Max Bernstein was born in Buffalo, NY where he received his BA in Media Study with a concentration in film and video production, from the University at Buffalo. Bernstein also received an MFA in film production and studio art from the University of Colorado at Boulder. He has worked as a technical artist with the Wooster Group, a video and sound designer with Michelle Ellsworth, a video and sound designer with Kaki King, a video designer with Cindy Kleine, and a video designer with Aynsley Vandenbroucke. In addition, he is one half of the piano harp duo Outlier, a founding member of media art performance group the Flinching Eye Collective, a video artist for Friends Of The Tank, drummer and video designer for the band Eupana, composer, and sound engineer at Tribal Studio, and a lifelong multi-instrumentalist. Bernstein has taught film history and production at the University of Colorado Boulder, and video art at the Rocky Mountain College of Art and Design. Most recently Bernstein has become SCUBA certified and hopes to explore bodies worldwide as a method to further inform his various practices.ARTIST STATEMENT
The ubiquitous integration of new media tools into our lives has synthesized unique hybrids of liveness and mediation. It is from within these two literal and theoretical spaces that I develop my practice and research. One such hybrid space is that of the screen. My work dissects the design of the screen in response to its ever-present yet non-transparent nature, through the reinvention of its architecture within mediated experiences. Screens (mobile, cinematic, televisual, computational, or otherwise) are broadcast spaces, which have become integrated into our culture as torrents for content, communication, and comprehension. From within these sets of
The ontologies of screen space are typically overlooked in the presentation of media work. In Screens: Viewing Media Installation Art, Kate Mondloch articulates this neglect.
The screen... is a curiously ambivalent object- simultaneously a material entity and the virtual window; it is a generated object which, when deployed in spatialized, sculptural configurations, resists facile categorization... Screens themselves have
With this understanding, I choose to take responsibility for the objectness of the screens within my work. I have begun to anthropomorphize the screen as the literal and figurative body of images. Central to all of this is the empathy for and consciousness of the place of the body within mediated experiences. These sensibilities extend to the bodies of the viewers, the performers, and in the case of screens, the
The Internet is yet another example of a profound intersection of life and mediation. The Internet has become a nature built upon intermingling cultures that are extensions and reflections of who we are and what we do. Within this nature is a coexistence of both literal and figurative representations of our
These questions have formed the basis for my current research and production entitled The Space Between Sea and Land. This multifaceted work utilizes dynamic video projection mapping, a 3D pop-up book style set, immersive sound design, and