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Georgie Friedman

Seas and Skies, Variation IV

Art on the Marquee

Massachusetts Convention Center

415 Summer Street

Boston, MA 02210


Screening Schedule

All of the commissioned works will loop continuously on Sundays 8-9pm.

For additional viewing times:

Opening reception: Wednesday, May 16, 2012 - 6:30 to 9pm.

About: Boston Cyberarts and the Massachusetts Convention Center Authority have teamed up to create “Art on the Marquee,” an ongoing project to commission Public Media Art for display on the new 80-foot-tall multi-screen LED marquee outside the Boston Convention & Exhibition Center in South Boston. The largest urban screen in New England, this unique digital canvas is one of the first of its kind in the U.S. to integrate art alongside commercial and informational content as part of the MCCA’s longstanding neighborhood art program. “Art on the Marquee” offers artists more than 3,000 square feet of digital display on seven screens, providing full-motion video and a viewership of more than 100,000 pedestrians and motorists. The marquee is visible for a half a mile in many directions.

Spring 2012 Artists on the Marquee:



Axiom #3:Territory” presents built and un-built environments in a series of tableaux that layer intensely color-saturated satellite and aerial photography. From an impossibly high point of view, the imagery moves, spins, zooms in and out and dissolves into the next tableau. “Territory” is part of Cycles and Ideals, an ongoing collaborative project that is a visual study of Western civilization dealing with the allure and implications of the consumer economy.   Artists François-Xavier De Costerd and Todd Antonellis collaborate to merge symbols of industry and commerce with photographic representations of cycles of consumption. These symbols – salt, metal, building materials, advertising mechanisms, etc. – interrupt and interact with the imagery to present visual axioms that serve as the foundation for a theorem in development.




A visual representation of the rhythm and pattern of urban circulation on the subway and train lines of the Boston area, “I Am Waiting” uses multiple screens to highlight intersections of movement, incorporating footage (both abstract and representational) of moving trains with shifting perspectives, colors and textures. The intent is to create a study in contrast and affinity between horizontal and vertical movement and vertices.   Salem-based Artist Christopher Field and Architect Sarah West are collaborating on “I Am Waiting.”  Field, a recent MFA graduate of Mass College of Art is a videographer, interactive installation designer and writer as well as a website, film and DVD designer. An architect at Moskow Linn Architects, Sarah West has a Masters from Southern California Institute or Architecture.  She has worked on residential design, public art installation, commercial interior renovation, and theoretical urban interventions.  


Georgie Friedman’s “Seas and Skies, IV,” aims to reintroduce elements of nature back into the urban city environment. Video of Boston’s blue sky and white clouds with a formation of circling birds on the tall vertical portion of the marquee is juxtaposed with video of the Pacific Ocean forming a series of large, crashing waves along the bottom horizontal screens. The created seascape shows its artificiality through a shift in scale and perspective as waves heave past their confines, clouds are cut off and giant birds emerge from nowhere and then disappear. Through this interplay of realism and artificiality, the videos unify the two coasts, blending and contrasting the digital and real environment, placing viewers in unexpected observational positions.   Friedman has an MFA (video, film and photography) from the School of the Museum of Fine Arts, Boston in conjunction with Tufts University, and a BA (studio art: photography) from the University of California, Santa Cruz. Her current projects include video installations, video and film experimental narratives, and several photographic series.  


“Rain” is a computer-generated animation that represents how many bottles of water, coffee and soda cups we consume and waste every day.  Bottles and cups start falling as if it they were rain. These cups and bottles are not only life-sized, but their behavior is extremely life-like in the way they fall and bounce, giving the spectator the feeling of literally being under a shower of bottles and cups. When the screen has completed filling up, the viewer is immersed in an overwhelming sensation of being covered in a huge mountain of bottles and cups.   Giraldo is a Boston-New York based Creative Technologist, Media Artist and Interaction Designer who loves to experiment and research in order to implement technology in everyday life.  With an MPS on Interactive Communications (ITP) from the Tisch School of the Arts in New York University, Giraldo is originally from Bogota, Colombia. She moved to Boston to study at Mass College of Art. Challenged every day by language, social differences and endless consumerism, she creates installations that merge with the spectator and the space.




In 2011, inspired by the technological innovation of large-scale vertical and horizontal digital media surfaces that break the standard aspect ratios of traditional video, Painter Linda DeHart painted a series of abstract watercolors specifically for public displays.  Digitally scanned at high resolution and artfully sequenced these works provide an intriguing idea “canvas” for dancer Meg Brooker’s graceful gestures.  Meg’s movements combined with the flow of Linda’s artwork inspired the Colors in Motion team to celebrate the grace and beauty of the human form in nature.  Digital media artist and compositor Christopher Graefe weaves these art forms together in an iterative design process.  “Emergence” seeks to take the viewer to a place of deep serenity accompanied by a dazzling panoply of rich colors and textures that slowly transform from one composition to another, creating an ever changing and intricate study of light and form.  


