HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... SOLVERMATH PHASE ONE - FEBRUARY 24, 2023 TWO THINGS CRACK IN HALF FEBRUARY 20, 2023 RPI OPEN STUDIO DECEMBER 2022 LISTENING MEDIUMS OCTOBER 2022 RINGING IN EARS OCTOBER 2022 LIVESTREAM JULY 2022 PSYCHIC SELF DEFENSE DECEMBER 2020 - GIANT WOODEN STAKE FOR KILLING ENERGETIC VAMPIRES IMAGINED PERFORMANCE STORYTIME WITH IV CASTELLANOS PARA\\EL PERFORMANCE SPACE FEBRUARY 2021 WHAT THE BODY KNOWS AUGUST 2020 MOSS ROCK CAGE APRIL 2020 TEN THOUSAND OBJECTIVES MARCH 2020 INTERVIEW BY LINDA MARY MONTANO FEBRUARY 2020 VOICES & CHOICES - THE EAR - BROOKLYN, NY AUGUST 2019 REMARKABLE NEW LOCATIONS - CX SILVER GALLERY - BRATTLEBORO, VT JUNE 2019 ILLUMINATING INTANGIBLES - PARA\\EL PERFORMANCE SPACE - BROOKLYN MARCH 2019 SHAPE OF A FEELING 2018-PRESENT SEEMRIPPER - ELIZABETH FOUNDATION - NYC OCTOBER 2018 LANDLINES - CX SILVER GALLERY - BRATTLEBORO, VT AUGUST 2018 WE CAN'T TELL WHAT WE'RE DOING - HiLO GALLERY - CATSKILL, NY AUGUST 2018 NEW SITUATIONS - THREE PHASE CENTER - STONE RIDGE, NY JUNE 2018 WHISTLE PORTRAITS - HiLO GALLERY - CATSKILL, NY JUNE 2018 FORCE YOURSELF TO BE GOOD - PANOPLY PERFORMANCE LAB - BROOKLYN, NY MAY 2018 CITIZEN PARTICIPATION WITH FEMINIST ART GROUP AT ABC NO RIO / BULLET SPACE IN NYC MAY 2018 HYMN WARP TRANSDUCER AT BEDSTOCK - NINE HERKIMER IN BROOKLYN APRIL 2018 PIANO PORTRAITS - HiLO GALLERY - CATSKILL, NY FEBRUARY 2018

