Description

"Technologies of Amplification" Amber Frid-Jimenez is an artist whose work investigates the cultural mechanics of the network. Her work is situated at the intersection of contemporary art, design, and technology and explores the circulation of digital images through physical installations, visual systems, code, books, and online platforms. Her work was recently included in MashUp at the Vancouver Art Gallery. She has previously shown at the Jan van Eyck (Netherlands), Casco Projects (Netherlands), DFN Gallery (NY), and elsewhere. She collaborates with artists and curators—including Ute Meta Bauer, Lucy Orta, T’ai Smith, and Mel Chin—to develop work at the intersection of art, science, and culture. Her work will be included in Mel Chin’s All Over the Place (2018) at the Queens Museum (NY). Frid-Jimenez is currently Canada Research Chair in art and design technology and Associate Professor at Emily Carr University in Vancouver, where she directs the Studio for Extensive Aesthetics. She has held positions at the MIT Program in Art, Culture and Technology; Rhode Island School of Design; and Bergen Academy of Art & Design. She holds a master of science degree from the MIT Media Laboratory, where she worked in the Physical Language Workshop and the Cognitive Machines Group. Richard William Hill is Canada Research Chair in Indigenous Studies at Emily Carr University of Art and Design. Hill began teaching full-time in the Art History program at York University in 2007 and left as Associate Professor in 2015. As a curator at the Art Gallery of Ontario, he oversaw the museum’s first substantial effort to include Indigenous North American art and ideas in permanent collection galleries. He co-curated, with Jimmie Durham, The American West at Compton Verney, UK, in 2005 and, beginning in 2006, The World Upside Down, which originated at the Walter Phillips Gallery at the Banff Centre and toured across Canada. Hill’s essays on art have appeared internationally in numerous books, exhibition catalogues, and periodicals. His regular column, Close Readings, began in FUSE Magazine in 2013 and continued in C Magazine until 2015. He currently has a semi-regular online column for Canadian Art and is on the editorial board of the journal Third Text.