Gallerist | Wednesday, February 26th 2014
E-cigarettes have not been unexplored artistically—Korakrit Arunanondchai once gave a rap performance at a SculptureCenter gala featuring male backup dancers in denim who smoked e-cigs—but the conference explored their whole vertical structure. There was a visit on Skype from the collaborative Pirate Utopia, which appeared on camera as smoke-machine smoke and blue lights dancing on a wall. “I’m moving to L.A.,” its voice intoned. “You should coooome to my going-away party! Nowadays it’s all about making the juice come to you.”
The Verge | Tuesday, February 25th 2014
This is the Wild West of the Electronic Nicotine Delivery Device (ENDD), and it may not last very much longer in its current form. And so the panel, on which Ross and Dryhurst both spoke, was cheekily called "This is the ENDD." The event largely cast the e-cig debate's usual suspects — economic, health, and legislative issues — as the background to a number of cultural shifts. Which, because of the world we live in, largely came down to the way e-cigarettes have been marketed.
DIS Magazine | Monday, February 24th 2014
Full disclosure: you don’t need to vape to evaporate. The cultural cloud of incipient imagery and smoky soul-searching surrounding e-cigarettes is fully open to dialogue and debate, as Rhizome’s forum this past weekend — This is the ENDD, the E-Cigarette in Context — clearly demonstrated. But the event went far beyond vaporous vanity. Formally and juridically referred to as Electronic Nicotine Delivery Devices (ENDDs), these steamy avatar-like gadgets were the object of relentless analyses throughout an event that spanned multiple disciplinary perspectives and expressive formats.
Yahoo! Tech | Tuesday, February 18th 2014
The common ground is that this subculture is not about a cigarette stand-in. In fact, cigarette stand-ins are seen as kind of lame. This is about a whole new (cool, creative and better) solution to feeding a nicotine craving. In other words: Vaping isn’t aping.
Kill Screen | Tuesday, February 4th 2014
In a write-up on his project at Rhizome, he explains how “the show coincides with a major cultural shift: the rise and eventual ubiquity of computers and networked technologies over a crucial 20-year period in technological history,” which is pretty fascinating.
The Verge | Monday, February 3rd 2014
hough it may seem counterintuitive to catalog images of, say, Chris Noth furrowing his brow over a clunky early PC, artist Jeff Thompson says Law & Order’s run from 1990 to 2010 took place during a “crucial 20-year period in technological history.” Thompson, in partnership with the New York-based arts and technology organization Rhizome, spent 18 months watching all 465 episodes of the show — that’s 319 hours of police tape and detective work. Throughout this particularly focused binge-watch (which took place at a steady clip of 150-percent speed), Thompson took screenshots of every computer as it appeared, creating an archive of over 11,000 images which are cataloged on a Tumblr and in a forthcoming book. As a bonus, he’s also posted a list of all the URLs which appear in the iconic procedural, including such gems as animetothemax.com and thebaronmuchhumpin.com.
The Guardian | Wednesday, January 29th 2014
One of the trailblazers of the current obsession with the tech-meets-art model is the arts organisation Rhizome. Originally founded in 1996 by the legendary artist Mark Tribe, Rhizome is now a thriving nonprofit, organisation which has played an integral role in the history, definition and growth of contemporary art engaged with technology and the internet. This May, Rhizome will be celebrating the fifth anniversary of their seminal art-meets-tech speed-date event “Seven on Seven”. Heather Corcoran, executive director, explained why Rhizome has been staging these encounters since 2010. The format is simple but effective: seven technologists are paired with seven artists over the course of 24 hours and asked to develop something new to present to a live audience. The aim is to “reach out to wider audiences, and break down the binaries between technology and art," Corcoran explains, tapping the potential for developing new technologies in London and New York, where entrepreneurs and developers collide with culture and the arts.
Blackbook | Monday, January 27th 2014
Most of my personal opinions toward e-cigarette culture tend toward the vaguely sympathetic (imagine the sadness of a whole “bar” dedicated to people huffing little nicotine-dispersing cylinders that light up when you suck on them!) But leave it to the creatively analytic souls at Rhizome to prove that this high-tech habit is actually worthy of serious (or semi-serious) scholarly study. On February 22 at the New Museum, the organization presents “This is the ENDD: The E-Cigarette in Context.” It’s a symposium that also includes an artist-produced mix-tape “to vape to,” naturally; that playlist will form the soundtrack to the event’s after party (at a bar where you can no longer smoke c-cigs, thanks to former Mayor Bloomberg).
Animal | Friday, January 24th 2014
Thompson treated the beloved show as a case-study for the ways our culture — or one segment of it, anyway — thought of and used technology over its 20-year, 1990-2010 run. At first, he tells, Yahoo, computer existed mostly in the periphery, in the backgrounds of shots, often not even turned on, but as you’d expect, tech gradually takes a more central role as time goes on. He’s also collected every fake URL that’s ever appeared on the show.
Laughing Squid | Friday, January 24th 2014
hompson received a grant for the project, aptly titled “Computers on Law & Order,” from Rhizome. On February 1st, Thompson will unveil his findings, which “illustrate 20 years of the history of computers and their interfaces in its set design,” in an illustrated lecture at the Museum of Moving Image in New York City.
Complex | Thursday, January 23rd 2014
The purpose of the event, according to Rhizome, is to "present analyses—historical, political, social, anticipatory—of this technology and the discursive field that is emerging around it."
Death and Taxes | Wednesday, January 22nd 2014
Thompson was originally just watching old “Law & Order” episodes to pass the time, occasionally collecting screengrabs. Then he started noticing the computers, and got a grant from Rhizome, a nonprofit tech-culture arts organization.
Yahoo Tech | Tuesday, January 21st 2014
So he applied for a grant from Rhizome, a nonprofit arts organization that specializes in tech-culture projects, and he won one of the 2012 commissions decided upon by Rhizome member votes. (Rhizome Commissions range from $1,000 to $5,000.) On February 1, he’ll give an “illustrated lecture” at the Museum of the Moving Image in New York, discussing his findings. Michael Connor, Rhizome’s editor and curator, cheerfully acknowledges that there’s an absurd humor lurking in the background (or maybe not lurking, in plain sight) of Thompson’s undertaking. But in the end, he says, the artist has cleverly repurposed a popular show, and shown us something interesting: “We can treat television as a kind of database.”
Blouin Artinfo | Wednesday, November 13th 2013
The Sky Room at the New Museum was the site of Art Gala. But this wasn't a gala filled with coattails and floor length dresses. It was a carefully curated and directed event with actors and performers. The man behind "New York New York Happy Happy (NY NY HP HP)," presented by Rhizome andPerforma, as it was called was British artist Ed Fornieles. Fornieles, who says the evening was about being a hyper version of yourself– doing things you wouldn't normally do, and interacting with people you wouldn't normally talk to. Fornieles is known for creating works that are hard to distinguish between real life and performance.
Interview | Monday, November 11th 2013
This past Thursday, The Sky Room at The New Museum staged Ed Fornieles' high-concept comedy of errors New York New York Happy Happy, a semi-fictional benefit and art gala put on by performance art biennial Performa 13 in conjunction with Rhizome, an online art database working alongside The New Museum on a wide range of multimedia art projects. Fornieles (the art world's high-fashion Richard Ashcroft) moved effortlessly through the crowd in knee-high black leather boots and a crisp white suit swashed head to toe with cascading purple Yves Klein paint gashes, echoing one of the night's most prevalent themes: the body as a living canvas.