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... CITIZEN PARTICIPATION: DIAGRAMS & DIRECTIVES ​ FEMINIST ART GROUP (IV Castellanos, Amanda Hunt, Nina Isabelle & Thea Little) ABC No Rio in Exile at Bullet Space 292 E. 3rd St. NYC May 6, 2018 ​ Organized by Esther Neff & Steven Englander ​ Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group / Thea Little Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group / Thea Little Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group / Nina Isabelle Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group / Amanda Hunt Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group / IV Castellanos Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... SOLVERMATH A conceptual math model tha t proves the improbability of knowing what you’re doing Click HERE to access the Sense-Object Intake Form. Wooden Block with Wire Object 1 Rubber Ball Object 2 Steel Wool Object 3 Brick Object 4 Bolt Object 5 Axe Head Object 6 Soup Can Object 7 Light Bulb Object 8 Bees Wax Object 9 Polyfill in Plastic Object 10 Superfund Site Specimen Object 11 Purple Glass Object 12 Pear Wood Object 13 Field Crystal Object 14 Sheet Steel 5.5"x7"x.25" Object 15 Pressure Treated Spindle Cut-off Object 16 Leather-bound Cowboy Book Object 17 Sea Rock Object 18 Interactive Frequency-Generator Tool To use: Click green arrow & drag finger across bar to produce tones. Click red X to stop LINK TO SENSE-OBJECT INTAKE FORM Solvermath in an interactive experience that allows the human body to identify tones in potential relationship to physical objects. The experience involves either viewing a virtual object or holding a physical object while interacting with a frequency-generator tool* capable of producing up to 20kHz. ​ The human body is a sophisticated and responsive module capable of intermediating, detecting, and deciphering variables outside the realm of its awareness. Solvermath uses relational math to reveal an absence of relation between sense-informed response and sense of knowing. The project is inspired by Gödel's theorems concerning the limits of provability which say that “it is impossible to give a meta-mathematical proof of the consistency of a system comprehensive enough to contain the whole of arithmetic unless the proof itself implies rules of inference different in certain essential respects from the transformation rules used for deriving theorems within the system” and that “any other system within which arithmetic can be developed, is essentially incomplete because there are true number-theoretical statements that cannot be derived in the system.” ​ The initial phase of Solvermath collects data from individual human interactions with the frequency-generator tool and the sense-objects. The second phase uses a redesigned version of relational math to form a conceptual math model that describes the space between awareness and action, and aims to highlight the improbability of knowing what we're doing. To participate, open the Google form through this link in either a separate window, on a separate screen, or other device. Keep this page open so that you can use the frequency-generator tool above. In the form on the second screen or device, you will see images of each sense-object. Using the interactive frequency-generator tool on this page, find the Hz frequency (or range of frequencies) that you sense correspond to the visual image (for remote participants) or the physical object you are holding in your hand (for those participating physically.) Enter the numbers into the form field associated with each image. To use the interactive frequency-generator tool, slide the finger back and forth on the bar from 1Hz - 20,000Hz. Click the green arrow to sense & hear the sound. Click the red X to stop the frequency. You'll notice the Hz number changing as the finger slides back and forth. You may also enter any number between the two arrows to experience a frequency between 1 Hz and 20 kHz. The frequency-generator tool produces tones that travel through the air as waves that the human body can detect through somatic listening. The experience is not designed to be used with head phones or earbuds. If you are participating remotely, view each image while interacting with the tone-generator tool and choose the tone (or range of tones) you feel represent the object in the image. Enter the Hz number(s) you identify with each object into the form with the corresponding image. For those who have access to the physical objects, hold the object in one hand while sliding a finger back and forth on the frequency-generator tool. You may detect a vibrating sensation in the hand-held object in response to certain frequencies or within a range of frequencies. Enter the numbers of the frequencies you notice into the form. Please enter your real or fake name, the real date, and indicate either "Remote" or "Physical" for each entry. After you submit the form, you will see the message "Thank you for participating with Solvermath! Your response has been recorded." This means your submission has been accepted and recorded. You may participate as many times as you like. ​ Email questions or comments to Nina Isabelle at isaben@rpi.edu or to schedule physical access to sense-object set. *frequency generator designed by Tomasz P. Szynalski / modified by Brian McCorkle

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... WEST HALL OPEN STUDIO RENSSELAER POLYTECHNIC INSTITUTE TROY, NY DECEMBER 11, 2022

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... WHISTLE PORTRAITS By Linda Mary Montano HiLo Catskill June 10, 2018 During these dangerous / confusing / armageddonned times we are all looking for connection, understanding, and warmth. The three of us are committed to providing public art medicine. ART=LIFE=ART. For WHISTLE PORTRAITS at HiLo, we invite audience member-collaborators to sit with us and receive a public art healing. ART HEALS!!! - Linda Mary Montano photo by Adolfo Ibanez Ayerve

