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The "infrathin"
as conceived by Marcel Duchamp and adapted by Kenneth Goldsmith
is utilized as a vehicle/pretext for more or less responsible
explorations/spoofings relating to location, national and
other boundaries, and the apparently fictive distinctions
among various dimensions (2-, 3-, 4- and 5-D, inside v. outside,
then v. now, etc.) The works to be shown at Epitome are from
a larger body of work but are specifically selected and in
some cases created for the particular venue.
Carolyn
Sortor's practice includes video, relational strategies, and
curation. She has a B.F.A. purchased from Ben Britt and is
working on an artificial M.F.A. Her work has been shown in
New York, San Francisco, Dallas, Austin, and elsewhere, and
in 2013 she received the Dallas Observer Mastermind award.
Recent projects have included curating the Dallas Medianale:
Existential Virtuality (2015); Seismic Hive (2009-14), a solo
exhibition at The Reading Room, Dallas with composite videos
and images printed on vintage seismic graph paper from the
Los Alamos National Laboratory; Transmembrane Pressure (2014),
a performance broadcast live via Google Hangouts for the Santa
Fe International New Media Festival; organizing and directing
the first Expanded Cinema (2012), a program of new video art
works created for the 999 x 193' LED screen wrapping the Omni
Dallas Hotel with audio simulcast on KXT 91.7 FM; art as social
wormhole (2013-ongoing), an "artificial MFA" course/reading
group in aesthetic texts relating to art's power to influence
reality; the OccuLibrary (2011-13), a rolling collaboration
creating aesthetically-informed reincarnations of the libraries
destroyed when Occupy camps across the U.S. were evicted;
and The Wedding Project (2011), in which she and her husband
were married and their 150 guest-participants dressed as brides
or wore white, forming a human screen onto which one of two
videos she made was projected.
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