{"id":441,"date":"2018-03-11T03:49:49","date_gmt":"2018-03-11T03:49:49","guid":{"rendered":"http:\/\/www.stanwoodard.net\/studio\/?page_id=441"},"modified":"2018-03-22T02:52:54","modified_gmt":"2018-03-22T02:52:54","slug":"profile","status":"publish","type":"page","link":"http:\/\/www.stanwoodard.net\/studio\/profile\/","title":{"rendered":"profile"},"content":{"rendered":"<p align=\"center\"><strong>STAN WOODARD<br \/>\nAtlanta, GA \u2022 stan@stanwoodard.com \u2022 <a href=\"http:\/\/www.stanwoodard.com\">www.stanwoodard.com<\/a><br \/>\n<\/strong><\/p>\n<p><!--strong>Bio <\/strong--><\/p>\n<p>Stan Woodard is an artist living and working in Atlanta, GA.<br \/>\nHe often works with multimedia and found materials in the creation of installations, assemblages, video, and sound and audio works. Woodard is a recipient of the KBFUS (King Baudouin Fellowship US) award. Woodard has exhibited in Atlanta, New York, Hong Kong and regionally.<\/p>\n<p><!--strong>Statement<\/strong>\n\nInspiration gained through exploring my post industrial neighborhood\nfounded my work using discarded and recycled material in the creation\nof artwork.&nbsp; Believing that every debris object has a history as\nunique as each of our own, I chose items which had appealing formal qualities\napart from that of other urban detritus.&nbsp; These objects were originally\nmanufactured to serve a particular purpose and at some point were lost\nor deemed no longer relevant. By aestheticizing debris objects, each\nof them having passed through cycles of real and perceived value, I redefine\ntheir meanings.\n\nMy work ranges from intimate objects to room size installations and\nmay include multimedia across the range. Elements have included weathered\nmetal parts, wood, demolition debris, natural stone, organic material,\netc. Recent object oriented works incorporate relics of personal lives,\nsuch as dolls and electronic parts.&nbsp; My installations are often\nimmersive in character, and may include multimedia and interactivity.\nThrough installation I have addressed a number of social issues such\nas the environment, gender and racial identity, and privacy, among others.\nI also create stand-alone video, audio, and interactive works set on\na variety of themes.\n\nWhile I consider archeology in the approach to found materials and\nnew media, the works are evidence of personal mythologies and symbologies.&nbsp; An\narcheologist must evaluate artifacts according to accepted conventions;\nan artist may interpret according to his own standards.&nbsp; It follows\nthat each observer brings a unique set of tools to evaluation.\n\n<strong>Activities<\/strong--><\/p>\n<hr>\n<p>2012<br \/>\n\u2022 March \u2013 <em>Constructive Interference<\/em>, Center for Global Safe Water, Emory University<\/p>\n<p>2011<br \/>\n\u2022 August \u2013 <em>Small Pieces, Loosely Joined<\/em>, Kiang Gallery, Atlanta<br \/>\n\u2022 October \u2013 <em>The Great ARTdoors Festival<\/em>, The Hambidge Center, Rabun Gap, Georgia<\/p>\n<p>2010<br \/>\n\u2022 September &#8211; <em>Flux Projects<\/em>, Atlanta<\/p>\n<p>2009<br \/>\n\u2022 September \u2013 <em>Hand to Hand Project<\/em><br \/>\n\u2022 September \u2013 <em>The Atlanta Zombie Symposium<\/em><br \/>\n\u2022 October \u2013 <em>Still Water<\/em>, Dalton