Associate Professor of Video and Critical Studies
In 1994 she received an Arts International six-month Artist Residency in Moscow, Russia and in 1996 and 2001 she attended thematic artist residencies at the Banff Centre for the Arts. During the summer of 2006 she participated in el Laboratorio Fronterizo de Escritores/Writing Lab on the Border in Tijuana, Baja MX and Chula Vista, CA, sponsored by the Fondo de Cultura Economica and ITESM Toluca Campus.
Recent works include: 'Invisible: episode 03 meet me in Okemah, Ok' 2003/4 a speculative fiction audio/video installation; 'Xing Over' 2003 6hr performance 2.36min 3 channel audio piece; 'Black Russians' 2001 117min documentary video; "The Outing Trilogy" experimental video piece including: 'Mi Companera' 2002 12min and 'Me-ba... I'm Coming' 1998 9min.
Her writing can be found in the online journal, XCP Streetnotes Spring 2005, in Ulbandus Review no. 7 and Black Filmmakers Magazine. kara has also contributed audio work to Cabinet Magazine no.13 and video to the DVD zine, PocketMyths: Odysseus.
She has served as a juror for Outfest Los Angeles, on the selection committee for MIX: New York Experimental Film and Video Festival, and has been involved with the New Festival as a member of the shorts selection committee and print traffic co-coordinator.
kara currently serves on the board for The Mountain School, Clockshop, and the Denniston Hill Foundation. She is a member of La Linea Interdiciplinario, a collective of women writers and artists in dialog across the US/Mexico borderlandia. She completed her M.F.A. in visual arts at the University of California, San Diego.
Video I is an introductory video production course. Over the course of the semester, students will gain experience in pre-production, production and post-production techniques as well as learn to think and look critically about the making of the moving image. We will engage with the legacy and trajectory of video as a specific visual medium for expression and provocation, and we will apply black studies, queer theory and practice, feminism, and media activism as a lens and sounding board in relation to issues of representation, spectatorship, identification, production, and distribution. Projects are designed to develop basic technical proficiency in the video medium as well as the necessary working skills and mental discipline so important to a successful working process. Final production projects will experiment with established media genres. Readings, screenings, in-class critiques and discussion will focus on media analysis and the role of technology in image production.
This course will focus on installation and public practice in conversation with diverse media: video, digital, audio, photo, film, performance, architecture, and the plastic arts. The thematic focus of the seminar will critically engage issues of technology, vision, and site. Also of importance is the nature of video as electronic technology and the relationship of immediacy that it has with installation. This is a rigorous theory/practice workshop class designed specifically for Division II and III students. In this seminar, students will develop their skills within their specific media and work collaboratively throughout the semester to produce work that engages questions of site, space, time, experience and vision within an historical context. We will challenge traditional modes of production and presentation collectively. Students will focus in on their critical skills and be required to produce written responses, three projects, and a research project/presentation. This course will encourage students to broaden their perspective of artistic production. This will be a challenging course for serious students in the media arts.
This introductory seminar on media analysis and production will consider how constructions of power are embodied in technologies and conversely, how technologies shape our notions of authority and how we actively mobilize against it. In recent years, access to information and images has shifted dramatically. PDAs/Handheld technologies, social media networks, live web-streaming, video games, and podcasts eclipse mass-media broadcast channels distributing entertainment, news, and information. Drawing upon Media Arts, Critical Ethnic Studies, and Cultural Studies, we will examine models of Digital Resistance like Citizen Journalism, Community Access, Artivism, Hacktivism, and Digital Movements like BlackLivesMatter, Occupy, Arab Spring, and IdleNoMore in order to understand: precursors to contemporary innovations; Corporate Media and Government gatekeeping of information; modes of production; the relationship between media, information and action. Through readings, responses, visual projects, and research essays, students will learn to critically read and make digital media and contend with it as a mass language.
This Division II production workshop, Media for Democracy : Imag(in)ing Political Struggle, is designed for students who would like to continue to develop their skills in media making, media analysis, and socially engaged art practice. From the Battle of Algiers and Black Panther Mix Tape to citizen journalism and community media, we will look at the role of media, images, and art making within social and political movements and contend with questions of modes of production, access, distribution, and the relationship between form, content and meaning making. Weekly readings, screenings, in-class discussions, and writing and visual responses will lay groundwork for our collective critical analysis of the contemporary moment within a historical context; while weekly production labs and workshops and research/action projects provide an opportunity to put theory into practice.