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... BEAST CONJURING at Paul McMahon's MOTHERSHIP Woodstock, NY January 16-21, 2018 On January 21, 2018 performers at Paul McMahon's Mothership in Woodstock, NY work to conjure the sea beast from the book of Revelation. Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Miles Pflanz at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Linda Mary Montano The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership7509 The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia NAI_7452 Nina Isabelle, Ever Peacock The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Beast Conjuring KILL Paper Collage 22x30 (rubberized paint, gouache, ash, enamel, watercolor) By Nina Isabelle The Beast at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia The Beast at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle, Lorene Bouboushian The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Lorene Bouboushian at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Lorene & Nina at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Brian McCorkle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle and Lorene Bouboushian The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Bouboushian, Isabelle, Peacock The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia The "Beast Conjuring" performance intended to conjure and kill the sea beast from the book of Revelation. A group of artists and performers were invited to simultaneously interweave their own processes and intentions as a way to generate energies that might be focused toward the common goal of beast conjuring. Together the group worked to build and maximizing the physical, sensory, and psychic spaces that bind the internal and external dimensions of awareness through performative modes of sound making, movement, object construction, and ceremonial-like gestures in a process that became an inquiry into how a metaphoric conjure-and-kill scenario might translate or become useful in a literal dimension where such things are less possible-seeming. ​ "Beast Conjuring" was performed within an installation including ten hand-fabricated crowns, ten cedar root horns dug from local woods, hand painted imagery of the seven-headed ten-horned beast, a suspended hand-sewn white linen angel, a reconstructed domestic scene from the home of an ex-evangelical and a giant edible Whore of Babylon cake as bait. Lorene Bouboushian read personal text and improvised sound and movement, Linda Mary Montano performed a holy water blessing as Chicken Linda, Brian McCorkle produced sound using a Saxophone and his specially designed Beast Box, (a noise machine built with raspberry-pi based software that cast neural nets for soul retrieval,) Jennifer Zackin engaged in a task-based performance to weave a beast trapping vortex, Ever Peacock and I performed an acoustic rendition of Larry Norman's *You've been Left Behind* thirteen consecutive times all awash in Miles Pflanz's video remake of the 2014 American Christian apocalyptic thriller film *Left Behind* (based on the bestselling novels by Tim Lahaye and Jerry B. Jenkins) that reframes durational performance art as post-apocalyptic living. ​ It's difficult to gauge the effectiveness of a performance conglomerate like "Beast Conjuring" due to its potential to be made to mean multiple things by participants and observers and the ripples of their combined experiences and energies. At the same time, the ability of a situation to evade meaning is exciting. No literal beast popped out of the floor, no politicians were struck dead and there weren't any recognizable or even loosely associated repercussive events of cosmic significance but the usefulness and appeal of such a process seems to unfurl over time in a circular and translucent way that generates unanswerable questions and hints at the possibilities and potential of less realistic thinking and doing.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... LIVESTREAM NINA ISABELLE & ADRIANA MAGAÑA PERFORM DURING UPSTATE ART WEEKEND AT JENNIFER ZACKIN'S STUDIO IN WOODSTOCK, NY JULY 2022 Photo by Jennifer Zackin

