Intended to mimic the deliberate yet erratic behavior of lightning, Cumulus is an interactive installation that reacts to sound using light. Lighter than the overall volume it occupies, the piece relies on redundancies and connections unachievable within the confines of a grid, thus attributing to it a soft, cloud-like shape.
Commissioned and produced by Karen Bookatz (in collaboration with design studio SOFTlab) on behalf of global LED company RAB Lighting, Cumulus was installed in the RAB Lighting showroom in New York's Chelsea neighborhood from May 18 - July 3, 2015.
CLIENT: Mayor Michael Bloomberg/City of New York
DESIGN TEAM: Mark Bearak, Karen Bookatz, Luis Bustamante, Jonathan Coble, Haley Cohen, Christina Galati, June Kim, Patrick Koch, Brandon Massey, Seiji Watanabe. PROJECT MANAGER: Karen Bookatz HEAD OF PR & STRATEGIC PARTNERSHIPS: Karen Bookatz
NYC Loop combines a beautiful, contemporary payphone with a uniquely tailored unit of public space that can be chosen to suit New York City’s diverse communities. It provides sound harmonizing technology as well as a smart screen for making calls and enhancing personal mobile communication. NYC Loop also features a responsive projector that generates an interactive ‘information puddle’ on the sidewalk—a strategic opportunity for advertisers as well as local artists. The iconic design of the Loop, and the relationship of its public space units to the city’s neighborhoods, will become an integral part of New York’s urban identity.
Brand strategy, brand management, art valuation and business development work related to the creation of a singular brand and an actionable business strategy for Thom Mayne's fine arts studio. These marketing efforts will consequently be employed in the context of procuring commercial art gallery representation.
Individual related tasks include: Developing and curating content for new dedicated art website, drafting artist biography and artist statement, curating selected visual assets from existing archive and directing the production of new visual collateral (as needed), analyzing materials and soft costs associated with artworks, creating production budgets for new works to be made and coordinating studio visits with strategic art world professionals.
GALLERY CO-FOUNDER/CURATOR/PRODUCER: Julia Kaganskiy
Nobody Leaves, Everybody Goes was the inaugural exhibition of Blue Box Gallery (Karen Bookatz & Julia Kaganskiy), and the first solo show from New Media artist Gabriel Barcia-Colombo.
Nobody Leaves, Everybody Goes is an exhibition about memorialization and, more specifically, the act of leaving one’s imprint for the next generation. While formally implemented by natural history museums and collections (which find their roots in Renaissance “cabinets of curiosities”), this process has grown more pointed and pervasive in the modern-day obsession with personal digital archiving and the corresponding growth of social media culture.
The exhibition includes ten digital sculptures that play upon this exigency in our culture to chronicle, preserve and wax nostalgic, an idea which Barcia-Colombo renders visually by “collecting” human beings (alongside cultural archetypes) as scientific specimens. He repurposes everyday objects like blenders, suitcases and cans of Spam® into venues for projecting and inserting videos of people. While making conspicuous references to Marcel Duchamps’ ‘Ready-Mades,’ he also draws from an eclectic range of other influences, from the combines of Robert Rauschenberg and the video spectacles of Aernout Mik to taxonomy texts and anatomical drawings.
VIP Lounge | Miami Project
DESIGN TEAM: Lucio Santos, Kazuhiro Adachi, Karen Bookatz and Miwa Fukui.
CURATOR/MARKETING/PR: Karen Bookatz
Custom designed for the inaugural Miami Project art fair, the FXFOWLE VIP Lounge features a free-standing architectural pavilion housed within a well-appointed seating and bar area.
The pavilion--which pairs technologically-sophisticated scripting software with simple museum board--comprises 180 varying segments that, together, took the form of complex structural geometries. The segments were pre-assembled, in-house and by hand, into 18 different ribs–using solely Elmer’s glue and a stock adhesive–and subsequently installed upright and fastened to one another via twist ties. The pavilion structure is thoughtfully complimented by plush beanbag chairs and timeless Prince Aha stools, provided respectively by Fatboy and Kartell. SCRA, an applied technology and research company, custom-fabricated the lounge’s 20 foot-long carbon fiber bar that FXFOWLE designed in-house, also with the aid of scripting software.
Un(process)ed is a digital art display, composed of four unique works, that considers alternative modes of production.
In our information-driven society, the back-story of how things are made – ie: via which method, from where and by whom – is constantly being called into question. With the rise of the local food movement and a general shift toward a more responsible consumer culture, we've grown more conscious (and conscientious) about our consumption; we want our food to be unprocessed and our goods to be manufactured with the latest sustainable techniques. We live in an age where process has become part of the product.
Artists in particular have embraced this process-oriented mindset. Fueled by digital experimentation, the artists featured in un(process)ed explore new art-making practices where, in many cases, process defines their works. Beginning with FIELD's 3-D generative landscapes, the show follows a trajectory of deconstruction, with each subsequent work sinking deeper into abstraction. The installation ultimately arrives at the purist forms of MTAA, which reduce the iconic image of one of Andy Warhol's Campbell's Soup Cans to solely shapes and color.