“Model Lightbox” is a digital collage of photographs of backlit fashion advertisements that Houge took shortly before moving from Shanghai to Boston a little over a year ago. Tassels and fringes, pouty lips and vapid eyes are abstracted from their brand logos and marketing taglines, providing both a simulacrum of and a reprieve from our intensely message-saturated media environment.  Images are free to be, not sell.  The resulting accumulation is voluptuous and playful, perhaps absurd at times, teetering on the boundary between representation and cubist abstraction, image and pure color.  At times a suggestion of accusation or menace may flash from these disembodied eyes and teeth, but they just as soon melt into a variegated field of color, reflecting the compression of our urban environment, our daily anonymous interactions, the steady hum and pulse of the city.   Houge is a composer and sound artist whose attention is focused on finding connections. His areas of activity range from computer game soundtracks to sacred choral music. Much of his work employs computers to make decisions and generate sound, and he has incorporated ideas from his experience in digital media into compositions for live performance. He has been composing music and designing sound for digital games since 1996. Recently relocated to Boston from Shanghai, where he was a senior audio designer for Ubisoft, he is currently Artist in Residence at MIT Media Lab.  


“City of Work” is a long-term project using computer graphics and animation to create a dystopian society about the nature of work. The Marquee project is an animation of an office worker riding an endless elevator juxtaposed against video of the same worker in a solitary office.  |  



Dennis Miller’s “IV” is an animated abstract video that employs bright, morphing colors in a geometric-based design. Thick converging lines change size and angle while the animation pans outward (up and down simultaneously) from an origin precisely at the upper tip of the bottom screen. The hard angles of the work align with the unusual curves of the screens themselves.   Miller, a professor of music technology at Northeastern University, has a special talent for mixed-media compositions. Working in the synthesis of electronic sound, 3D animation and painting programs, he creates stunning and engaging pieces that interweave his own original music and visual imagery.  His compositions have been performed throughout the world, most recently at Design Indaba Africa (Cape Town, South Africa), the New York Digital Salon Traveling Exhibit, Abstracta International Abstract Cinema Exhibition (Cairo, Egypt), and the Cuban International Festival of Music. Miller was an associate editor of Electronic Musician magazine for 10 years and is the founder and artistic director of the Visual Music Marathon.


“Building Boston” is centered on Shanley’s fascination that much of Boston is built upon man-made land. What was once water is now a thriving community thanks to human investment and labor.  Playing with the different orientations of the component screens, the work contrasts video panning across the brick and rows of windows of local Fort Point buildings with video of water with layered animations plotting out the ghosts of future streets.   Shanley is a multimedia artist with a studio in Fort Point whose range of practice includes sound, installation, Internet art, generative computer projects, video, and print. He holds an MFA from Massachusetts College of Art, and a BS from Rensselaer Polytechnic Institute. He currently resides in Somerville, MA.  


In Jeffu Warmouth’s “Cut”  black crumpled balls of paper hang by strings, but inverted, so that they struggle to fly, held in the grip of a reversed gravity, tethered to the ground by threads. The action is in slow motion, to heighten the monumental size of the Marquee and this exaggerated gesture that might otherwise be insignificant. A hand reaches in holding scissors, cuts the threads one at a time. More balls “drop” i.e. jump up, held by string, and the process repeats itself, ad infinitum.   Massachusetts-based Jeffu Warmouth is a conceptual artist who creates work that asks the viewer to unravel their relationships to language, identity, and culture. His work incorporates photography, video, objects, and installations, and often uses humor to skewer popular culture. Jeffu has exhibited in alternative spaces and museums, and his award-winning film/video work has screened in festivals internationally.  Born in San Diego, California, in 1970, he received a B.A. from the University of Michigan in 1992, and an M.F.A. from the School of the Museum of Fine Arts, Boston / Tufts University in 1997. He lives and works in Fitchburg, Massachusetts, where he is professor of communications media at Fitchburg State University.    

Ongoing Screening Schedule

2012 Fall/Winter Screening Schedule

Georgie Friedman – Seas and Skies and Christopher Field & Sarah West – I Am Waiting

Will screen ALL day until 10pm on:

SEPTEMBER: Fri.  9/28  |  OCTOBER: Sun. 10/7, Sat. 10/20   |  NOVEMBER: Fri. 11/2, Fri. 11/11  |  DECEMBER: Fri. 12/7 Sun. 12/16, Sat. 12/29


2012 Spring/Summer Screening Schedule

The art pieces will be interspersed with BCEC content from 7am – 10 pm daily.  

Mondays: Christopher Field & Sarah West – I Am Waiting; Georgie Friedman – Seas and Skies

Tuesdays: Dennis Miller – I V; Christopher Graefe, Linda DeHart & Meg Brooker – Emergence

Wednesdays: Lina Maria Giraldo – Rain; Jeff Warmouth – Cut

Thursdays: Matthew Shanley – Building Boston; Michael Lewy – City of Work

Fridays: François de Costerd & Todd Antonellis – Axiom #3:Territory; Ben Houge – Untitled  

Saturdays and Sundays: See special weekend schedule below.

Saturdays, May 19 & June 2: John Slepian – *sigh*

Sundays, May 20 & June 3: Dennis Miller – Marathon; Ellen Wetmore – Blue Boy Jumping

Saturdays, May 26 & June 9: Kawandeep Virdee – Urban Bloom; Ellen Wetmore – Pacing

Sunday, May 27 & June 10: Jeffu Warmouth – Fall; Nell Breyer – Falling Men  



Georgie Friedman, “Seas and Skies, IV,” night installation view, 80’ tall x 24’ wide (3,000 sq ft of digital display), Public Art Commission for Art on the Marquee, MA Convention Center, 2012.