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE SHIRT FACTORY CENTENNIAL ​ KINGSTON, NY September 16, 2017, 2018 ​ For The Shirt Factory Centennial Celebration I tied 100 flags together and looped them through the building.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... INTERVIEWS LINDA MARY MONTANO INTERVIEW 2020 ACTIVATING PERCEPTION Midtown Arts District 2017 ARTiculACTion 2016 Aaron Pierce February 2017 ​ A: I am a graduate from Utah Valley University and I am writing a dissertation for the university's biannual Art History Symposium. The topic of discussion this year is Maximalism. I am particularly focusing on performance art as the contemporary medium that is reinventing museum spaces and engaging audiences by stimulating the senses more through music, dance, film, and painting combined. That is where your exhibit Animal Maximalism came to my attention. I am completely intrigued and enthralled by your performance art pieces and projects you have created. For this paper, I would love to have your view on performance art and Maximalism. I am interested in hearing some of your methods about performance art and Maximalism. It is rare in art history to be able to have contact with the artist, hence my excitement. If you do not mind sharing your opinion, I would like to know how you feel performance art engages audiences and pushes them to connect on a higher level to art? Also, why are we seeing a shift towards more performance art pieces in museums and galleries? I feel that audiences want to have a full sensory experience. How does Maximalist performance art achieve this better than other medium of art? ​ N: I practice a process of allowance where I let myself do what I want. This approach results in maximum data and action. By letting myself engage with an array of modalities I can generate multiple outcomes and possibilities. Because I'm not limited to any single mode of involvement, I'm free to use painting, performance, photography, or video or a mixture of modalities as I find necessary depending on my agenda and instinct. This suits my athletic, resourceful, and determined nature. ​ I approach performance art in the same way I would approach any other art modality- by paying close attention to gut instincts and psychic impressions in a process designed to override cerebral programming. The aim is always to align action with intention, and make note of the findings and outcome along the way. Performance art is a good choice when the concept I'm grappling with calls for a human body, action, or a narrative to actuate the outcome, especially literal concepts like worshiping the golden calf or using blood to cleanse things. My body can become a tool, a stand-in, or effigy of or for the viewer, creating a point of commonality to facilitate access. Aligning action with intention is also a way to re-frame ritual and an attempt to validate the effectiveness of approaches historically relegated to realms of religious structures and beliefs. I was recently invited to teach an art theory class for kids at The Hudson Valley Sudbury School. Through our discussions it emerged that the students felt most drawn to art practices and outcomes that suited the nature, mentality, and necessity of the individual artist. For instance they could relate to how Chuck Close became successful at painting faces as a result of his lifelong struggle with a facial recognition disorder. In reflecting on my personal method it occurs to me that my mode of operation is dictated by my nature, I didn't choose to function within the Maximalism approach and philosophy, it's just that the philosophy happens to align with my nature. I'm a serial over-doer of all things who relishes the opportunity to push things too far. My work is reactionary because I'm a reactionary person. For instance the first time I encountered minimalism I was ready to explode in a thousand directions. And, as an art student I couldn't help but challenge typical art professor's slogans such as "You have to know when to stop." Of course I could recognized the academically dictated stopping point but I would never in a million years stop there. I've always felt that learning how to challenge, push, or destroy something is a valid study when handled respectfully and with intention. ​ Performance art is an another mode of operating for artists to use in order to find or generate new information, to experiment with creating new experiences, or to try to express something they otherwise couldn't. It can engage the viewer in an intimate way offering the potential to build powerful experiences as it facilitates a space that can involve and include the viewer in a novel physical or psychic way. It's possible that since performance art inhabits walking space where gallery-goers would otherwise be moving about, a psychic connection is created by sharing the same space. As viewers, we know less about what it would be like to hang motionless on a wall. Performance art offers a platform for artists to practice aligning action with intention, a way to possibly re-frame ritual and to build experimental new models for of control or power to replace outmoded religious structures and beliefs. But also, It's possible the performance art trend might be a way for artists to backhandedly confront consumerism and elitism simultaneously, or at least to create the illusion of doing so. Commercial galleries and academic environments can be market driven or exclusive, but performance art has the ability to dissolve those traditional notions and to expand viewership by engaging broader mentalities in a way that would be difficult for strictly visual work focused on heady concepts or dollar amounts. And since we live in a culture of visual bombardment, where viewer's digitally conditioned eyes and minds are increasingly savvy, and in conjunction with consumer programming, we need something that can function both inside of and outside of commercial gallery and academic paradigms. There is a literal dissolution of boundaries. Since performance art is impervious to ownership and commodification, it pushes against market-driven capitalist structures and challenges a system where finances determine success. Issues of marketability, ownership, or commodity all come into play because its difficult to financially capitalize off of performance art. So, maybe it's like most trends- timely and culturally necessity. ​ I developed the Animal Maximalism exhibition concept as a way to bombard the human sensory input manifold with the intention of revealing cloaked information. I use the word "Animal" as an homage to instinct. For me academia operated through reversal, fueling my defiance more than refining me the way school is supposed to, so part of my mission has always been to build legitimate framework for us animals, one that is less cage-like, and Maximalism is a good framework for that agenda. I try to work within and build upon systems that already exist that might reflect and support my authentic nature, and to allow my work to reflect and be a response to the full spectrum of my body's biologic manifestation of its own history within its cultural environment. Maximalism feels like science-fiction, in that it offers the potential for system building where