EDUCATION

2019 // Candidate for PhD // Intermedia Art, Writing & Performance // University of Colorado // Boulder CO

2013 // Master of Fine Arts // Studio Arts // University of Colorado // Boulder CO

2007 // Bachelor of Fine Arts // Studio Arts // Fort Hays State University // Hays KS

SELECTED EXHIBITIONS/PERFORMANCES

2018 // Georhythmic Drift Music // Solo Exhibition // Utah Museum of Contemporary Art // Salt Lake City UT

2018 // Visual Music Vortex // Audio-Visual Performance Festival // ATLAS Black Box // Boulder CO

2018 // Techne Lab // Made in NY Media Center by IFP // Brooklyn, NY

2018 // Georhythmic Drift Music // The Tank : Center For Sonic Arts // Rangely CO

2018 // How To Measure The Weather // Emmanuel Gallery // Denver CO

2018 // Counter-Ambience // Flinching Eye Collective // Utah Museum of Contemporary Art // Salt Lake City UT

2018 // Drum Set Situations // Untitled Series // Denver Art Museum // Denver CO

2017 // Noise // Pop-Up exhibit w/ Shadowtrash Tape Group // Breckenridge Creative Arts Center // Breckenridge CO

2017 // Coloradolove // Rumpilots Performance // La Générale // Paris France

2017 // Double Exposure // Arvada Center for the Arts & Humanities // Arvada CO

2017 // Labor Sounds // Performance w/ Tobias Fike // Emmanuel Gallery // Denver CO

2016 // Electronic Literature Organization Conference & Sound Exhibition // University of Victoria // Victoria BC

2016 // Medialive 2016 // Flinching Eye Collective // Boulder Museum of Contemporary Art // Boulder CO

2016 // Derivative By Nature // Counterpath // Denver CO

2016 // The Hidden Code // DJ Spooky featuring Rumpilots // Otterbox Digital Dome Theater // Ft. Collins CO

2015 // Denver > Denver // Nothing To See Here // The Dikeou Collection // Denver CO

2015 // The Hidden Code // DJ Spooky featuring Rumpilots // Fiske Planetarium // Boulder CO

2015 // The Paseo: Media Arts Festival // Flinching Eye Collective // Taos NM

2015 // The Biennial of the Americas 2015 // Flinching Eye Collective // Denver CO

2015 // Denver > Denver // Nothing To See Here // Casa Maauad // Mexico City Mexico

2015 // Denver > Denver // Nothing To See Here // Regional Support Network // VideoFag // Toronto ON

2014 // The Aberration Tour // Flinching Eye Collective // Central Trak // Dallas TX

2014 // The Aberration Tour // Flinching Eye Collective // Church of the Friendly Ghost // Austin TX

2014 // The Aberration Tour // Flinching Eye Collective // Longnecker Gallery // Houston TX

2014 // Currents New Media Festival // Flinching Eye Collective // Santa Fe NM

2014 // Bedlam Labor: A Performance Event // The Dead Leaf Art Space // Boulder CO

2014 // Loud!!! // Nothing To See Here // Sidewinder // Denver CO

2014 // Nano Twin: Sensory Preservation Chamber // ATLAS Black Box // University of Colorado // Boulder CO

2013 // Launch Pad 2.0 // Group Exhibition // Outdoor site-specific installation // Sunshine Canyon CO

2013 // Digital Artifacts // Flinching Eye Collective // Museum of Natural History // Boulder CO

2013 // The Lossy Tour // Flinching Eye Collective // Silent Barn // Brooklyn NY

2013 // The Lossy Tour // Flinching Eye Collective // AS220 // Providence RI

2013 // The Lossy Tour // Flinching Eye Collective // Vox Populi Gallery // Philadelphia PA

2013 // The Lossy Tour // Flinching Eye Collective // Squeaky Wheel Media // Buffalo NY

2013 // Sound Created The Ear // Pirate Gallery // Denver CO

2013 // Everything Must Go // The Mercury // Denver CO

2013 // Indeterminate Geographies: MFA Thesis Exhibition // CU Art Museum // Boulder CO

2013 // A Night Of Experimental Performance & Installation // Boulder Museum of Contemporary Art // Boulder CO

