Fast Company: CoLab | Monday, December 22nd 2014
By following trending topics, presenting herself in easily digestible, fairly vapid, and polished stereotypes and other "shortcuts to popularity," Ulman amassed 65,000 followers on Instagram. Her posts and interactions with "fans" have been preserved by Rhizome's new archiving tool, for generations to come. Yikes.
Boing Boing | Tuesday, December 16th 2014
But the games business' particular fixation on newness and "innovation" mustn't divorce us from our obligation to history -- that's what makes Rhizome's work with Duncan's oeuvre more important now than ever.
Motherboard/Vice | Tuesday, December 16th 2014
In the early 1990s, when the most popular CD-ROM game for girls was Barbie Fashion Designer—which outsold Quake in 1992—Chop Suey, Smarty, and Zero Zero spoke to young girls' imaginations. The games were screwy, wonderful, and visionary. In 2014, they’re something even more significant: a reminder that intelligent gaming by and for women is part of our collective digital history, as long as we remember to preserve it.
Flaunt | Friday, December 12th 2014
GeoGoo uses the familiar interface of Google Maps (familiar to those of us naviga- tionally deficient and of a certain age—south say, of fifty) to throw the user into a tangled assault of spiraling and geometrical icons that populate and overrun various geographic locations like a cartographer’s nightmare. GeoGoo is the work of net art pioneers JODI, the winners of the inaugural Prix Net Art launched by Rhizome.
Art F City | Wednesday, December 3rd 2014
So thank you, Rhizome, for planning an exhibition into gaming’s foggy past. Part one: they’re hosting a Kickstarter to bring back Chop Suey—and two other games designed with the help of Theresa Duncan, Smarty (1996) and Zero Zero (1997)—to play in an online exhibition about feminist gaming. Part two: Duncan’s games will be free (hooray), and available on any modern browser via emulation.
Fast Company Labs | Friday, November 21st 2014
According to the Entertainment Software Association, as quoted recently by the New York Times Magazine, nearly half of all gamers are female, though the majority of employed developers are male. With more experimental, powerful, and intimate game projects like Porpentine's, and open-source game-creating platforms like Twine becoming more known, it's a good time to be reminded of Duncan's pioneering work from a decade ago is as relevant as ever.
Kill Screen | Tuesday, November 18th 2014
That's why Rhizome, a NYC-based nonprofit digital arts organization, has taken to Kickstarter to raise the funds they need to preserve these important artifacts. As Rhizome curator Michael Connor explains, their interest and investment in preserving Theresa's work is doublefold, because "they are an excellent example of the lyrical possibilities of the CD-ROM, and important, overlooked works by women—and I also want people, especially girls, to be able to explore and enjoy them again."
The Fader | Friday, November 7th 2014
Other than the most recent image she posted—an Instagram advisory she received about not posting photos that are against the app's "Terms of Service," with the caption "Glad @rhizomedotorg archived it all"—she gives no indication that @amaliaulman is a conceptual art piece.
New York Observer | Thursday, October 30th 2014
Rhizome has named artist duo JODI the inaugural winner of its Prix Net Art award, which comes with a cash prize of $10,000. A $5,000 Award of Distinction has also been given to Kari Altmann.
Dazed | Thursday, October 23rd 2014
The non-profit arts organisation was concerned that online art could disappear at the whims of its host site or went through a dramatic redesign (think Friendster or Myspace). Colloq works by replicating the basic interface of apps such as Instagram with a few modifications – you can't, for instance, scroll past the first image of the piece.
Hyperallergic | Tuesday, October 21st 2014
How do you capture and preserve the experience of a new media artwork created on Twitter in 2010? How do you re-create the design and feel of Twitter’s interface at that time, and populate that interface with users’ contemporaneous profile photos? These are the types of questions that New York’s digital art nonprofit Rhizome is trying to answer in the development of Colloq, a new conservation tool that will help artists preserve social media projects not only by archiving them, but by replicating the exact look and layout of the sites used, and the interactions with other users.
New York Times | Sunday, October 19th 2014
What makes the Internet special is the ability to delve into the details or follow odd little side roads. On Facebook, that might mean a detour to see the wedding photos of a long-lost friend, or read a heartfelt essay on the death of a parent, or follow the public conversations on topics like the Ebola virus. Right now, there’s no way to preserve that kind of complex, immersive experience. But Rhizome, a New York nonprofit organization dedicated to supporting and conserving digital artwork, is trying to build a new kind of data recorder to do just that.
New York Times | Friday, October 10th 2014
[Miranda July's] app, Somebody, is a human messaging service akin to a singing telegram. Users compose a note (often with stage directions) to a friend and send it off via cellphone. Another Somebody user, usually a stranger, delivers the message in person. The New Museum is one of several art institutions across the country that signed on as an official hotspot for the app. Ms. July’s discussion was part of the New Museum’s and Rhizome’s joint First Look series, which showcase original new work created for the web, through newmuseum.org and rhizome.org.
Virtual family man: Ed Fornieles, artist and former boyfriend of Felicity Jones on 'post-internet' art
London Evening Standard | Thursday, August 21st 2014
Last year, at the über-trendy New Museum in New York, he put on NY NY HP HP, a performance-cum-charity gala, in which attendees were given specific roles to be played out over the evening — it eventually descended into a pillow fight and mock orgy.
Gawker | Tuesday, August 12th 2014
Trailblazers—which began in Stuttgart, Germany, in 2010, and made its stateside debut this week—asks competitors to get from point A to point B, across the vastness of the internet, using only the inline links embedded in websites to navigate. With no keyboard, we couldn't access the URL bar or search engines, and the browser we used wasn't outfitted with modern luxuries like bookmarks or a back button. We were to surf the web manually, site by site, click by click.