the inward personal landscape can travel all the way outward through the giant jumbled experience of collective household, community, country, and planetary psychic connections. Maybe performance offers an easier access point to the viewer in that we can all relate to each other as humans who are human shaped and have human form. We all share common ways of moving our human forms through space. It's possible that performance could function to create a portal, like a way out or a way in. The Cult of Painting by Nina Isabelle 2014 ​ Painting is a visual, psychological, or metaphysical study or exploration of an object or non-object, a place or non-place, an inner, outer, or simultaneous multiple psychic dimensions, something other, all, or none of the above. Various viscosities of liquid or paste suspending colored pigments in oil, wax, synthetic polymer, or other, are sometimes but not always laid down, poured, sprayed, or applied by the hand as an extension or non-extension of the wrist, elbow, arm, shoulder, hip, body, outer-body, aura, transcended-self, future-self, or by proxy with either a brush, tool, or other, onto a solid or canvas surface in either multiple or single opaque or transparent layers or strokes resulting in a tangible visual object manifest in the physical dimension as having weight, height, depth, mass, and occupying an amount or volume of time and likewise resulting in an equal to, greater than, or less than physical, psychological, or spiritual impact of understood or non-understood ethereal consequences within an inverse unquantifiable psychic dimension. The conception, execution, and result will or won't be quantifiable by subsets of verbal language, written or spoken, which may or may not contain specialized terminology.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... PIANO PORTRAITS ​ By Linda Mary Montano with Nina Isabelle, & Jennifer Zackin HiLo Catskill, NY February 11, 2018 ​ During these dangerous / confusing / armageddonned times, we are all looking for connection, understanding and warmth. The three of us are committed to providing public art medicine. ART=LIFE=ART. For our PIANO PORTRAITS event at HiLo, we invite audience member-collaborators to sit in a chair on stage to receive a public art healing. Linda Mary Montano will improvise your piano portrait, Nina Isabelle will interpret you through action / movement, and Jennifer Zackin will macrame. Using knots and rope, sunglasses, costumes, blindfolds, action, movement, and sound, we will publicly heal ourselves and you. ART HEALS! ​ Photos by Adolfo Ibanez Ayerve and Carrie Dashow ​ Piano Portraits at HiLo Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve Piano Portraits at HiLo Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve Piano Portraits at HiLo Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve Piano Portraits at HiLo Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve Piano Portraits at HiLo Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve Piano Portraits at HiLoa_3 Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve Piano Portraits at HiLo Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve Piano Portraits at HiLo Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve Piano Portraits at HiLo Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve Piano Portraits at HiLo Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve LINDA MARY MONTANO is a seminal figure in contemporary feminist performance art and her work since the mid 1960s has been critical in the development of video by, for, and about women. Attempting to dissolve the boundaries between art and life, Montano continues to actively explore her art/life through shared experience, role adoption, and intricate life altering ceremonies, some of which last for seven or more years. Her artwork is starkly autobiographical and often concerned with personal and spiritual transformation. Montano’s influence is wide ranging – she has been featured at museums including The New Museum in New York, MOCA San Francisco and the ICA in London. www.lindamontano.com NINA ISABELLE is a process-based multidisciplinary artist working with action and perception. She works to deconstruct sensory input to the extent that meaning becomes shifted and interpretations become a phenomena of psychic imprint. By incorporating physical movement, modified technology, art and non-art objects, her work builds systems of action designed to intuit site-specific information- tethering the collective, personal, and regional relative narratives that drive the performance space machine toward trajectories of new perception, belief, and possibilities. Referencing the inability of communication which is used to visualize reality, the failure of dialogue, the dissonance between form and content, as well as the shortcomings of literal language, Isabelle pushes material and information past the point of recognition in a way that forces a shift in meaning, revealing new information that can transform and challenge the limits of material, perception, and belief. Her work has been exhibited at The San Diego Art Institute, The Bangkok Underground Film Festival, HiLo Catskill, the CICA Museum in South Korea, and most recently, The Mothership in Woodstock, NY. www.ninaisabelle.com JENNIFER ZACKIN has been integrating public art, sculpture, installation, performance, collaboration, ceremony, photography, video, collage and drawing into acts of reverence and reciprocity for the past 14 years. Whether wrapping trees in patterns of brightly colored rope, growing medicinal herbs in a public garden for public use, offering large masses of rose petals to oceans and lakes, creating absorbent tentacles ("hair booms") out of salvaged materials to aid in the clean-up efforts of toxic spills, Zackin seeks to engage and create community in her process, bringing art and ritual into everyday life. Every act is an exploration of exchange, communion, performance, skill-sharing and mark-making. Writing in a cataloque essay about her work Lori Waxman states; “Jennifer Zackin has worked with Rose Petals, Little Plastic Cowboys, pre-Columbian symbols, bright handmade pom-poms, cheap mass-produced posters, coca leaves, and her grandfathers old Super-8 home movies. How she weaves them into rhythmic, often meditative forms depends in great part on the underlying pattern that she is able to detect and orchestrate among her diverse materials.” Her work has been exhibited in national and international museums, including the Whitney Museum of American Art NY, Aldrich Museum of Contemporary Art CT, Spertus Museum - Chicago IL, Rose Museum MA, the Wexner Center for the Arts OH, Contemporary Art Museum - Houston TX, The Henie Onstad Kunstsenter, Høvikodden - Norway, Institute of Contemporary Art - Boston MA and the Zacheta National Art Gallery - Warsaw, Poland. Commissions include Governors Island NYC with LMCC, Katonah Art Museum NY, Socrates Sculpture Park LIC - Queens NY and the Berkshire Botanical Gardens - Stockbridge, MA. She is the recipient of fellowships and residencies, including Factory Direct at Pinchbeck Rose Farm, Art Omi, Atlantic Center for the Arts and the Skowhegan School for Painting and Sculpture. www.jenniferzackin.com Event photo: Carrie Dashow