2013 // Bring Your Own Beamer // Redline // Denver CO

2012 // Invasion // NDIDA Collective // ATLAS Black Box // Boulder CO

2012 // Autogenesis // NDIDA Collective // Boulder Museum of Contemporary Art // Boulder CO

2012 // Atemporal Radio Tour // Flinching Eye Collective // Tucson Museum of Contemporary Art // Tucson AZ

2012 // Atemporal Radio Tour // Flinching Eye Collective // Nox Contemporary // Salt Lake City UT

2012 // Atemporal Radio Tour // Flinching Eye Collective // High Mayhem Art Space // Santa Fe NM

2012 // Relevant 2012 Exhibition // Kimball Art Center // Park City UT

2012 // R/A: Live // GNU: Experience Gallery // Ft. Collins CO

2012 // Caterwauling // The Mercury // Denver CO

2011 // Gorinto on Ice // The Mercury // Denver CO

2011 // Space Invasion // Fiske Planetarium // Boulder CO

2011 // Relevant 2011 Exhibition // Kimball Art Center // Park City UT

2010 // Technomysticism // Solo Exhibition // Sapere Gallery // Chicago IL

2010 // Modern Masters Exhibition // Flat Iron Arts Building // Chicago IL

2009 // smART Show: Flat Iron Arts Exhibition // Sapere Gallery // Chicago IL

2009 // No Borders, No Walls // Chicago ARTillery Organization // Chicago IL

2009 // Naked July: Performance Exhibition // National Pastime Theater // Chicago IL

2009 // Summer Group Exhibition // Hotei Gallery & Arts Center // Chicago IL

2009 // Extra-Dimensionality // Avram Eisen Gallery // Chicago IL

2008 // Winter Exhibition // Infusion Gallery // Los Angeles CA

2007 // BFA Thesis Exhibition // Solo Exhibition // Hays Arts Center // Hays KS

2006 // 107-A // Hays Public Library Gallery // Hays KS

2006 // The Artwork of Ryan W. Ruehlen and Crystal Hammerschmidt // Gallery Semolino // Hays KS

ACADEMIC EXPERIENCE

2018 // Autumn // Instructor // Digital Art 2 // Art & Art History Dept // University of Colorado // Boulder CO

2017 // Autumn // Lab Instructor // Creative Concepts: Storytelling // CMCI // University of Colorado // Boulder CO

2017 // Spring // Lab Instructor // Creative Concepts: Images // CMCI // University of Colorado // Boulder CO

2016 // Lead Graduate Instructor // Graduate Teacher Program // IAWP Doctoral Program // University of Colorado // Boulder CO

2014 // Spring // Adj Faculty // Figure Drawing // Art & Art History Dept // University of Colorado // Boulder CO

2014 // Spring // Adj Faculty // Drawing 1 // Art & Art History Dept // University of Colorado // Boulder CO

2013 // Autumn // Adj Faculty // Painting 3: Alt Process // Art & Art History Dept // University of Colorado // Boulder CO

2012-2013 // Lead Graduate Instructor // Graduate Teacher Program // Art & Art History Dept // University of Colorado // Boulder CO

2013 // Spring // Instructor // Painting 1 // Art & Art History Dept // University of Colorado // Boulder CO

2012 // Autumn // Instructor // Painting 1 // Art & Art History Dept // University of Colorado // Boulder CO

2012 // Spring // Instructor // Figure Drawing // Art & Art History Dept // University of Colorado // Boulder CO

2011 // Autumn // Instructor // Figure Drawing // Art & Art History Dept // University of Colorado // Boulder CO

2011 // Spring // Instructor // Non-Majors Painting // Art & Art History Dept // University of Colorado // Boulder CO

2010 // Autumn // Instructor // Non-Majors Painting // Art & Art History Dept // University of Colorado // Boulder CO

ACADEMIC COMMITTEES / GUEST LECTURES

2018 // Spring // Visiting Artist Series // Flinching Eye Collective // Dept of Art & Art History // University of Utah // Salt Lake City UT

2017 // Autumn // Guest Lecturer // Remix Culture // Prof. Mark Amerika // Art & Art History // University of Colorado // Boulder CO