Gallery, Decatur, GA<br \/>\n\u2022 October \u2013 <em>Fashion + Art<\/em>, 7 For All Mankind + New Art Dealers<br \/>\nAlliance, Atlanta<\/p>\n<p>2008<br \/>\n\u2022 March \u2013 <em>Pinup Show #4<\/em>, City Gallery East, Atlanta<\/p>\n<p>2007<br \/>\n\u2022 February \u2013 <em>Kuumba<\/em>, Lamar Arts, Barnesville, GA<br \/>\n\u2022 July \u2013 <em>Looks Good on Paper<\/em>, Spruill Gallery, Atlanta<br \/>\n\u2022 August \u2013 <em>Vinyl<\/em>, New Street Gallery, Atlanta<br \/>\n\u2022 September &#8211; <em>The 60 Second<br \/>\nSouthern Video<br \/>\nFestival<\/em>,<\/p>\n<p>Fugitive Projects, Nashville, TN<br \/>\n\u2022 October &#8211; <em>Dead Flowers<\/em>, Eyedrum, Atlanta<\/p>\n<p>\u2022 November \u2013 <em>60 Second Southern Video Festiva<\/em>l, Ditch Projects,<br \/>\nSpringfield, OR<\/p>\n<p>2006<br \/>\n\u2022 April &#8211; <em>Politics, Politics<\/em>, Space One Eleven, Birmingham,<br \/>\nAL<br \/>\n\u2022 April &#8211; <em>National Juried Show<\/em>, Eyedrum, Atlanta<br \/>\n\u2022 June &#8211; <em>d&#8217;Asie d&#8217;Afrique<\/em>, Artists Commune at the Cattle<br \/>\nDepot Artist Village, Hong Kong<br \/>\n\u2022 September &#8211; <em>America on the Brink<\/em>, ATHICA, Athens, GA<br \/>\n\u2022 September &#8211; <em>I see no one, no one sees me<\/em>, solo, Spruill<br \/>\nGallery, Atlanta<br \/>\n\u2022 September &#8211; <em>James Brown: The Man, Music, and His Influence, from Augusta, Georgia to Bamako, Mali<\/em>, High Museum of Art, Atlanta<\/p>\n<p>2005<br \/>\n\u2022 January &#8211; <em>Shelter<\/em>, Eyedrum, Atlanta<em><br \/>\n\u2022 <\/em>July &#8211; <em>Vinyl<\/em>, New Street Gallery, Atlanta<em><br \/>\n\u2022 <\/em>November &#8211; <em>d&#8217;Afrique d&#8217;Asie<\/em>, Ethan Cohen Fine Arts,<br \/>\nNY<\/p>\n<p>2004<br \/>\n\u2022 <em>Woodard for President 2K4, <\/em><a href=\"http:\/\/www.woodardforpresident.org\">woodardforpresident.org<\/a><br \/>\n\u2022 September\/November &#8211; <em>Decatur Street &amp; Bradley Street,<br \/>\nAtlanta, 2004 &#8211; <\/em>Gathering, Dalton Gallery, Decatur, GA<\/p>\n<p>2003<br \/>\n\u2022 February &#8211; <em>Claxon Knot in Debris Field<\/em> &#8211; Project: SGF<br \/>\nDowntown<br \/>\n\u2022 <em>Rui and Mike at Eyedrum, Eyedrum<\/em><br \/>\n\u2022 April &#8211; <em>Domestic Violence\/Sovereign Authority<\/em> &#8211; Emergency<br \/>\nRoom &#8211; Site-specific collaborative installation with Danielle Roney; incorporating<br \/>\nsculpture and video<br \/>\n\u2022 May &#8211; KBFUS Fellowship winner<br \/>\n\u2022 June &#8211; <em>Expected Interstice<\/em> &#8211; Eyedrum<br \/>\n\u2022 September &#8211; <em>New Windsor , NY<\/em> &#8211; Common Objects &#8211; City<br \/>\nGallery East, Atlanta<\/p>\n<p>2002<br \/>\n\u2022 November &#8211; <em>SomeFlash 11\/02<\/em> &#8212; EAAA \/ The Annual Survey<br \/>\n2002<\/p>\n<p>2001<br \/>\n\u2022 June &#8211; <em>(Un)Preparation<\/em> &#8211; Hardware: The Penis Show, Eyedrum<\/p>\n<p>2000<br \/>\n\u2022 <em>Woodard for President 2K4, <\/em><a href=\"http:\/\/www.woodardforpresident.org\">woodardforpresident.org<\/a><\/p>\n<p>\u2022 April &#8211; <em>Designed objects<\/em> &#8212; Food, Clothing, Shelter:<br \/>\nThe Design of Reality &#8211; Eyedrum<\/p>\n<p>1999<br \/>\n\u2022 April &#8211; <em>107 Yellow Pages<\/em> &#8211; Eyedrum<br \/>\n\u2022 June &#8211; <em>Please allow your question to be answered<\/em>, IVAC:<br \/>\nFamous Artists Show<br \/>\n\u2022 September &#8211; <em>Or was it just a dream?