Beverly Reiser creates new art collection: Contemplative Reflections

Beverly Reiser - On and On the tears must fall
Beverly Reiser – On and On the tears must fall

Beverly Reiser has been a prolific artist who has been exhibited all around the world.  For the past year she has started in a a new medium, pastels. We hope you enjoy her latest collection.

interactive multimedia installations using sound, video, and computer graphics:

ARTIST / CO-DEVELOPER

Vital Journey / Virtual Heart: a walk-in interactive multimedia installation for Exploration Place, a children’s science museum in Kansas, which takes children on a virtual journey through the human circulatory system, lungs and brain. Visitors complete the oxygen/carbon dioxide exchange using life-size video capture and interactive game technology. In collaboration with Gyroscope, Inc., and Vivid Group opened in April, 2000

 

ARTIST

private_loves/public_opera: A walk-in video “garden” with website which collects love stories, allows you to add your own love story. The web site is athttp://www.ylem.org/private_loves/public_opera/, San Francisco, Art Institute, Walter McBean Gallery, San Francisco, CA Dec.- Jan. 1996-1997, a collaboration with Barbara Lee

ARTIST

Que Viva Tu Recuerdo: Altars And Offerings for the Days of the Dead

An altar/ installation dedicated to the memory of Remedios Varo, Oakland Museum, CA, Oct. -Nov 1995, a collaboration with Lucia Grossburger Morales

 

Under the name of LIFE ON A SLICE:

( These are collaborations with Hans Reiser, Bill Fleming and Kimberley Edwards.)

ARTIST / CO-DEVELOPER:

VOICE GARDEN: LABYRINTH OF LOVE, LABYRINTH OF DESIRE, an interactive multimedia CD-ROM

 

Come, Human, spin in my Web! – A ride thru an A.I.’s persona

An A.I. sends an invitation out to Humans to visit the “web”. If they take up the invite, they adventure into either the “Cerebral Cathedral” or the ” Feral Forest”. Eventually they arrive at one of four possible endings having altered their own “data structure” or the environment.

 

Temple of the Goddesses – A virtual sacred space.

As the visitor moves thru the shrine complex they are engaged in various episodes (depending on the visitors response ) by goddesses Venus, Nemesis, the Psychedelic Cyber Pagan, etc. There are four possible endings with numerous episodes along the way.

 

The Phosphorescent Samurai and the Geisha Snail A surrealistic fable

Two inter-species mutants start on their ‘hero’s journey’ and, depending on choices made by the viewer along the way, are transformed accordingly. There is a final revelation unique to each of the eight possible endings.

HEART THEATER, Exploration Place, Wichita, Kansas opens April, 2000

PRIVATE_LOVES / PUBLIC_OPERA, San Francisco Art Institute, Walter McBean Gallery, San Francisco, CA

Dec.- Jan. 1996-1997

2DO FESTIVAL INTERNACIONAL DE VIDEO Y ARTES ELECTRONICAS, Buenos Aires, Argentina, 1996

INTEGRATED HEMISPERES: Woman/Art /Technology, Blasthaus, San Francisco, CA, May – June 1996

BURNING MAN FESTIVAL, South of Market Arts Center, San Francisco, Aug. 1995, 1996, 1998

INTERACTIVE COMMUNITIES, SIGGRAPH 95 Conference , Los Angeles, 1995

JUPITER AND THE COMETS, a program/event produced by the

Center for Extreme Ultraviolet Astophysics, 1994

THE UBIQUITOUS ART ZONE, the ACM’s Multimedia ’94 Conference, San Francisco, Ca, USA, Oct. 1994

PLEASE TOUCH ! , VIDEO SCULPTURE, Regional Center for the Arts,

Bedford Gallery, Walnut Creek, CA, Jan, 1994

THE INTERACTIVE EXPERIENCE, INTERACT ’93, conference of ACM’s SIG Computer Human Interface and INTERACT ( European ), Amsterdam, the Netherlands, 1993