2017 // Autumn // Visiting Artist Lecturer // Intro to Practice Based Research // Prof. Lori Emerson // IAWP Doctoral Program // University of Colorado // Boulder CO

2017-Present // Sonic Arts/Experimental Arts Committee // Inter-departmental // University of Colorado // Boulder CO

2017 // Autumn // Guest Lecturer // Performance Art Course // Prof. Steven Frost // Art & Art History // University of Colorado // Boulder CO

2017 // Summer // Guest Lecturer // 4-D Course Foundations // Prof. Tobias Fike // Rocky Mountain College of Art + Design // Denver CO

2017 // Spring // Guest Lecturer // Performance Course // Prof. Adan De La Garza // Art Dept // Metropolitan State // Denver CO

2017 // Spring // Guest Lecturer // Performance & Installation // Prof. Steven Frost // Art & Art History // University of Colorado // Boulder CO

2016 // Autumn // Guest Lecturer // Performance & Installation // Prof. Steven Frost // Art & Art History // University of Colorado // Boulder CO

2016 // Spring // Guest Lecturer // Data Visualization & Design // Prof. Tobias Fike // Art Dept // Metropolitan State // Denver CO

2016 // Spring // Guest Lecturer // Performance & Installation // Prof. Steven Frost // Art & Art History // University of Colorado // Boulder CO

2015-present // Techne Lab Researcher // IAWP Doctoral Program // University of Colorado // Boulder CO

2011-2012 // B.F.A. Arts Curriculum Committee // Art & Art History Dept // University of Colorado // Boulder CO

2010-2011 // Graduate Committee // Studio Arts Representative // University of Colorado // Boulder CO

 

PUBLICATIONS

2018 // Peer Reviewed Audio Work // Narrative Currents: Techne_Lab // Vox Media: Sound in Literature // MATLIT, Vol. 5 // Materials of Literature // http://impactum-journals.uc.pt/matlit/issue/view/248

2016 // Author // Jack Angel // The Lune No. 16 // Lunamopolis Press // Printed in the U.S.A.

2013 // Author // Atemporal Radio Tour // Incite: Journal of Experimental Media // http:// www.incite-online.net/

OCCUPATIONAL EXPERIENCE

2018 // Workshop/Performance // Making Contact: DIY Microphones // Breckenridge Creative Arts Center // Breckenridge CO

2017 // Workshop // Build Your Own Sound Rig // Breckenridge Music Festival // Breckenridge CO

2017 // Guest Contributor/Interviewer // Virtual Reality w/ Dene Grigar // What Is A Media Lab: Situated Practices In Media Studies // Online Archive // The Lab Book // By Dr. Lori Emerson & Dr. Jussi Parikka // University of Minnesota Press // http://whatisamedialab.com

2016 // Peer Reviewer // Radio Art: A (mass) Medium Becomes An (artistic) Medium // By John F. Barber // Hyperrhiz 17: Essays // http://hyperrhiz.io/hyperrhiz17/essays/4-barber-radio-art.html

2016-Present // Member // BTU Lab // University of Colorado // Boulder CO

2015-Present // Founder & Co-Operator // Shadowtrash Tape Group // Cassette Label // Boulder CO

2015-Present // Co-Producer & Archivist // Techne Lab // University of Colorado // Boulder CO

2015-2017 // Radio Show Host // The Shadowhuman Hour // Radio 1190AM/98.9FM // Boulder CO

2015 // Sound Design & Composition // Endless Cycle: By William Lewis with Charlie Biscotto // Boulder CO

2014 // Curator // Bedlam Labor: A Performance Event // The Dead Leaf Art Space // Boulder CO

2011-Present // Founding Member // Flinching Eye Collective // Intermedia Arts Collective // flinchingeyecollective.com

2012 // Musical Sound Design & Score // Nothing // Film by Tracey Snelling // Oakland CA, Berlin Germany

2011 // Lecturer // “Art as Relationship: An experience within a residency” // Boulder Museum of Contemporary Art / Boulder CO

