By
Kevin McGarry
on
Wednesday, March 10th, 2010 at
12:00 pm
Pae White, Smoke Knows, 2009. (Photograph by Fredrik Nilsen)
2010, Francesco Bonami and Gary Carrion-Murayari’s Whitney Biennial, is essentially a Whitney Biennial calibrated for the times: small at 55 artists and altogether humble. This humility, and the fact that one needn’t contend with an overwrought curatorial concept, allows viewers a more cogent experience than past, sprawling, thesis-driven Biennials could offer. Several works, rooms and motifs make good impressions. Not many are impressive enough to make an indelible impact—but a few are. Judging by the past couple decades, the task of this biennial of American art seems insurmountable, and there is no urgency to fault this edition for hitting the target and missing the bulls-eye. While the levelness here is exciting as an indicator of a playing field for post-boom artistic production, the devil’s advocate wonders, perhaps unfairly, if there isn’t something ultimately more exciting about a splashy Biennial that fails stupendously.
In the absence of an overarching conceit, why not start with a premise that did precede itself a bit: the third floor as a dedicated space for film and video. Considering the continued expansion of film and video practices throughout the art world, the idea seemed gimmicky at best—easily the curators could fill a floor, but why ghettoize? Then, come February 25, visitors stepping off the elevator and onto floor three were greeted by a tapestry by Pae White, freezing a frame of interlaced wisps of smoke in a vast expanse of fabric. Mercifully this is not a plain LCD screen (as it turns out, the floor showcases a variety of mediums), but as a piece that meditates on materiality, medium and time, it serves as an excellent banner to welcome visitors to the area of the exhibition that is most concentrated on media. The projects therein attending to these matters soar.
Among them is Erika Vogt’s Secret Traveler Navigator, a small dark room featuring a 16mm projector and two abstract, figurative drawings reminiscent of the images that manifest in the film. Onscreen, silhouetted players gesture with ambiguous instruments both blunt (wands and other prostheses) and delicate (a drawing compass). They are recorded, projected and re-recorded, back and forth between video and film. Other simple deviations—for instance, a mirror held before the camera during a joint recording/playback session, thus reflecting projected light onto the shadow cast by the mirror—collapse layers of ritualized mark-making and physical processing into the finished film, which imparts a heavy, hollow feeling of magic.
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By
John Michael Boling
on
Wednesday, March 10th, 2010 at
10:00 am
Link »
By
John Michael Boling
on
Tuesday, March 9th, 2010 at
3:01 pm
So, The Rhizome Team is getting together for our weekly staff meeting around 3ish tomorrow. (Our staff meetings are catered by the fine folks at Le Cirque and sometimes start fifteen minutes late to allow the wine to breathe and the caviar to chill)* One of the things on the agenda tomorrow is to decide which of the fabulous favicons that you have created to pick as the winner of the FAVICONTEST. This means you have around 24 hours left to contribute your own design for our new favicon. Even if you don't have the urge to submit your own creation you should definitely take a look at what folks have been able to come up with so far. Thanks again to everyone that has submitted, and keep em coming!
*PSYCHE, we are lucky to have 3 banana flavored laffy taffys to split
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By
Ceci Moss
on
Tuesday, March 9th, 2010 at
1:30 pm
Gene McHugh, Rhizome's former Editorial Fellow and a periodic contributor to the site, received the Creative Capital | Andy Warhol Foundation Arts’ Writers Grant earlier this year and has used these funds to begin the "Post Internet" blog. His project aims to build a space to reflect on "...art responding to an existential condition that may also be described as 'Post Internet'–when the Internet is less a novelty and more a banality. Perhaps this is closer to what Guthrie Lonergan described as 'Internet Aware'–a term that I’m sure I will be thinking through here sooner or later." The blog is essentially a bare-bones workspace for his loose, often train-of-thought musings on contemporary internet-based art, and covers everything from Google's Parisian Love ad to Seth Price.
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By
Ceci Moss
on
Tuesday, March 9th, 2010 at
12:30 pm
Via Computers Club
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By
Ceci Moss
on
Tuesday, March 9th, 2010 at
10:00 am
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By
Ceci Moss
on
Monday, March 8th, 2010 at
3:00 pm
computer generated etching
Via the compArt Database of Early Computer Art
By
Ceci Moss
on
Monday, March 8th, 2010 at
2:00 pm
computer assisted painting
Via the compArt Database of Early Computer Art
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By
Ceci Moss
on
Monday, March 8th, 2010 at
1:30 pm
Data generated using Ranstak program and "helix" shapes
Plotted on newsprint with cyan, magenta, and yellow edding 1380 brush-pens. 9" x 9".
Via the compArt Database of Early Computer Art
By
Ceci Moss
on
Monday, March 8th, 2010 at
1:00 pm
black and white plotter drawing
Via the compArt Database of Early Computer Art
By
Ceci Moss
on
Monday, March 8th, 2010 at
12:00 pm
Colored plotter drawing
Via the compArt Database of Early Computer Art
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By
Ceci Moss
on
Monday, March 8th, 2010 at
11:00 am
Black and white plotter drawing created on an IBM 360/75, printed on a CalComp Plotter 565
Via the compArt Database of Early Computer Art
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By
Ceci Moss
on
Monday, March 8th, 2010 at
10:00 am
Germany’s first computer graphics were jointly produced in 1960 by the artist Kurd Alsleben and the physicist Cord Passow. They worked on an analog computer which was linked to an automatic drafting unit and transformed parameters of a differential equation into deviations and disturbances.
Via the compArt Database of Early Computer Art
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By
Ryder Ripps
on
Friday, March 5th, 2010 at
1:30 pm
Editor's Note: Ryder Ripps, of Internet Archaeology, along with Tim Baker (Delicious) and Scott Van Damme (MIT Exhibit), recently launched a beta version of dump.fm, a chat room where participants communicate solely through images. The site combines the creative back and forth of surf clubs, tumblr’s loose and rapid-fire network of image transmission, and the real time spontaneity of an old school chat room. Right now dump.fm is strictly invite-only, but Ryder was generous enough to offer a special invite code to Rhizome readers - “RHIZOME” - so they can play around with the site. Ryder drafted a statement about his concept and aspirations for dump.fm, below.
I remember going into AOL chat rooms, and experiencing instantaneous glee. The hyper-everything world; where experiences come and go at the pace of your typing. Instantaneous collaboration and connection. These are the feelings I wanted to recreate in conceptualizing dump.fm. Dump.fm is a place where you can share images from anywhere on the web, your hard drive or right from your webcam, in real time with other people. Today content moves so fast, making a blog post from a week ago irrelevant. Dump.fm is a place where content is hyper-transient and used to facilitate connections and induce creativity. I think in the future people will produce and consume content much faster and because of this we must reconsider the value of content. For the surf club Spirit Surfers, content is a way to document and make public the most powerful content in the hypnotic surf, “Most of the really enlightening surfs I've had did not end with a post to a surf club -- surfing is so private, it rarely ends in a public act.”, as club creator Kevin Bewersdorf states. Where surfing was a private act from computer to computer, friend to friend, and node to node; dump.fm makes it a public, real time and collaborative act. The surf becomes discovery and the discovery becomes collective.
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By
Ceci Moss
on
Friday, March 5th, 2010 at
12:00 pm
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