Les LeVeque

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Les LeVeque is an artist based in New York who works with digital and analog electronic technology. His work includes single and multi-channel videos and video/computer-based installations. [1] LeVeque's work uses algorithmic structures, statistically distributed elements, experimentation with the boundaries of interfaces, and provides new views of existing narratives. [2] [3] In 2014 he is a member of the faculty and co-chair of Film and Video at the Milton Avery Graduate School of the Arts, Bard College.

Contents

Early life and education

LeVeque holds an MFA from Syracuse University with a concentration in Video.

Experiential video narratives

In 2014, Les LeVeque's creations are videos which combine and electronically modify appropriated media and filmed social situations to provoke physical, intellectual and emotional response from the viewers. [4] [5] LeVeque employs, in his work, algorithms and computer interface mixed with classical Hollywood films, appropriations of political broadcasts and advertisements, using new technology to provide an alternative view of cinema and to highlight political issues regarding media. The algorithms produce a visual experience that is not present in the original films. [6] [7]

List of works

Distributed by Video Data Bank

Distributed as part of the Electronic Re-mix Project

1996

References

  1. ↑ Scott MacDonald (2001). The Garden in the Machine: A Field Guide to Independent Films about Place . University of California Press. pp.  106–. ISBN   978-0-520-22737-8.
  2. ↑ "The Poetic and the Pop: The 43rd Vienna International Film Festival (Viennale)". Senses of Cinema, Michelle Carey, May 2006
  3. ↑ Tay, Sharon Lin, and Patricia R. Zimmermann. "Throbs and Pulsations: Les LeVeque and the Digitization of Desire”. After Image. Web. December 12, 2012.
  4. ↑ "Visual Bio". Portland Mercury, JULIANNE SHEPHERD, September 19, 2002.
  5. ↑ Steven Jacobs (June 13, 2011). Framing Pictures: Film and the Visual Arts. Edinburgh University Press. pp. 164–. ISBN   978-0-7486-8871-5.
  6. ↑ Christine Sprengler (April 2, 2014). Hitchcock and Contemporary Art. Palgrave Macmillan. pp. 149–. ISBN   978-0-230-39216-8.
  7. ↑ "FEATURED REVIEW: Perpitube: Repurposing Social Media Spaces – Crazy Lady". Artillery, Chris Bors.
  8. ↑ Glyn Davis; Professor Glyn Davis, Dr Dr; Kay Dickinson, Lisa Patti, Amy Villarejo (February 20, 2015). Film Studies: A Global Introduction. Routledge. pp. 480–. ISBN   978-1-317-62338-0.{{cite book}}: CS1 maint: multiple names: authors list (link)
  9. ↑ Steve F. Anderson (2011). Technologies of History: Visual Media and the Eccentricity of the Past. UPNE. pp. 169–. ISBN   978-1-61168-008-9.
  10. ↑ Douglas A. Cunningham (2012). The San Francisco of Alfred Hitchcock's Vertigo: Place, Pilgrimage, and Commemoration. Scarecrow Press. pp. 244–. ISBN   978-0-8108-8122-8.
  11. ↑ "Obsessions Video Program". Chicago Reader, Fred Camper
  12. ↑ "CRITIC'S NOTEBOOK; A Revolution Made Of Gritty Intimacy". New York Times, By STEPHEN HOLDEN Published: July 17, 1998
  13. ↑ "ART REVIEW; Seashells as Symbols in Mesoamerican Society". New York Times, By HELEN A. HARRISON, December 7, 1997.
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