2009 // Art Consultant // Feminist Creative Alliance // Chicago IL

2008-2010 // Curator // Avram Eisen Gallery // Chicago IL

2010 // Co-Curator, Preparator // Not Your Mother’s Doily: An Examination Of Intimate Spaces // Feminist Creative Alliance // Avram Eisen Gallery // Chicago IL

2009 // Curator // Points of View: Wicker Park-Bucktown Arts Competition // Sapere Gallery // Chicago IL

2008-2010 // Artist Member // Chicago Artists Coalition // http://caconline.org // Chicago IL

2007 // Programmer & Curator // Quadra: Music & Art Spectacle // Ft. Hays State University // Hays KS

2007 // Producer // 2nd Annual Frontier Park Music & Arts Festival: Food Drive-Benefit Concert // Hays KS

2006 // Producer // 1st Annual Frontier Park Music & Arts Festival: Food Drive-Benefit Concert // Hays KS

AWARDS / GRANTS

2018 // Summer Fellowship Award // University of Colorado // Boulder CO

2017 // IRISS Grand Challenge Society Grant // Project Society of the Integrated Remote and In Situ Sensing Program // University of Colorado // Boulder CO

2014 // The Idea Fund // The Andy Warhol Foundation For The Visual Arts // Flinching Eye Collective

2013 // Certificate In College Teaching // Graduate Teacher Program // University of Colorado // Boulder CO

2013 // Hope Schultz Jozsa Special Award // Beverly Sears Grant Recipient // University of Colorado // Boulder CO

2012 // Best Should Teach Silver Award // Graduate Teacher Program // University of Colorado // Boulder CO

2011 // Grad Professional Development Award // Art & Art History Dept // University of Colorado // Boulder CO

2011 // Paula Singer Award // Graduate Scholarship // University of Colorado // Boulder CO

2010 // Featured-Sponsored Artist // Liquitex Paint Products // www.liquitex.com

 

RESIDENCIES

2011 // Resident Artist // Relevant 2011 Artist-In-Residence Program // Kimball Art Center // Park City UT

2009-2010 // Resident Artist // Sapere Gallery // Chicago IL

SPECIAL COLLECTIONS

2018 // 2057: Book + Concept Album // By Ryan Ruehlen & Mark Amerika // Tate Modern London Special Collections, University of Michigan Special Collections, University of Colorado Library, John Barber and Dene Grigar Collection, CU Art Museum, Jenny Odell Collection, Rod Bengston and Joanna Chapin Collection, Andrew Currie Collection, Mark Addison Collection, Theo Downes Le Guin Collection

PRESS

2018 // Sounds Of The Desert: Georhythmic Drift Music at UMoCA // The Utah Review // Salt Lake City Utah

2018 // The Rest Is Noise: Miscellany // Alex Ross: A Blog By The Music Critic Of The New Yorker // Online

2018 // Best Shows In Denver 5/24-30/18 // Queen City Sound & Art // Denver CO

2018 // Tank : Solstice Today // Rio Blanco Herald Times // Rangely CO

2017 // Month of Photography Off to Strong Start With Two Arvada Center Shows // Westword Magazine // Denver CO

2017 // Photo takeover: 8 picks for Denver’s massive Month of Photography // One Good Eye // Denver Post // Denver CO

2017 // Top 200 Tape Releases of '17 (#13, 30, 144) // Tabs Out // Wilmington DE

2017 // Local Label Day Birthed // Marquee Magazine // Denver CO

2017 // 12 of the Best Colorado Underground Labels // Westword Magazine // Denver CO

2017 // Boulder's Local Label Day Expected To Be An Alternative // Daily Camera // Boulder CO

2015 // Ideophonetic: The Flinching Eye Collective Brings It (And Then Some) // Culture He(Arts) // Online

2015 // Venison Picks: Best of 2015 // Venison Magazine // Quarterly Arts Publication // Online

2015 // Ten Not-To-Miss Events at the 2015 Biennial of the Americas // Westword Magazine // Denver CO

2014 // 16 Standouts of the Fall 2014 Season // Arts and Culture: TX // Online

2014 // Flinching Eye Collective Defies Music Conventions // Dallas Observer // Dallas TX

