Art Practice –
Graduate studio, Tactical Media, Theory and Criticism – Graduate
seminar, Informed by the Land: Abroad course in Skopelos
Greece, Senior Projects.
26
2001-05
Assistant Professor of Art, Missouri State University (MSU),
Springfield, MO
Courses: Digital Imaging, Design for Digital Media, TwoDimensional Design, Senior Thesis
2001
Adjunct Faculty, East Carolina University, Greenville, NC
Courses: Computer Graphics
2000
Adjunct Faculty, North Carolina Wesleyan College, Rocky Mount, NC
Courses: Computer Graphics
1999-01
Adjunct Faculty, Pitt Community College, Greenville, NC
Courses: Drawing I & II, Art Appreciation
1999
Adjunct faculty, Craven Community College, New Bern, NC
Courses: Computer Graphics, Art Appreciation, Art & Drama For
Children
Adjunct Faculty, East Carolina University, Greenville, NC
Courses: Art History Survey, Prehistoric to Gothic
1997-98
Instructor of Record, East Carolina University, Greenville, NC
Courses: Two Dimensional Design, Color and Design
Academic Studies
1998
Master of Fine Arts (Painting)
East Carolina University (ECU), Greenville, NC
Independent Studies: Critical Theory- Ronald Graziani
Studies in Belize and Guatemala
1995
Bachelor of Fine Arts (Drawing), Summa Cum Laude
University of Southern Maine (USM), Portland, ME
Independent Studies: Painting- Richard Lethem
1990-92
Jazz and Classical Music Theory and Performance,
University of Maine Augusta, University of Southern Maine
27
Kelvin T. Olayinka: CV 2005 - 2009
KOlayinka@servarus.com
Education
02/06-08/08
BA, Art & Visual Technology, George Mason University, VA
 Deans List and Presidential Scholar•
 Concentration in Digital Art (Animation and Web Design)•
 Minor in Business Administration•
09/03-08/05
AAS, Communication Design, Northern Virginia Community College, VA
 National Deans List•
 Emphasis on Graphic Design•
Experience
05/05-Present
Freelance, Graphic Designer
 Designed brochure and postcard layouts for Keller Williams
 Produced promotional advertisements for Young CEO Entertainment
 Conceptualized and executed an identity package for Sound Headz LLC
Graphic Desiger, Academic Projects
 Developed several web sites incorporating aesthetics and functionality
 Produced 2-D and 3-D animations
 Created original artwork for design elements (Illustration and Vector Art)
 Edited and altered live footage with video editing software•
 Conceived many mock advertisement and business package materials
 Used knowledge of typography to formulate text layouts
07/07-02/08
Copy and Print Specialist, Staples
 Aided in the development of branding materials
 Operated and maintained peripheral equipment
 Manipulated several programs to accomplish design and print objectives•
01/05-05/06
Lab Monitor and Advisor, Northern Virginia Community College
 Assisted students in identifying and resolving technical and design issues
 Loaded computer software and peripheral equipment supplies
Computer Skills
 Mac/PC, Adobe After Effects, Adobe Dreamweaver, Adobe Flash, Adobe
Illustrator, Adobe InDesign, Adobe Photoshop, Adobe Premiere, Autodesk Maya,
Microsoft Office, QuarkXPress, Wacom Tablet
28