Outpost Artists Resources is a non-profit arts organization located in Ridgewood, Queens. We have been serving the arts community since 1990 providing access to video, sound services and new media assistance at well below market rates. In 2003, we began the Cuts and Burns Residency Program, which provides artists with free access to our facility including personal assistance by our staff of video editors, audio engineers, and computer programmersRead more...
Cuts and Burns Residency
Outpost Artists Resources supports new creative work through its residencies, and events – its mission is to serve artists in need of technical assistance with video, audio, and physical computing based art projects and to foster a dialogue between visual art and experimental music. Outpost hosts gallery exhibitions, artists talks, screenings and events that pair visual art, video, experimental music, and performance in an effort to bring adventurous audiences challenging interdisciplinary projects.Read more...
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Get in Touch
Outpost is Located at
1665 Norman St.
Ridgewood NY 11385
Tel: 718. 599.2385
Saturday, March 2nd, Elliott Sharp and FOX CRANE BEAR
Elliott Sharp! and
FOX CRANE BEAR!
Art videos by Errka Nissinen, Pekka Sassi, Ola Vasiljeva, Jo-Anne Balcaen, Leo Gabin and Wendy Vainity.
THIS Saturday, March 2nd!
This Week at Outpost Artists Resources!
Along with a screening of video art from an international selection of artists
SeeThru Series at Outpost Artists Resources
Saturday, March 2nd at 8pm at Outpost Artists Resources
1665 Norman St
Ridgewood, NY 11385 (by the Halsey L train)
Sharp is an American multi-instrumentalist, composer, and performer.
A central figure in the avant-garde and experimental music scene in New York City for over 30 years, Elliott Sharp has released over eighty-five recordings ranging from orchestral music to blues, jazz, noise, no wave rock, and techno music. He leads the projects Carbon and Orchestra Carbon, Tectonics, and Terraplane and has pioneered ways of applying fractal geometry, chaos theory, and genetic metaphors to musical composition and interaction.
His collaborators have included Radio-Sinfonie Frankfurt; pop singer Debbie Harry; Ensemble Modern; Qawwali singer Nusrat Fateh Ali Khan; Kronos String Quartet; Ensemble Resonanz; cello innovator Frances Marie Uitti; blues legends Hubert Sumlin and Pops Staples; pipa virtuoso Min-Xiao Feng; jazz greats Jack deJohnette, Oliver Lake, and Sonny Sharrock; multimedia artists Christian Marclay and Pierre Huyghe; and Bachir Attar, leader of the Master Musicians Of Jajouka.
Sharp has composed scores for feature films and documentaries; created sound-design for interstitials on The Sundance Channel, MTV and Bravo networks; and has presented numerous sound installations in art galleries and museums. He is the subject of a new documentary “Doing The Don’t” by filmmaker Bert Shapiro.
FOX CRANE BEAR
Greg Fox is a multi-instrumentalist, producer, performer, composer, dj, graphic artist, sculptor, draftsman, record label founder, radio host, teacher, and taoist practitioner.
G. Lucas Crane is a sound artist, performer, and musician whose work focuses on information anxiety, media confusion, and recycled technology. Using a combination field recordings culled from the underbelly of the contemporary sonic media landscape and homemade electronic instruments, oscillators and broken machines, he creates compositions and performances as a reaction to, and illustration of, our information detritus choked times. Past work has dealt with musicality of a location or route, horror and phantasm in the information age, technology as abomination, the mystical presence of obsolete recording technology, recording as ritual, and the religious, poetic, and magical connotations of feedback and improvisation. Many of the soundscapes and collage work are built around quickly moving tape manipulations, the common cassette being a perfect example of old technology as iconic personal Gnostic totem. Years of environment recording and sample hunting have resulted in a broken library of material that is collaged together live, an information life that is constantly folding back on itself fractal-like, which he believes illustrates modern experience. Tape manipulation harkens back to the early days of experimental music, and in the context of the digital era it creates a sonic counterpoint on the continuum between hi and low fi, folk outsider and academic composition. Crane’s work exists in a meditation on the blurred boundary between new and old tech and the emotional and social toll created by the rapid advancement of the technological sonic/environment.