{"id":18090,"date":"2016-01-15T13:46:29","date_gmt":"2016-01-15T13:46:29","guid":{"rendered":"https:\/\/www.impactmania.com\/im\/george-bolster-seti-institute-artist-residence\/"},"modified":"2025-11-15T15:23:03","modified_gmt":"2025-11-15T15:23:03","slug":"george-bolster-seti-institute-artist-residence","status":"publish","type":"post","link":"https:\/\/www.impactmania.com\/im\/george-bolster-seti-institute-artist-residence\/","title":{"rendered":"George Bolster: SETI Institute Artist-in-Residence"},"content":{"rendered":"

\"George-Bolster_1024x682\"<\/a><\/h1>\n

<\/p>\n

George Bolster: SETI Institute Artist-in-Residence<\/span><\/h1>\n
BY PAKSY PLACKIS-CHENG<\/h5>\n


\nGeorge Bolster<\/a><\/strong> (b. 1972, Cork, Ireland; lives in New York City) is an artist-in-residence at the Search for Extraterrestrial Intelligence (SETI<\/strong>) Institute in Mountain View, California.<\/p>\n

This residency differs from a typical one because Bolster collaborates with leading scientists such as the SETI Institute\u2019s Bernard M. Oliver Chair,\u00a0Jill Tarter<\/strong><\/a>\u00a0<\/strong>and\u00a0Laurance Doyle<\/strong><\/a>\u00a0who discovered\u00a0Tatooine<\/strong>\u00a0(Kepler-16b<\/strong>)<\/a>. They are\u00a0part of the next-generation of explorers looking for life outside of planet Earth.<\/p>\n

In our interview, Bolster spoke about his work\u00a0Archive for an Unmade Narrative <\/em>(2015-2016).<\/p>\n

Does art always respond or react to something?<\/strong><\/p>\n

A lot of art doesn\u2019t necessarily respond to anything. It has often to do with cultural constructions in the history of representation. What I do is more conceptual; I make art that addresses real problems or ideas. I try to shift the viewer\u2019s perception of what they thought about the subject before experiencing my work.<\/p>\n

Is art your way of leaving a legacy, like some people build companies, or others are into philanthropy?<\/strong><\/p>\n

I address this theme in the piece called Self Erosion<\/em> (2013), which has to do with suicide. In it I pose the question: \u201cIs art a way to be loved in some abstract way across time or a way to leave some impression across time?\u201d There is an immortality associated with art. Considering the environmental situation we are in, how are we going to conserve all the art that\u2019s been created, even\u00a0the works created in\u00a0the last century?<\/p>\n

The new work that I\u2019ve been working on with the Moon Museum and the McMoons archive project has to do with the idea that culture or even humanity is not infinite. We need to realize that we are impermanent, as are all art objects. Art is a mortal thing that we have to protect\u2014in the same way that we need to protect our species.<\/p>\n

Why\u00a0is the McMoons archive project in a defunct McDonald\u2019s in the\u00a0<\/strong>NASA Ames Research Center<\/strong>?<\/strong><\/p>\n

I think that was the available building at the time. They nicknamed it McMoons because it contains the images of the mapping of the moon by five lunar orbits before the\u00a0Apollo missions<\/strong><\/a>.<\/p>\n

<\/p>\n

\"McMoons\"

The McMoons Archive<\/p><\/div>\n

<\/p>\n

It was started and is managed by\u00a0Dennis Wingo<\/strong><\/a>.\u00a0Dennis was part of the\u00a0LORIP Project<\/strong><\/a>, founded by SkyCorp<\/strong><\/a>\u00a0<\/strong>and\u00a0SpaceRef<\/strong><\/a>, to recover original images from the master tapes of the\u00a0NASA Lunar Orbiter<\/strong><\/a> spacecraft.\u00a0Nancy Evans<\/strong><\/a>, who was cofounder of the NASA Planetary Data System (PDS<\/strong><\/a>), donated the actual archive to McMoons.<\/p>\n

It\u2019s quite funny that the archive is in a defunct McDonald\u2019s. It\u2019s a very unusual sight. It also makes it visually fascinating because you\u2019re looking at these incredible images at the height of technology\u00a0at the time, being stored\u00a0in a former fast food restaurant. The other reason\u00a0the archive is in that building is because it is climate controlled and they can properly store the film and VHS tapes.
\n<\/p>\n

\"Fat

Fat Fryer Film Archive at McDonalds<\/p><\/div>\n

<\/p>\n

As the artist for this project, did\u00a0you have free rein within set parameters, or did the scientists have ideas on how to visualize the project?<\/strong><\/p>\n

