Spectacle Arts Ltd. is the London based studio of creative director, media artist and researcher Whitney Conti. Founded in 2016, Spectacle works with artists, organizers, media owners, labels and studios to fortify and elasticize art and culture in the brave new world of media and communications arts.
Clients & Collaborators
RiffRaffFilms.TV
BoilerRoom.TV
Atlantic Records
The Face
Warner Music’s The Firepit x
.Apple Music
.Channel 4
.YouTube
Somesuch.Co
Wieden Kennedy
Luca.Earth
Lonely Leap
Little Dot Studios
We Are Vaia, Santiago
The New Statesman
Brooklyn Magazine
Ashoka Innovators for the Public
Film Art Dir.
Keyboard Fantasies : The Story of Beverly Glenn Copeland. Barbican, MoMA PS1 2019 premieres. 2020 Official Selection : BFI Flare London LGBTQ+ Film Festival, International Film Festival Rotterdam, CPH:DOX
Campaign Creative Dir.
Play with Your Selves, Parker Day for Tally Weijl International Women’s Day (LA)
Tape Sessions, Live Sessions format Levis Music Project Artists
Voice Documentary & Your Voice Your Way, Levis Europe (Paris, Barcelona, London)
Artist Studios
Marco Brambilla Studio
Earl Virtual Innovation Lab & XR Creative :
Technicolor Experience Center Motion Capture Stage Residency
RÄTHEL & WOLF London Fashion Week SO Gallery
Fossil Optical : Desert X Jenny Holzer, Rolling Stones, Resist Trumpism
Community Arts & Culture
V&A Lates Hackney Wick x Common Unity : Innovation in Community Space & the Evolving Role of the Artist
TATE Exchange x Public Works’ School of Civic Action : Commune
2030 Records
Women Music Tech LA
Mindmakers Project
@* Acid Pop Miami
TedX Imaging the Future
Stageless : New Writing
Clean Up the Internet
BRUITS Melodic Distraction Radio
Shunyata Healing Arts
Spectacle Development Slate
The Birth of the Device &
The Post Medium Age
Influencers Never Existed
CatsInFruitHats.TV : An infinite playlist
Spectra Ui & Internet Muralism
Women of UK Pirate Radio
Suspect Devices & Gorgeous Machines : The Inventions of Pink Floyd’s Lighting Engineer
Earth Rot : HaHa Sounds Collective Performs David Axelrod’s 1970 Earth Opera
Glitch Hop
Women Music Tech : Rewriting the archive, Daphne Oram to Wendy Carol
Avatar Rinstas : The New Image Aesthetics of Self Portraiture
50 Secrets of Magical Craftsmanship
Teaching & Talks
The Disappearing Margin between Content and Advertising. American University | Design & Cosmology. Colorado College | Design Thinking Teaching Fellowship Finalist. Stanford DSchool | Invisible Design. American Anthropological Association In/Visibility : Projects, Media & Politics | Phenomenology & 3D. School of Visual Arts NY Still Mediated & Moving : The Image Today and It’s Effects on Time & Space
Education
Department of Music Field Recording & The Soundscape. Department of Computing HTML CSS. Goldsmiths Short Courses | Design, Typography & History of Art. Valencia Term | M.Sc. Visual Anthropology, University of Oxford. Creative Director Oxford Left Review, Edgar Wind Art History Journal, Isis Editorial Magazine, British Forum Ethnomusicology Making Sound Objects, Oxide Radio : Touring the Soundscape | B.A. Music & Visual Anthropology. Colorado College
Awards
D&AD Pencil ‘Portrait of a Generation’ 100 teens b. 2000 London Glasgow, Brighton, Birmingham 2019 Best Use of Street Casting. Dazed Beauty : Is this the future of casting. Produced by Somesuch & Co for Uncommon Creative Studio.
Background Art
Lillian F Schwartz ‘Proxima Centauri’ (1968) Adapted by Whitney Conti & Peter Wynne Willson with Overhead Projector, Ripple Tank, Half Dome . Proxima Centuri originally featured as a kinetic sculpture for the 1968 MoMA “The machine as seen at the end of a mechanical age,” IBM Gallery of Science & Art & as a VFX prop to imprison Spock’s brain in a “Star Trek” episode.
London N16
+44 (0) 7 927 599 603
whitneyconti at gmail
WhitneyConti
Whitney is a 28th c. intraterrestrial researcher and early 20th c. inventor working on diversifying our sensory media experiences – stretch dancing the stormy, mostly neoliberal waters, of the economic, cosmological and social models that create our period’s applied arts and industry.
She spent her visual anthropology M.Sc. at the University of Oxford (2012) on a roller coaster survey of the phenomena of Slutty Type (Alternatively titled : the preference for abstract knowledge systems in the construction of ‘knowledge’), spanning media, art and technology from Gutenberg and ren to the 19th c. mushrooming relationship between print & advertising, their slab serif love children, the amnesia of 3D up until the late 20c. ‘tablet.’ Since 2012 she has been working from where she left off, creating an inventory of effects of the Birth of the Device, from the center of what she calls the post medium age, as we creak past the first quarter of the 21st c.
Whitney is easily tickled by actually public media, net art, mustard greens, mid 20th c. sci-fi costume design, early video game chip music and mechanical analog devices like the clarinet, Bolex, tropical horticulture and the hammer.
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