<\/em>, Eyedrum<\/p>\n<p>1998<br \/>\n\u2022 September &#8211; <em>Found object assemblages<\/em> &#8211; IVAC Members&#8217;<br \/>\nShow<\/p>\n<p>1996<br \/>\n\u2022 <em>Woodard for President &#8217;96<\/em><\/p>\n<p>1994<br \/>\n\u2022 April &#8211; <em>Spring Idol&#8217;s Idyll<\/em> &#8211; Schema 1 \/ The Chamber<\/p>\n<p>MUSIC\/MULTIMEDIA PERFORMANCE<br \/>\n2006<br \/>\n\u2022 December &#8211; ASSTOW, The Red Dress Party<br \/>\n\u2022 December &#8211; ASSTOW, Eyedrum<\/p>\n<p>2004<br \/>\n\u2022 April &#8211; Music from the &#8220;Communicators Soundtrack&#8221;<br \/>\n\u2022 October &#8211; Short Circuit with Biofeedback, B-Complex<br \/>\n\u2022 November &#8211; Ambience, Barbara Archer Gallery<br \/>\n\u2022 December &#8211; Ambience, Eyedrum<\/p>\n<p>2003<br \/>\n\u2022 February &#8211; preRevolutionary &#8211; Project: SGF Downtown<br \/>\n\u2022 June &#8211; Wife of Pariah, Eyedrum<br \/>\n\u2022 July &#8211; Wife of Pariah, Marcia Wood Gallery<br \/>\n\u2022 August &#8211; Wife of Pariah, Eyedrum<br \/>\n\u2022 September &#8211; Wife of Pariah, Atlanta Contemporary Art Center<br \/>\n\u2022 September &#8211; preRevolutionary, Atlanta Contemporary Art Center<\/p>\n<p>2002<br \/>\n\u2022 January &#8211; Joseph Zitt w\/Konx, Eyedrum<br \/>\n\u2022 January &#8211; Arthur Doyle w\/Konx, Eyedrum<br \/>\n\u2022 May &#8211; Konx &#8212; Jump Arts American Road Project<br \/>\n\u2022 July &#8211; Konx &#8211; Lenny&#8217;s Bar and Grill<br \/>\n\u2022 September &#8211; Konx, the Atlanta Contemporary Arts Center<br \/>\n\u2022 November &#8211; Konx &#8211; musical performance<br \/>\n\u2022 December &#8211; preRevolutionary, Eyedrum<\/p>\n<p>1994<br \/>\n\u2022 April &#8211; <em>Spring Idol&#8217;s Idyll<\/em> &#8211; Schema 1 \/ The Chamber<br \/>\n\u2022 April &#8211; <em>Untitled: Body Painting Performance<\/em> &#8211; Schema<br \/>\n1 \/ The Chamber<\/p>\n<p>CONFERENCES<br \/>\n\u2022 <em>Atlanta Zombie Symposium<\/em>, Organizer\/Moderator, 2009<br \/>\n\u2022 National Alliance of African and African American Art Support<br \/>\nGroups, 8th Annual Conference<br \/>\n<em>Navigating the Mainstream VIII, Creative Collaborations: Artists,<br \/>\nCurators, and Collectors<\/em>,<br \/>\n<em>algorithmeticblackbase10: Digital Science Decoding Character of Blackness<\/em>,<br \/>\nPanelist, 2006<br \/>\n\u2022 <em>James Brown: The Man, Music, and His Influence, from Augusta, Georgia to Bamako, Mali<\/em>, Organizer\/Moderator 2006<br \/>\n\u2022 Bioneers, <em>Southern Artists and Social Activism<\/em>, Moderator,<br \/>\n2005<br \/>\n\u2022 <em>Artists&#8217; Survival Series<\/em>, Atlanta Contemporary Arts Center,<br \/>\nPanelist, 2003<\/p>\n<p>BIBLIOGRAPHY<br \/>\n&#8220;Getting to the Point&#8221;, Catherine Fox, Atlanta Journal Constitution,<br \/>\n2004<br \/>\n&#8220;Politics, Politics&#8221;, Art Papers, Jessica Dallow, September\/October<br \/>\n2006<br \/>\n&#8220;Art School&#8221;, Felicia Feaster, Atlanta Creative Loafing, October<br \/>\n19-25, 2006<br \/>\nBirmingham News<\/p>\n<p>COMMUNITY INVOLVEMENT\/VOLUNTEER<br \/>\nAtlanta-Rio de Janeiro Sister Cities