Project Website: deadhorsebay.blogspot.com
Dead Horse Bay, situated along Brooklyn’s southernmost waterfront, appears today as a place wedged somewhere in time between an industrial past, return to natural shoreline and an undetermined future. The Collaborators will use this site as a context to explore, reflect and ultimately discourse on the environmental impact of site alterations engineered to meet human needs. Their collaborative project will stem from their combined interests in understanding and interpreting nature, ecology, causality, evolutionary change, structural integrity, assigning value to experience, and examining cultural behaviors both current and historic.
Throughout the three-month residency period, monthly public events, scheduled around the summer full moons, will take place at Dead Horse Bay. Events will include a combination of choreography and movement explorations, temporary site interventions and multimedia documentation and representation. Through environmental assessment, creative interplay, site interpretation and traditional man-nature rituals the collaborators intend to create a forum for understanding and experiencing the effects of use, misuse, isolation and neglect along New York City’s coastline.
Dead Horse Bay – 3 FREE PUBLIC EVENTS
Saturday, August 16, 2008, 2:00 PM to 8:30 PM
Sunday, September 14, 2008, 2:00 PM to 8:00 PM
Sunday, October 12, 2008 12:30 PM to 7:00 PM
MORE INFORMATION contact firstname.lastname@example.org or 212-375-8283.
Directions: take the #2 Train to the last stop, Brooklyn College/Flatbush Avenue. Transfer to the Q35 bus. Ask the driver to let you off at the “last stop before the bridge”. Signs will lead you down to our site on the water.
Gerald Marks is an artist working along the border of art and science, specializing in stereoscopic 3-D. He may be best known for the 3-D videos he directed for The Rolling Stones during their Steel Wheels tour. He has taught at The Cooper Union, The New School and the School of Visual Arts, where he currently teaches Stereoscopic 3-D as part of the MFA program in Computer Art. He was a Visiting Scholar at the MIT Media Lab, where he worked in computer-generated holography. His Professor Pulfrich’s Universe installations are popular features in museums all over the world, including San Francisco’s Exploratorium, The N. Y. Hall of Science, and Sony ExploraScience in Beijing & Tokyo. He has done 3-D consulting, lecturing & design for scientific purposes for The American Museum of Natural History, the National Institutes of Health, and Discover Magazine. He has designed award-winning projections and sets at the Public Theater, SOHO Rep, Kaatsbaan International Dance Center and the Nashville Ballet. He created the 3-D glass-block mural in the 28th Street station of the #6 train. In the last few years, he has been working extensively with dance imagery and dancers, creating stereoscopically projected sets. In 1974, Mr. Marks was an artist-in-residence at Floyd Bennet Field, soon after it became part of Gateway National Park.
Sarah White is a dancer, choreographer, video artist, and Alexander Technique teacher. Ms. White holds a BFA in dance from the University of Missouri in Kansas City, 1999 and an AmSAT recognized Alexander Technique Teaching Certificate from the Balance Arts Center, 2007. She has been performing and choreographing in New York City for the last 8 years. Her choreography and video art has been curated for shows and festivals in New York City, Los Angeles, Philadelphia and Kansas City. In addition to making her own choreography, she has had the pleasure of working as a dancer/collaborator in the work of such artists as Felicia Ballos, Alex Escalante, Flora Weigman, Jennifer Monson, Jessica Morgan, Juliette Mapp, Levi Gonzalez, Nancy Garcia, Rebecca Brooks, Meg Wolfe and others.
Angel Ayón, an Associate for Preservation at WASA/Studio A, is trained and experienced in architecture and historic preservation in both his native Havana and New York City. During his professional practice at the National Center for Conservation, Restoration and Museology in Havana, he conducted research and conservation work on several landmark-designated structures at Old Havana historic center; particularly at the Santa Clara Convent and the historic Plaza Vieja. While living in Havana, Mr. Ayón was an adjunct professor at the School of Architecture, where he taught and researched on environmental design for tropical sites. In New York City, his professional practice has included work on several award winning historic preservation projects throughout the city, including historic churches in Brooklyn, restoration of cast iron facades in SoHo and the Rehabilitation of the Biltmore Theater (all with Li/Saltzman Architects, P.C.). Mr. Ayón has been a leading advocator for the conservation of the historic Mount Morris fire watchtower in Harlem’s Marcus Garvey Memorial Park since 2000. At WASA/Studio A, he has been the Project Architect for the ongoing exterior restoration of the Guggenheim Museum since the project outset in 2004. Mr. Ayón holds a professional degree in Architecture and a Masters in Conservation and Rehabilitation of the Built Heritage from the Higher Polytechnic Institute in Havana and a Post-Graduate Certificate in Conservation of Historic Buildings and Archaeological Sites from Columbia University’s Graduate School of Architecture, Planning and Preservation in New York.