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... MOTHER VS GOD A short creepy video by Nina Isabelle ​ September 28, 2016 ​ The Dead Are Not Quiet was organized by Scott Mitchell Putesky, an artist and musician best known for his work as the guitarist and co-founder of the musical group Marilyn Manson. the exhibition will run concurrently with “The Haunted Art of T. Jefferson Carey. Exhibiting Artists in The Dead Are Not Quiet include Addison Stonestreet, Alex Ingram, Alison Chen & Michael Covello, Anne Pelej, Cayce Wheelock, Clayton Llewellyn, Dakota Noot, Dan Adams, Daniel Corona, David Russell Talbott, Emily Hastings, Eric Potts, Garrett Wear, Hannah Johansen, Hugh Schock, Ivy Guild, Janice Grinsell, Jenya Armen, John Purlia, John Straub, Julia Oldham, Karim Shuquem, Kurosh Yahyai, Larry Caveney, Liza Hennessey Botkin, Lucas Novak, Maidy Morhous, Michelle Mueller + Erik Mueller, Natalie Meredith, Nathaniel Clark, Nina Isabelle, PANCA, Paul Koester, Philip Petrie, Rita Miglioli, Robin Spalding, Shahla Rose, Sheena Rae Dowling, Wick Alexander, and Yvette Jackson.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... LANDLINES Performance by Nina Isabelle & Jennifer Zackin at CX Silver Gallery in Brattleboro, VT. August 26, 2018 An interactive type of immersion-therapy, Landlines invites viewers & participants to make their own meaning out of actions and gestures happening within a sea of dissonance. How do we cultivate the cultural phenomena of communication while agendas of power and dominance try to hijack our semiotic proclivity with fake news and ad campaigns designed to entrench us in divisive notions of entitlement and correctness? When lines of communication become connected to fear, anger, and resentment, how do we clear and reground them to empathy and grace? ​