2014 // Flinching Eye Collective at Nicole Longnecker Gallery // Houston Public Media // Houston TX

2014 // The Flinching Eye Collective Tour Texas // Arts and Culture: TX // Online

2014 // Feeling the Current in Santa Fe // Hyperallergic // Online

2014 // Currents: International New Media Festival // Arts and Culture: TX // Online

2013 // A Night in the Light // Exhibition Preview // Westword Magazine // Denver CO

2012 // Flinching Eye Collective // Zocalo Magazine // Tucson AZ

2011 // Relevant 2011 // Fifteen Bytes: Utah's Art Magazine // Salt Lake City UT

2011 // Relevant 2011 // Promotional Video // Kimball Arts Center // Park City UT

2011 // Kimball Art Center: Relevant 2011 // City Weekly // Salt Lake City UT

2011 // Kimball Art Center Relevant 2011 Artists revealed // The Park Record // Park City UT

2011 // Relevant Artist Program nurtures new talent // The Park Record // Park City UT

2011 // CU-Boulder Student turns memory into sculpture for residency // The Colorado Daily // Boulder CO

2011 // July 2011 Artist Interview // Feminist Creative Alliance // Chicago IL

RESEARCH & TEACHING INTERESTS

Digital/Analog Hybridization, Mobile Artist Laboratories, Art & Technology, Digital Interfaces, Media Archaeology, Telecommunications Networks, Textual Materialities, Experimental Performance, Sonic Geography, Generative & Noise Art, Art & The Anthropocene, Media Preservation, Time-Based Media, Immersive Installation Art

 

TEACHING PHILOSOPHY

My practice as an educator is predicated on the ability to facilitate acts of experimentation. I teach to re-wire conditions, to flex and meld the thought processes and actions of each student. The proximity of the student community in a studio arts course allows me to have a direct impact and to witness new developments up close and personal. Learning is an action, it is embodied as well as mental, and a classroom based around "doing" is one where the students' shape their own methods and gain knowledge through constant exploration.

Studio arts discourse is changing rapidly and understanding how to navigate these transformations with forward thinking production techniques and emerging research methodologies can liberate the workflow of the studio environment. As an interdisciplinary artist, I am inspired by a vast set of channels for making work that lie beyond the boundaries of media obsolescence. For me, teaching in a new media arts program takes on aspects of media archaeology, which investigates the historical trends of technologically enhanced knowledge systems and digital media economies. I attempt to approach, construct with, and share technology non-hierarchically. For me, to say that all media is old media is also to exclaim that all media is ripe with potential discovery, regardless of how antiquated it appears to be.

Creatively exploring and scrutinizing various genres, platforms and technologies through an artist's lens requires an experimental praxis and I imagine the collaborative studio environment as an artist-run sensory laboratory. Media art labs are sites where materials and aesthetics of technical concepts are developed transversely to their standard applications. What perceptual affordances are brought to the table through the artist's perspective? What questions do art students discern that offer an alternative approach to critical thinking and how does the artist's concerns influence other models of research inquiry? Much like more traditional scientific and technical lab spaces, the collaborative art studio is a place of knowledge production or what I like to call experience production. In this regard, I train student researchers to take up the task of hacking into and critiquing the programmatic structures of various technologies, the black box apparatus, the pre-built materials of our culture.

I borrow my concept of practicing media archaeology as an analytical tool rather than the collecting of "dead media" from media theorist Wolfgang Ernst. Such a method presents aspects of technology that would otherwise escape the discourse of cultural history. The analysis required slips past mass-media concerns and initiates alternative modes of knowledge creation. In many ways, the art student is an ideal candidate for "doing" media archaeology. In order for this situation to catalyze interesting results, I have found that introducing an array of tools which excite students must simultaneously contrast fundamental skill sets with a vantage point of where a tool's limits, holes, and surfaces conceal the socially complicated and problematic structures that abound. No technology is neutral nor is it everlasting. In fact, given the speed with which media technology becomes obsolescent, we can say that all new media is destined for its rapidly achieved archaeological context.