LIFE ON A SLICE, tour of German University Art galleries, Feb.-May, 1992

SIGGRAPH ART SHOW ’92, Chicago, July, 1992

IMAGES DU FUTUR ’92, LA CITE DES ARTS ET NOUVELLES TECHNOLOGIES DU MONTREAL, Canada

TOMMOROW’S REALITIES: HYPERMEDIA, SIGGRAPH, Las Vegas, 1991

INTERACTIVE ART, Center for Extreme Ultraviolet Astrophysics, NASA, U.C. Berkeley

AMERICAN LIGHT ART, Takashimaya, Tokyo, Japan, 1989-90

NEO-NEON, One Market Plaza, Art Programs Inc., San Francisco, 1987

EXPANDED VISION: NEW TECHNOLOGIES IN ART, Jack Gallery, New York City, 1985

interviews, articles, & books:

Art & Technology at the Mining Co. web site, featured artist in Mindscapes on 11/06/97

LEONARDO, ( the cover of) Journal of the International Society for Arts Sciences and Technology, MIT Press, Vol. 29 #1, 1996

Microsoft’s magazine, feature: Art on the Internet: Rare Birds in Cyberspace, by Dominic Gates, http://home.microsoft.com/reading/features.asp, Feb. 26,1997

INTERNATIONAL SYMPOSIUM OF ELECTRONIC ARTS ’96, CD ROM produced & distributed by MultiArtDisc, Eindhoven, Netherlands, 1996

ARTWEEK, article on art & technology by Barbara Fisher, Jan., 1996

 SIGGRAPH ’95 MULTIMEDIA CD-ROM, a publication of the ACM ‘s SIGGRAPH, 1995

COMPUTERS & GRAPHICS , Pergamom Press , and the IEEE’s COMPUTER GRAPHICS ,Special supplement joint issue edited by Carl Machover, “Aesthetic Considerations Unique to Interactive Multimedia” , May,1995

NEW SCIENTIST, “Netropolis”, “An Elephant Dancing” by Claire Neesham, April,1994

ARTISTS DATABASE CD-ROM , Project Intercommunication Center, Tokyo, 1993,1994,

ART IN THE ELECTRONIC AGE, by Frank Popper, pub. by Harry N. Abrams,1992, Paris, France

LEONARDO, Journal of the International Society for Arts Sciences and Technology,

San Francisco, CA, Jan, 1994

TECH-NATION, interview by Dr. Moira Gunn , National Public Radio, Aug, 1993

GD3D, GRAPHIC DESIGN IN THE THIRD DIMENSION, Ken & Leigh Cato, published by Graphic Sha, Tokyo, 1992

VERBUM, JOURNAL OF COMPUTER AESTHETICS, San Diego, CA, Dec. 1991

LET THERE BE NEON !, Vol. II, by Rudi Stern, NY,NY, 1991

CONTEMPORARY NEON, by Rudi Stern, NY, NY, 1992

NEW YORK TIMES, Business Section 3, The New Hollywood, Sept. 1991

COMPUTER GRAPHICS, Magazine of the I.E.E.E., Art in Virtual Reality, May, 1992

CYBER ARTS, published by Harper- Freeman, ed. by Linda Jacobson, Summer ,1992

offices & awards:

President of Ylem/ Artists Using Science And Technology , PO box 749, Orinda, CA, 94563, 1985-1999

Advisory Board, International Society for the Arts, Sciences, and Technology, San Francisco, CA, 1989-2000

Currently Chair of the Advisory Board

MicroTimes Magazine on it’s “MicroTimes 100”, their list of 100 people who’ve had a significant influence

on the computer industry, Dec., 1995

designer / co-founder / director (until 1999)

Ylem’s Art on the Edge, an art gallery on the world wide web: http://www.ylem.org/

External Advisory Panel member to Xerox PARC Artist-in Residence Program, 1993

Honorary Distinction in Interactive Art, PRIX ARS ELECTRONICA, Linz, Austria, 1992

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Artist Highlight: Laurent Mercier

Laurent Mercier and John Lee Hooker, Jr.
Laurent Mercier and John Lee Hooker, Jr.

Laurent Mercier was born in France in 1967. He spends a good part of his childhood on the road with his parents who are working in the music industry. Later he studies at the « école nationale supérieure des Beaux-arts » in Paris. He started his career as an independent multimedia artist, organizing collective exhibitions. He also worked with the publishing firm, Association for the Development of Multimedia Literature.

