Five cameras are located in the center of the gallery, panoptically configured to continuously monitor a 360-degree field of view. Computers process the video captured by the cameras and filter out any footage that contains movement. Five screens on the wall of the gallery construct a panoramic representation of the gallery via the camera feeds. Regardless of the number of people in the gallery, it always appears empty in the video footage. Although the panorama seems unified, each screen is temporally inconsistent and discontinuous with the others.

Henry Art Gallery commissions Sanctum by James Coupe and Juan Pampin, to be realized in 2012

July 1, 2011 Henry Art Gallery Announces Façade Window Project Finalists Thousands of students, faculty, staff, and visitors walk past the Henry’s entrance every day. To better engage these passersby and make the public face of the Henry more dynamic, the Henry Art Gallery initiated the Façade Window Project. In late 2010 the museum issued [...]

Thursday, August 11, 2011, 7:00 – 8:00 PM

The Henry Art Gallery invites you to join artist James Coupe for a screening and discussion of the artist’s recent work with ‘surveillance cinema’ in (re)collector, Surveillance Suite, and the web-based work Today, too, I experienced something I hope to understand in a few days.

Camera units track men and women of specific ages as they walk through the museum. They record vignettes of each subject and use these to generate video sequences, which are stored in a database.

>> click image for pdf

A new version of Today, too, I experienced something I hope to understand in a few days has been commissioned for the Abandon Normal Devices festival in Manchester, UK. In advance of the festival, forty new portraits were recorded of people from Manchester, and these will be used in combination with Facebook status posts by [...]

At Olympia Film Society, James Coupe will discuss his work and screen several of his recent short films, alongside extracts from cinematic ‘templates’ that he has used, such as Antonioni’s Blow-Up.

A site-specific artwork that auto-generates narrative films based upon data collected from Facebook users.

The Technology Law Society at the University of Washington School of Law will host a panel discussion focused on surveillance art (the use of technology to record human behavior that provides commentary on the process of surveillance) and rights of the artist and public on Thursday, January 28 from 12:30 – 1:20 p.m. in William H. Gates Hall Room 127.

… turning traditional methods of filmmaking upside down, Coupe takes an algorithmic approach to cinema and, in doing so, transforms reality into narrative.

A series of video works-in-progress as part of a residency at Lanternhouse, Ulverston from September 9 – 19, 2009.

From July 4th – September 26th, James Coupe will be artist-in-residence at Lanternhouse International in Ulverston, UK.

“Mechatronic Art: Beyond Craft-Fetishism”: 11 AM, August 28th, 2009, Waterfront Hall, Belfast. Part of the ISEA Conference.

The Creative Capital Foundation in New York selected Surveillance Suite as one of 41 projects, from 2068 entries, that will receive up to $50,000 of funding.

James Coupe has been awarded one of three Artist Trust fellowships in Emerging and Cross-disciplinary Art, from a total of 450 applications. The award recognizes an artist’s creative excellence and accomplishment, professional achievement and continuing dedication to their artistic discipline.