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 | | Julie Harrison | | Artist-in Residence, Art & Technology | | Location: | 208 Morton | | Phone: | 201.216.8583 | | Fax: | 201.216.8245 | | Email: | jharriso@stevens.edu |
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HAR 310:Digital Imaging I
New digital technologies have had a profound impact on contemporary art making. This course will examine digital imaging concepts, methods, history, and aesthetics. Students will capture, edit, alter, and publish digital images and work on a variety of projects. |
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HAR 311:Digital Imaging II
This is an intermediate course in digital print media, with an emphasis on how it informs and evolves visual language for artistic expression. Students will consider multiples, sequencing, notation, gesture, and narrative concerns, combining formal elements with experimentation across media; these media may include: printmaking, drawing, painting, photography, and sculpture. Students continue to work with computer software applications as tools to develop a more in-depth knowledge and vocabulary of the technical, theoretic, and aesthetic possibilities inherent in the medium. Classroom lectures and hands-on lab exercises compliment readings and problem-solving projects. One trip to Manhattan and one scheduled Media Industry Forum on campus is required.Prerequisite: HAR 310 or permission of the instructor. Does not fulfill general humanities requirements; may be taken as a free elective. |
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HAR 320:Video I
This course will serve as an introduction to video production using current video technologies. Students will learn basic production skills and they will be introduced to the history of experimental film and video. There will also be a discussion of visual structure. In this course students will develop and shoot footage that may be used for Video II. |
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HAR 390: Introduction to Principles of Form and Design I
This course traverses through the elemental study of two-dimensional art and design--structural elements, organizational principles, psychological effects, and communicative functions--focusing on both the technical and the imaginative. Problem-solving studio assignments and critiques combined with visits to museums and galleries enable students to develop criteria for the analysis and evaluation of images created both by themselves and by others. |
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HAR 485:Contemporary Art
This course is an overview of a broad range of topics about contemporary fine art. We examine theoretical issues, modern and post-modern styles, and the industry and practice of visual art through bi-weekly visits to galleries and museums in Manhattan. Readings, papers, and presentations are required. This course approaches its subject matter from the artists' standpoint and is taught by a professional artist. |
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HAR 486:Art and Technology
Artists have always experimented with emerging technologies, but in recent decades, as personal computers and the Internet have gained increasing importance in our lives, the field of Art and Technology has emerged as a dynamic and historically significant domain of artistic practice. This course is designed as an investigation into the history of art and technology. Students will become familiar with a wide range of art and technological subjects, including the technological aspects of Cubism, Futurism, Dada, Marcel Duchamp, Surrealism, Kinetic Art, Op Art, and E.A.T. We shall also examine contemporary examples of the merging of art and technology. |
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HAR 490:Internship in Art and Technology
An internship is a short-term work experience that emphasizes learning. It is an essential way to try out a career, develop new skills, combine academic theory with “hands-on” experience, and build up a resume. This is an independent and individually-initiated program of work arranged between the student and an institution, organization, or business. Internship requires a plan (prepared with the job supervisor) to be presented to the Internship faculty sponsor, per approval, in the Program in Art & Technology, outlining the scope of work before starting the internship. It is expected that Internship will run approximately 8 to 12 hours per week for 14 weeks (or 112 to 168 hours per academic session) per 3 credits. A scheduled bi-weekly meeting with a group to discuss internships and career interests is expected. The student's internship performance will be evaluated by the following: a) a weekly journal describing the student's involvement in various activities and projects; b) an approximately five-page reflective essay in which the student integrates prior coursework with the internship experience (a theory and practice exercise); c) a basic report indicating the extent to which scope of work was accomplished; d) attendance and participation in group meetings; e) a written evaluation from the student's supervisor; f) a portfolio of work accomplished during the internship, if appropriate. Does not fulfill general humanities requirements; may be taken as a free elective. |
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| | Department: Art & Technology | Program: Art and Technology
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| | Research & Education | |
| | Research | | Experiments in Art and Technology (E.A.T.). Image and Text. Experimental Typographic Design. Political Satire. Collaboration. Artbots. Art and Engineering. Art and Science. Public Art. "Green" Art. Artist's Statement
In an American culture that situates people as voyeurs, whether the allure is "reality TV" or news, the visual drama that unfolds through the veil of another medium often enables us to live a relatively safe but vicariously dramatic life at a distance.
I photograph images from news magazines as a means to archive, but the abstraction of these ambiguously familiar images further reflects the degree to which we tend to experience events -- through the lens of technology. Therefore, technology serves as both medium and message in my work, as the images' graininess and loss of focus treats the subject softly. My current photographs are intended to raise questions rather than answer them. A subtext here is in the analysis of what is portrayed in the news (war, global warming, natural disasters, corporate greed) and identification with it.