Committee, Member &#8211; 2004-<br \/>\nBoard member\/Webmaster &#8211; Eyedrum Art &amp; Music Gallery &#8211; 2000-2003<br \/>\nInstructor- Hands on Atlanta &#8211; Partners in Technology &#8211; 2000-02<br \/>\nWeb designer &#8211; Boy&#8217;s and Girl&#8217;s Clubs of Metro Atlanta &#8211; 2000<br \/>\nWebmaster &#8211; Individual Visual Artists&#8217; Coalition &#8211; 1998-2000<br \/>\nVolunteer &#8211; Ebenezer Intergenerational Center &#8211; 1995<br \/>\nLiteracy Tutor &#8211; Literacy Volunteers of America &#8211; 1990-93<\/p>\n<p><!--br>\nBelow is a list of websites I have designed and constructed for clients.\n\nIn each case I performed the following duties:\n\u2022 Worked by email phone &amp; in person with client\/client team\nto achieve goals.\n\u2022 Created template (except where noted).\n\u2022 Developed HTML and CSS; used ASP.\n\u2022 Developed naming conventions for files and form elements.\n\u2022 Developed and constructed forms.\n\u2022 Worked closely with lead programmer in person and through comments.\n\n\u2022 Documented milestones for project management.\n\u2022 Created graphic elements.\n\n\u2022 Oenolink.com - Information and Services for Wine Professionals <a href=\"http:\/\/www.oenolink.com\/en\/index.asp\">http:\/\/www.oenolink.com\/en\/index.asp<\/a>\n\u2022 Eyedrum.org - Art\/Music Atlanta <a href=\"http:\/\/www.eyedrum.org\">http:\/\/www.eyedrum.org<\/a>\n\u2022 1CPW.com - High Rise Luxury Living in Downtown Atlanta <a href=\"http:\/\/www.1cpw.com\">http:\/\/www.1cpw.com<\/a>\n\u2022 Boys &amp; Girls Clubs of Metro Atlanta - Youth Service <a href=\"http:\/\/www.bgcma.org\">http:\/\/www.bgcma.org<\/a><br--><\/p>\n","protected":false},"excerpt":{"rendered":"<p>STAN WOODARD Atlanta, GA \u2022 stan@stanwoodard.com \u2022 www.stanwoodard.com Stan Woodard is an artist living and working in Atlanta, GA. He often works with multimedia and found materials in the creation of installations, assemblages, video, and sound and audio works. Woodard is a recipient of the KBFUS (King Baudouin Fellowship US) award. Woodard has exhibited in &hellip; <\/p>\n<p class=\"link-more\"><a href=\"http:\/\/www.stanwoodard.net\/studio\/profile\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;profile&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0,"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-441","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P6X9eT-77","jetpack-related-posts":[],"_links":{"self":[{"href":"http:\/\/www.stanwoodard.net\/studio\/wp-json\/wp\/v2\/pages\/441","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.stanwoodard.net\/studio\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/www.stanwoodard.net\/studio\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/www.stanwoodard.net\/studio\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.stanwoodard.net\/studio\/wp-json\/wp\/v2\/comments?post=441"}],"version-history":[{"count":10,"href":"http:\/\/www.stanwoodard.net\/studio\/wp-json\/wp\/v2\/pages\/441\/revisions"}],"predecessor-version":[{"id":750,"href":"http:\/\/www.stanwoodard.net\/studio\/wp-json\/wp\/v2\/pages\/441\/revisions\/750"}],"wp:attachment":[{"href":"http:\/\/www.stanwoodard.net\/studio\/wp-json\/wp\/v2\/media?parent=441"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}