Given the above, teaching technology presents a host of challenges. Today’s platforms offer production possibilities that could quickly consume instruction time, dispersing efforts to weave in content or contemporary trends in the arts. Additionally, students arrive with vastly divergent levels of familiarity and confidence to work with various production tools. Finally, the aforementioned technological obsolescence is paced in a manner that students risk graduating with already outdated skills geared toward software that many might find difficult to purchase. Identifying oneself as a "media artist" is the equivalent of saying "I am under constant revision" and will continually reinvent my practice. Under these circumstances, I encourage skepticism of software/ hardware, emphasize the core knowledge that establishes a diversity of platforms, assist in building professional portfolios, and teach students enough that they can continue to self-train after they graduate.

Implementing a wide range of technical options for making artistic decisions that coalesce with each student’s intuitive, lived-experience is the goal within my classes. One exercise I have used in various courses is based around the psychogeographic dérive where I assign the task of taking long aimless walks. Along these meditative, urban wanderings the student will gather various artifacts of inspiration, from objects, to field recordings, to written notes, and beyond. This work is brought back into the class for deep discussion and eventual studio production. The dialogue and work made from these exercises never cease to bewilder my senses, and allows a collaborative access point into each student’s unique thought processes.

With this in mind, the classroom is a radical space of cross-pollination, of heavy collaboration between students, as well as collaboration between student and professor. If there is one thing I have consistently learned as an arts instructor, it is that I must be willing to share in the learning experiences of my students, to labor alongside them. I also see the potential of collaborative teaching, where professors cross-list courses and share in the classroom/laboratory experience so that a dialogue between artists and scholars can be developed with the student's growth in mind.

The successful media arts program of the immediate future actively seeks out and encourages interdisciplinary work, seeds connections between various departments within a university for advanced research, and pursues public facing outcomes and community programs, which provide students with real world, experience. Often the most rewarding learning exercise comes through taking students' work out of the confines of academia. By bridging the gap between the academy and the larger social world, my primary objective is to galvanize a community where art students can perform, exhibit and research in public, professional and unconventional settings. Public-facing exhibition and performance of work is especially important for students who are entering the final years of undergraduate work as BFAs or for graduate students during the entirety of an MFA program. In many ways the lab and the public sector are two sides of the same coin.

Having said that, before a collaborative group of artists "go public" with their work, tremendous focus and energy must be exerted by the class to produce the best work possible and this entails a rigorous production plan for both the creation of new work and an imaginative programmatic approach to its eventual presentation. In my experience the creative cycle is not just enlivened during the making of a thing. Creativity manifests through the cyclical process of exposure, dialectic, production, application, and experience. The classroom-laboratory is a space of exposure to adventurous materials, broad ideas, and varying techniques. There is no 'one size fits all' and I must engage beyond a personal scope of interests and taste. Such behavior on my behalf sets an example for students to break away from aesthetic habits and dive into processes that challenge them. My favorite moments are often when a student makes a work that defies their self-imposed artistic identity, and we, as a class, come to an examined appreciation of this epiphany. These moments of reflexivity are crucial and I take full advantage of such newfound positions by scrutinizing their decisions in hopes of pushing them to even deeper investigation.

Accordingly, I structure my classes as studio-seminars so that the collaborative forces of creative production occur alongside relevant viewings, readings, and discussions on topical subjects that indicate movements in contemporary art and culture. A serious advantage that an art student in a university has is that their production of new works is not done in isolation. They inhabit a community of students and faculty that assist in the conception of projects and skill development. This space of critically acknowledging diverse historical issues as well as each other's concerns should never be taken for granted. Rather than strictly lecture to the class about contemporary art, I often require each student to prepare presentations on a particular artist and project. I encourage collaborative or team presentations as well.

Assessing a student's work throughout the creative process isn't just a matter of noting visible successes and shortcomings but also seeing how willing they are to go into those failures or dead ends and explore what is still hidden and difficult to retrieve. As an art educator I take on a double position of setting forth a code of ideas, guideposts and skill- sets while asking my students to take risks and break away from habitual ways of thinking and making. This means that I too must be prepared to evaluate not only the predictable, oftentimes good work of a student who generally plays it safe, but also the more adventurous student work that challenges expectations. It is these challenges that particularly make teaching the true joy that it is for me when I am in the classroom.