The traditional diptych was a device for recording notes and measuring time and direction. The placement of my photographs in this format reinforces the notion of contemporary art practice as a mapping or recording of time. For me, this challenging post-9-11 era is in particular need of transcribing with the poetry of an artist rather than the drumbeat of war. |
| | | Education | M.A. New York University, 1980
B.A.F.A (BA in Fine Arts), University of New Mexico, 1975
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| | Experience & Service | |
| | General Information | Julie Harrison has been a "crossover" artist in New York City for more than twenty-five years, moving between video, photography, performance, installation, books and digital images. She is the recipient of numerous grants and awards and has exhibited widely. Currently, Harrison is the founding director of the Art & Technology B.A. program at Stevens Institute of Technology in Hoboken, New Jersey, and creative consultant/designer at Granary Books, Inc., publisher of artists books and works exploring the intersection of word, image and page.
| | Experience | Harrison's early time-based works in the 1970s traversed through private performances for video to multiple video camera/monitor performances and installations. A single-channel extension of these ideas was developed with image-processed videos, utilizing multiple-source systems in real time, produced over a period of 15 years at the Experiemental Television Center. During this time, Harrison recognized the importance of the collaborative process, working with other artists, writers, musicians, dancers, architects, and educators. She was an early member of Collaborative Projects (Colab), participating in seminal theme shows and working in many capacities on the artists' cable TV show, "PotatoWolf." She was co-founder of Machine Language, a video art group, and later, through her own company, Julie Harrison Productions, produced and directed video art, documentaries and art educational videos which have aired on PBS nationwide and have been featured in festivals and exhibitions throughout North America and Europe.
Museum Exhibitions
Museum of Arts & Design (NYC)
Neuberger Museum/Purchase (NY)
Albany State Museum
Bronx Museum for the Arts
New Museum of Contemporary Art (NYC)
Astoria Museum of the Moving Image (NY)
[Former] L.A. Institute for Contemporary Art
Staatliche Museum in Baden-Baden, Germany
Munchner Stadtmuseum in Munich, Germany
Museum fur Angewandte Kunst, Frankfurt, Germany Film Festivals
National Educational Video & Film Festival, Oakland, 1990
Women in the Director’s Chair Festival, Chicago, 1990
National Video Festival, American Film Institute, 1986
Festival Internationale de Films et Video de Femmes, Montreal, 1986
La Video Fameuse Fete Video Festival, Quebec, Canada, 1984
Video Culture/Canada Video Festival, Toronto, Canada, 1984
World-Wide Video Festival, Den Haag, Holland, 1984
Toronto Film Festival, Festival of Festivals, Toronto, 1984
World-Wide Video Festival, Den Haag, Holland, 1982
Festival Internationale Cinema e Video, Rome, Italy, 1982
Video Roma International Video Festival, Rome Italy, 1980
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| | | Consulting Service | Creative Consultant/Designer, Granary Books, New York City, 1998–present | | Institutional Service | Humanities Council, 2004–present
Advisory Committee, Stevens Creative Consortium, 2005–2006
| | Professional Service | Co-producer, Artist-in-Residence, Studio Printworks, Hoboken, NJ, 2007–present
Selection Committee, Mid Atlantic Media Forum, New Jersey Technology Council, 2007
Awards Review Panelist, Manhattan Borough President’s Office, 1988
Fellowship Review Panelist, New York Foundation for the Arts, NYC, 1986
Board of Directors, Media Alliance, NYC, 1983–86
Other
Co-curator, “E.A.T.: The Story of Experiments in Art and Technology, 1960–1974,” 2005–present
Creative Consultant, Designer, Granary Books, New York City, 1998–present
Video Project Director, ArtsConnection, NYC, 1990–1993
Artist/Instructor, Guggenheim Museum, NYC, 1986–1990
Video Project Director, Curator, Networking Project for Disabled Women and Girls, NYC, 1984–89
Archival Director of Video & Film; Margaret Mahler Psychiatric Research Foundation, 1982–85
Curator/Director of Programming, Dance on the Lower East Side Festival, NYC, 1981–83
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| | Achievements & Professional Societies | |
| | Honors & Awards | | National Endowment for the Arts Award, 2006
Residency Award, Visual Studies Workshop, 2000
Steven L. Barstow Award, Central Michigan University, 1993
Gold Apple Award (1st prize), National Educ. Film & Video Festival, 1990
New York Foundation for the Arts Video Fellowship, 1988
Barbara Lathum Memorial Award, Chicago Art Institute, 1987
Residency Award, Visual Studies Workshop, 1983
Residency Award, Satellite Exchange Society, Vancouver, BC 1982
Honorable Mention, Atlanta Film & Video Festival, 1981
Fellowship Award, Creative Artists Public Service Program, NYC, 1981
Colorado Award (1st prize), Athens Film & Video Festival, 1981 |
| | | Grants, Contracts & Funds | | Funding Exchange, Paul Robeson Fund, NYC, 1988
National Endowment for the Arts Media Grant, 1987
Film Fund, Video Grant, 1986
New York State Council on the Arts, Media Grant, 1985
Media Bureau Finishing Funds, The Kitchen, 1985 |
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| | Selected Publications | |
| Journals
Julie Harrison and Joe Elliot. (1998). Leonardo: the Journal of the Int’l Society for the Arts, Sciences and Technology.
Julie Harrison and Brigid McLeer. (1999). Shark: a journal of poetics and art writing, Issue #2.
Julie Harrison and Brigid McLeer. The Astrophysicist's Tango Partner Speak.
Julie Harrison and Brigid McLeer. "LA | NY", The East Village, Volume 9.
| | Report
Julie Harrison. (2004). "Art & Technology", ISSA Review, Stevens Institute of Technology.
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