He exhibits regularly at the Galerie Donguy, 57 rue de la Roquette, in Paris. He organizes collective exhibitions from the artist action group created by Michel Journiac. He takes part in events on the subject of the artist condition and status in the society, in institutions like Unesco.

He joins Jacques Donguy in his publishing structure “Association for the Development of Multimedia Literature.”

He eventually created his own school “Studio Mercier” where he trains CG Artists, who are working currently in international production studios. He created his own production studio Callicore which allows him to provide services to musicians without any of the restraints often found in major media conglomerates.  Laurent Mercier, in short, has devoted his life to break through boundaries and to bring genuine, true art and freedom to his creations counter-balancing the boredom of what he calls “the cultural dictatorship of corporate media”.

Now with his own company, Callicore, he is in charge of all aspects of its projects, from pre-production to post-production, and retains a relatively independent and free nature. It is working out well for Laurent Mercier and his artist clients.  They won a Webby Award with John Lee Hooker, Jr. with the animated music video ”Blues ain’t Nothin’ but a Pimp” and expanded Callicore’s service offer with music production and music publishing.  More than a collaboration, John Lee Hooker Jr and Laurent Mercier developed the strong bond of a real brotherhood. Among the many illustrious artists co-produced by Laurent Mercier are a variety of projects with John Lee Hooker jr, Arrested Development, Carbon Silicon,The buzzcocks, The Meteors, The Washington Dead Cats, Marky Ramones Blitzkrieg, We Are The Fury, CAKE, Brian Setzer, Lee Rocker, Clinic Rodéo, Dr Feelgood and recently Iggy Pop.

Iggy Pop’s rendition of the classic “La Vie en Rose.”

At Callicore Studios, Laurent Mercier is the producer, director, CG artist, who collaborates with Marius Legrand, producer, lead animator, and are supported by their production assistant Anaelle Majidate.

Washington Dead Cats fun video of a groovy nightmare blues song.

One of the first collaborations between Mercier and Xavier Semens, who joined Callicore in 2006, was the animated video for Phantom Rider, a song from the 2007 album, Hymn for the Hellbound, by the British psychobilly group The Meteors. That same year, Callicore produced an animated video for Sound of a Gun, by the British punk band The Buzzcocks (the initial video was considered too violent for broadcast television, and a second, less violent version was released).

Callicore created the animated video for Blues Ain’t Nothin’ But a Pimp, a song from John Lee Hooker, Jr.’s Grammy Award-winning album, All Odds Against Me. The video portrays Hooker as a comic book character, “Bluesman”, who plays in clubs at night and cleans up the streets during the day. The video was a Webby Award honoree in the Special FX/Motion Graphics category in 2009. An image from the video was featured on the album’s cover.

In 2008, Callicore produced its first video for Carbon/Silicon, a band founded by Mick Jones, the former guitarist for The Clash, and bass player Tony James. In 2010, the studio produced the video for hip-hop group Arrested Development’s Bloody, as well as for When We Were Angels by Marky Ramone’s Blitzkrieg, a project of former Ramones drummer, Marky Ramone.[2]

In 2011, Callicore created the video for Cake’s Long Time, a track from the band’s comeback album, Showroom of Compassion. In an interview with Cake singer John McCrea, Mercier said the gloomy mood of the video, which follows the plight of a man and his monkey imprisoned in a dystopian world, was inspired directly by Cake’s music, which reminds him of “melancholy things.” McCrea was impressed by the video’s general movement and choreography, which he suggested are often lacking in music videos, and appreciated how Mercier perceived the non-humorous side of Cake’s music.

Callicore produced and directed videos for artists such as Brian Setzer, Lee Rocker, Eagle-Eye Cherry and Dr. Feelgood, from 2011 to 2013. The studio has continued its collaboration with John Lee Hooker, Jr., with several videos featuring the “Bluesman” character created for Blues Ain’t Nothin’ But a Pimp.

You can learn more about Laurent Mercier via his website, wiki, and facebook page.

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