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE GIANT DRESS IQ TEST MELISSA LOCKWOOD & NINA ISABELLE ​ The Giant Dress is the world's largest handmade all-cotton patchwork double-pocketed sleeveless up-cycled floral summer dress constructed in under four hours flat. KINGSTON, NY / MAY 2017 IQ Test Melissa Lockwood Firing tiny ceramic vessels in a fire at Rosekill with The Giant Dress. The Giant Dress The Giant Dress hanging on The South Barn at Rosekill Performance Art Farm in Rosendale, NY The Giant Dress Sewing The Giant Dress at The Shirt Factory Studio in Kingston, NY The Giant Dress Nina Isabelle with The Giant Dress at The Shirt Factory Studio in Kingston, NY

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... CLICK HERE TO SUBSCRIBE TO NINA A. ISABELLE'S QUARTERLY EMAIL TO CONTACT NINA A. ISABELLE USE THE MESSAGE FORM BELOW: Email sent to Nina A. Isabelle Send

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... TWO THINGS CRACK IN HALF A Griswold Cast Iron pan from 1947 that belonged to my grandmother and a 500 ml Luminarc Working Glass both cracked in half in my kitchen on the same day. On December 27, 2022, I performed a photographic study and documentation of the objects. On February 20, 2023, I interviewed ChatGPT to help me understand. View & download full-color 30 page document here:

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... BANGKOK UNDERGROUND CINEMA ​ The Bangkok Underground Film Festival 2017 program consists of a series of events across multiple venues in Bangkok. Co-organised by Speedy Grandma , emesis , Bridge Art Space & Jam Caf é , with support from VS Service , Projectionist Asia , Panda Records and Museum Siam . ​ MARCH 5-12, 2017

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... YARD WORK (YARD STUDIO) HURLEY, NY / MAY 2017

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... FEMINIST ART GROUP (F.A.G) HURLEY, NY ​ SEPTEMBER 1-4, 2017 ​ ​ THE OLD GLENFORD CHURCH STUDIO IV Castellanos, Amanda Hunt, Miette, Anya Liftig, Elizabeth Lamb, Jodie Lyn Kee Chow, Lorene Baboushian, Valerie Sharp, Kate Hamberger, Linda Montano, Ernest Goodmaw, Jennifer Zackin, Clara Diamond, Nina Isabelle ​

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... CYBORGS & GENDER August 25, 2017 A male and female robot bicker about a human woman who is climbing dangerously high up into a tree in the dark while her daughter waits below in a wolf costume. What might happen when human actions align with AI intention? The soundtrack was produced using Apple's text-to-speech system. ​ ​ Photo by Ming Liu