The program was founded between Jill Tarter and\u00a0Charles Lindsay<\/strong><\/a>, the director of the program, who is also a fantastic artist. Curator\u00a0Denise Markonish<\/strong><\/a>\u00a0is the SETI AIR advisory committee. It\u2019s\u00a0a\u00a0collaborative project. We have had numerous field trips\u00a0to SETI, the\u00a0Allen Telescope Array<\/strong><\/a>, in Hat Creek, which is the observatory, and NASA Ames. It\u2019s a very open program. The artists can, based on different lectures from different scientists, find a subject they want to address and determine the way in which they want to address that subject.<\/p>\n

Sometimes that happens through more philosophical or aesthetic means. Sometimes it\u2019s more scientifically and research-based. I made\u00a0three time-period film pieces, which address\u00a0what\u00a0we used to think,\u00a0what\u00a0we think in the present, and what we\u2019re facing in the future. It blends sci-fi with documentary making.<\/p>\n

<\/p>\n

\"George

The Allen Telescope Array<\/p><\/div>\n

<\/p>\n

Your previous residency was with the Rauschenberg Foundation. What did you learn by spending time in the\u00a0<\/strong>Rauschenberg Residency<\/strong><\/a>?<\/strong><\/p>\n

I learned a lot about Robert Rauschenberg<\/a><\/strong>. I didn\u2019t realize before I left that he was so involved with conservation, which is incredibly important to our collective future. He bought a lot of the land on Captiva Island, Florida to stop developers getting their hands on it. He kept most of it in its natural jungle state.<\/p>\n

What did you learn about yourself?<\/strong><\/p>\n

I went there with a film piece in mind that I had been writing for a year. It was a very, very bleak subject. It was about my ex-partner, who died in 2010. It was an examination of depression. Once I arrived on the island, being\u00a0in that unspoiled nature, it helped me gain a distance from that piece, and to finish it in a way that I wouldn\u2019t have otherwise. Ultimately, it led to the next piece Un\/natural History: Drowning Captiva<\/em>, which was about saving and celebrating what we have in terms of our ecology.<\/p>\n

Do you mean that the current SETI project is related to the film you made during the Rauschenberg Residency?<\/strong><\/p>\n

The previous film was called\u00a0Unnatural History: Drowning Captiva<\/em><\/strong> (2014)<\/strong>, Rauschenberg was invited by NASA in the \u201960s to watch the\u00a0Apollo 11<\/strong><\/a>\u00a0<\/strong>lift off. He was given access to NASA archives at that point. His\u00a0Stoned Moon<\/em><\/strong>\u00a0series<\/strong><\/a>\u00a0was mostly based on the images from that archive. He started\u00a0Experiments in Art and Technology (EAT)<\/strong><\/a>\u00a0<\/strong>around this time, and then a project called the\u00a0Moon Museum<\/em><\/strong><\/a>, which was a little ceramic wafer, the type used on the exterior of Apollo spacecraft. In collaboration with other artists, he printed drawings from\u00a0Forrest Myers<\/strong><\/a>,\u00a0Andy Warhol<\/strong><\/a>,\u00a0Claes Oldenburg<\/strong><\/a>,\u00a0John Chamberlain<\/strong><\/a>, and\u00a0David Novros<\/strong><\/a>. They allegedly smuggled this aboard\u00a0Apollo 12, so it is the first art object in space.<\/p>\n

I was using that as material within the film to talk about this fascination with space, and the initial impulse to put a piece of culture into space. Also, the idea that we may not have any choice but to try and get to the next habitable planet in order to survive as a species. If we don\u2019t survive, does culture survive\u2014if there\u2019s no one to interpret it? That became part of the film and how I ended up at SETI Institute.\u00a0What I\u2019m researching with McMoons is this idea of archival practice being a central impulse for saving culture.<\/p>\n

What have you learned from\u00a0Archive for an Unmade Narrative<\/em>, (2016) this current project?<\/strong><\/p>\n

It\u2019s early-days, but it has opened new, unknown fields to me.\u00a0The scientists are so brilliant, generous, and humble. I was a nervous wreck after researching them. To meet people like Jill Tarter who\u00a0is at the cutting edge of science, or Charles Lindsay, who has a major science background as well as art\u2026\u00a0Laurance Doyle<\/strong><\/a>\u00a0is a totally amazing scientist who discovered\u00a0Tatooine<\/strong><\/a> (the planet, not the fictional one from Star Wars!) The level of their research is extraordinary. It\u2019s fantastic. It\u2019s inspiring. There are a lot of cultural implications to the SETI\u2019s research, but they\u2019re at the forefront of trying to save us, really.<\/p>\n