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE EUCHARIST MACHINE BANGKOK UNDERGROUND FILM FESTIVAL BANGKOK, THAILAND / MARCH , 2017 English with Thai subtitles Thai with English subtitles Inspired by Chris Lehmann’s book The Money Cult: Capitalism, Christianity, and the Unmaking of The American Dream, The Eucharist Machine addresses language, perception, and belief. In The Eucharist Machine, information is skewed by a presentation of jumbled non-linear facts and fiction, science, pseudoscience, and science fiction. Inaccurate grammar and linguistics push the concept even further by incorporating the cockamayme Thai / English subtitles and voice-overs produced by Google Translate and Apple’s Text To Speech system preference in a process that reverse-legitimizes the information. The Eucharist Machine is what happens when the under informed articulate with high-tech features. Information lost in translation becomes a sort of up-cycled spirituality; a futuristic projection of possible renewal of the crumbling dialogue between spirituality, commodity, and financial value. The Eucharist Machine takes a serious, culturally backwards, multigenerational look at what it means to be sanctified. เครื่องศีลมหาสนิทเป็นหนังสั้นที่เขียนกำกับและแก้ไขโดยศิลปินนานาชาติ Nina อิสซาเบล แรงบันดาลใจจากหนังสือของคริสมาห์ของเงินลัทธิ: ทุนนิยมคริสต์และ Unmaking ของความฝันอเมริกันภาษาอยู่เครื่องศีลมหาสนิทการรับรู้และความเชื่อ ในศีลมหาสนิทเครื่องข้อมูลจะถูกบิดเบือนโดยการนำเสนอข้อเท็จจริงที่คลั่งไคล้ที่ไม่ใช่เชิงเส้นและนิยายวิทยาศาสตร์ pseudoscience และนิยายวิทยาศาสตร์ ไวยากรณ์ไม่ถูกต้องและภาษาศาสตร์ผลักดันแนวคิดให้ดียิ่งขึ้นโดยผสมผสาน cockamayme คำบรรยายภาษาไทย / ภาษาอังกฤษและเสียงพากย์ผลิตโดย Google Translate และข้อความของ Apple เพื่อการตั้งค่าระบบเสียงพูดในกระบวนการที่ย้อนกลับ legitimizes ข้อมูล เครื่องศีลมหาสนิทเป็นสิ่งที่เกิดขึ้นเมื่ออยู่ภายใต้แจ้งปล้องที่มีคุณสมบัติที่มีเทคโนโลยีสูง ข้อมูล Lost in Translation กลายเป็นจัดเรียงของขึ้นกรณืจิตวิญญาณ; การฉายอนาคตของการต่ออายุเป็นไปได้ของการเจรจาบี้ระหว่างจิตวิญญาณสินค้าโภคภัณฑ์และความคุ้มค่าทางการเงิน ศีลมหาสนิทเครื่องยิงร้ายแรงวัฒนธรรมย้อนหลังดูหลายรุ่นว่ามันหมายถึงความบริสุทธิ์

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE WOODSTOCK LIBRARY FLOATING BOUNCY CHAIR JUNE 2016 For the 85th Annual Woodstock Library Fair Hudson Valley artists were commissioned to repurpose a heap of old metal folding chairs for a silent auction to benefit the library. I made this floating bouncy chair using studio scraps and discount bungee cords from P&T Surplus in Kingston, NY. Fellow artist and Vice President of Friends of The Woodstock Library Michael Hunt says “It's the coolest motherfucking chair.”

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... NEW SITUATIONS ​ Arranging matter in space is a way to build new situations. June 11, 2018 ​

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... MOTHER VS. GOD SAN DIEGO ART INSTITUTE / THE DEAD ARE NOT QUIET OCTOBER 2016 ​ Mother vs. God uses personal photographs combined with multiple sound tracks of digitally altered voice and electronic violin. The compilation of multiple media and input results in a distortion that parallels the dialogue that can exist between religious beliefs and psychotic delusions. In October 2016 Mother vs. God was chosen by Marilyn Manson’s Daisy Berkowitz, Scott Mitchell Putesky, as part of The San Diego Art Institute’s show The Dead Are Not Quiet.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... STAGES CLARA DIAMOND, NINA A. ISABELLE, & VALERIE SHARP GREEN KILL, KINGSTON, NY APRIL 15, 2017

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... LAUNDRY LOOPS (JOB) ​ IV SOLDIER'S F.A.G. (FEMINIST ART GROUP) PANOPLY PERFORMANCE LABORATORY ​ NOVEMBER 3, 2016 (Lorene Bouboushian, IV Castellanos, Amanda Hunt, Kaia Gilje, Nina Isabelle) Photos: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle 1/2