<\/p>\n

\"Laurance

Laurance Doyle discovered the first planet to orbit around two suns \u2014 similar to the fictional planet in Star Wars, Tatooine.<\/p><\/div>\n

<\/p>\n


\nWhat is the takeaway of the SETI art residency?<\/strong><\/p>\n

Part of the point of the residency program is to make people aware of the SETI Institute\u2019s mission. It\u2019s an extremely important charge\u2026that they have taken up. They are helping to safeguard and protect our species for the future. I\u2019d like to help make people aware of how important this is for humanity.<\/p>\n

With all this work in the art world, who\u00a0has made an imprint on your professional DNA?<\/strong><\/p>\n

SETI has had a huge impact on me as a person, and then also in terms of how I research. A lot of the art I\u2019ve made was based around an idea, which I then narrowed down to one point. Since being there my work is now more like a narrative capable of having multiple points and opinions\u2014often contrasting opinions to open up a field of questions as opposed to having one particular point.<\/p>\n

With all the past research and your work as an artist, what do you think is needed for social impact?<\/strong><\/p>\n

A lot of the art I made was more aesthetic-based and aesthetically appealing. This more recent work is about ideas, and it\u2019s about the conversation that can be sparked out of the ideas. A lot of people who\u2019ve seen it said, \u201cI didn\u2019t really think of it in that way before\u2014that we\u2019re teetering on the edge of something we need to try\u00a0to stop.\u201d<\/p>\n

\u00a0<\/strong><\/p>\n

<\/p>\n

\"\"

“We need to plan the infinity of our species” by George Bolster<\/p><\/div>\n

<\/p>\n

Give me a word that describes your journey so far.<\/strong><\/p>\n

Random\u2026 No matter what I\u2019m doing I\u2019m always passionately engaged in it, which is the point of art in a way.\u00a0Passionate engagement\u00a0is\u00a0the point of any cultural endeavor.<\/p>\n

And what are you not good at?<\/strong><\/p>\n

I procrastinate.<\/p>\n

You mean you are good at that, too?<\/strong><\/p>\n

[Laughter.<\/em>]<\/p>\n

<\/p>\n

\n

All images courtesy of the artist, George Bolster<\/a><\/strong>.<\/p>\n

George Bolster\u2019s next show \u201cKenosis in the Supervoid<\/a><\/em><\/strong>\u201d is at Station Independent Projects<\/a><\/strong> on Eldridge St., New York. It opens on April 8.<\/p>\n

George Bolster\u2019s \u201cArchive for an Unmade Narrative<\/em>\u201d with\u00a0Critical Practices Inc. and 21ST.PROJECTS<\/a><\/strong>\u00a0runs from March 24 \u2013 April 22, 2016.
\nViewing is by prior appointment only. For more information or to make an appointment to view the work, please contact: georgebolster@hotmail.com<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

George Bolster (b. 1972, Cork, Ireland; lives in New York City) is an artist-in-residence at the Search for Extraterrestrial Intelligence (SETI) Institute in Mountain View, California.<\/p>\n

This residency differs from a typical one because Bolster collaborates with leading scientists such as the SETI Institute\u2019s Bernard M. Oliver Chair, Jill Tarter and Laurance Doyle who discovered Tatooine (Kepler-16b). They are part of the next-generation of explorers looking for life outside of planet Earth.<\/p>\n

In our interview, Bolster spoke about his work Archive for an Unmade Narrative (2015-2016).<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2072],"tags":[1418,1419,98,356,1420,1421,133,323,601,1422,1423,1424,1425,1426,1427,1428,1353,118,1429,1430,1287,1431,1432,1433,1434,1435,1436],"class_list":["post-18090","post","type-post","status-publish","format-standard","hentry","category-art","tag-andy-warhol","tag-archive","tag-art","tag-artist","tag-artist-in-residence","tag-artists","tag-culture","tag-earth","tag-florida","tag-george-bolster","tag-jill-tarter","tag-kepler-16b","tag-laurance-doyle","tag-lorip","tag-mc-moons","tag-moon-museum","tag-nasa","tag-new-york","tag-residency","tag-robert-rauschenberg","tag-scientists","tag-seti","tag-seti-institute","tag-skycorp","tag-spaceref","tag-tatooine","tag-vhs"],"yoast_head":"\nGeorge Bolster: SETI Institute Artist-in-Residence - impactmania<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.impactmania.com\/im\/george-bolster-seti-institute-artist-residence\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"George Bolster: SETI Institute Artist-in-Residence - impactmania\" \/>\n<meta property=\"og:description\" content=\"George Bolster (b. 1972, Cork, Ireland; lives in New York City) is an artist-in-residence at the Search for Extraterrestrial Intelligence (SETI) Institute in Mountain View, California. 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