Posts for October 2007

The State of Pop

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Art and mass culture have had an explicit and productive back-and-forth relationship for at least half a century, but as the methods and aesthetics dominant in both areas evolve over the years, it inevitably alters the shape of the exchange between art and popular media. In conjunction with this year's installment of the Frieze art fair in London, a panel discussion, titled The Expanded Gallery--Mass Forms for Private Consumption, addresses the contemporary state of that relationship on October 11th. Speaking to the implications of mass-produced aesthetics in fine art for both collectors and lay viewers, the panel will no doubt focus on graphic and industrial design creeping into the gallery. International Herald Tribune design critic Alice Rawsthorn moderates a group that includes design historian Emily King with Marc Newson--known for creating biomorphic furniture, which is sculptural to the degree that the designer is represented by Gagosian Gallery in New York--and Peter Saville of Factory Records fame. Rather than sticking exclusively with design, however, the panel also features noted Italian artist Francesco Vezzoli, who takes up cinematic media and the mechanisms of celebrity in his work. Having riffed on everything from American election campaign ads to Hollywood blockbuster film trailers, Vezzoli is well positioned to offer comment on forms taken from contemporary entertainment spectacles--as opposed to the more demure styles of furniture and graphic design--currently making their way into the gallery.

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Off-Media

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'Vertigo. The century of Off-media Art, from Futurism to the web,' currently on view at MAMbo in Bologna, Italy, is a group show that traces the artistic use of technology throughout the twentieth century in order to propose a definition of 'off-media.' Challenging the modernist notion of 'medium-specificity,' in which each medium is understood as an autonomous entity that operates around its own properties, the exhibition argues that 'it was the progressive incursion of new media that fostered a strong contamination of classical aesthetics, rejecting the presumed division between painting and cinema, sculpture and architecture, theatre and music, design and dance, to affirm an interdisciplinary language' within art practice. Curators Germano Celant and Gianfranco Maraniello brought together over four hundred works that cover the historic avant-gardes (from futurism to suprematism; from constructivism to dadaism; from neoplasticism to surrealism), the postwar neo-avant-garde movements and the contemporary production. From the experiments in sound and poetry of Tommaso Marinetti and Kurt Schwitters to Nam June Paik's video-sculptures and Bill Viola's video-projections, this project thus allows the viewer to understand how technological development and cultural innovation have combined in such ways that, according to the curators, 'the various declinations of the artistic universe have become effectively off-media.' - Miguel Amado

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All In One

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Eyebeam Atelier in New York City is many things: an educational institution, production house, funding organization, and research and development center. It also boasts a massive exhibition space in a prime Chelsea location that has in recent years often been under-utilized for new-media art exhibitions. Under the new leadership of Executive Director Amanda McDonald Crowley, however, this seems to be changing. Interference is the second in a series of three exhibitions that celebrate the tenth year of the organization. Looking at the intersecting and contested boundaries between public and private space, 'Interference' highlights the work of past Eyebeam artists, residents, and fellows. Original artwork that assesses the conflicted roles of the New York policemen, CIA surveillance networks, and local community gardens, are shown beside documentation from neuroTransmitter's latest FM Ferry Experiment, and recent output of the prolific R&D lab. But as Eyebeam has always illustrated, exhibition alone may not be enough. Playing on their strength as a multi-use space, the show is enhanced by multiple workshops and public programs for a multitude of audiences. 'Interference' will be open through November 10th, 2007.

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[Disorganizer + Shredder]

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Disorganiser, 2007 by Jaka Zeleznikar. See also Website-Shredder Mark Napier.

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Originally posted on VVORK by Rhizome


TV on Video

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Former Whitney Museum of American Art Curator and current dean of the California College of the Arts, Lawrence Rinder has organized a small, three-artist show of television-influenced video work at San Francisco's Silverman Gallery. Taking the narrative conceits of the medium as a common thread, TV Honey connects work from two generations of artists by playing up their similar engagements with the desiring mechanics of viewing. A wonderfully bizarre and infrequently screened 1974 work by Lynda Benglis, 'The Amazing Bow Wow,' tells the story of a human-size hermaphroditic dog, who becomes the main attraction in both a traveling freak show and ultimately a violent Oedipal romance. The "can't look away" factor in her work is complemented by Joan Jonas's 'Vertical Roll.' Made in 1972, the artist plays two self-consciously alluring characters in a video that persistently short-circuits the viewer's engagement with the TV drama as the video frame continually "rolls" vertically off the screen in visual hiccups that recall an ancient television set with the v-hold knob turned slightly. Representing the contemporary progeny of these foundational television-focused video works, the show also features Oakland artist Desiree Holman's 2006-07 video 'The Magic Window.' The three-channel projection--exhibited here with a group of related drawings--emulates the sitcom trope of a family watching television together, but like Jonas' work in which the artifice disrupts the viewer's typical relationship to the narrative, the familiarity of the scene is interrupted by strange masks worn by the characters. Opening October 11th, the most striking similarity to emerge between the decade-crossing works, however, may be the shared sense of D.I.Y. chaos that runs through each of them--all three contain dance sequences that could prove to be particularly hilarious viewed side by side.

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8-Bit Cliques

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If anyone in London for the Frieze fair is still tempted to write off the manipulated electronics of the Beige programming ensemble or the kinetic graphic work of the group Paper Rad as interesting but merely stylish nostalgia, the exhibition Tha Click, which opens at E:vent Gallery on October 6th and runs through November 4th, should prove that over the last 10 or so years, both ensembles have made a remarkably substantive and genre-shaping contribution to electronic media-inspired art. The exhibition charts the development of both groups with a mix of older work and more recent offerings. Representing the Beige collective, Paul B. Davis, Cory Arcangel, and Joe Beuckman contribute work ranging from the early hacked Nintendo cartridges that first brought them attention to recent projected work by Davis that manipulates video at the code level to produce an altered image. Jessica Ciocci, Jacob Ciocci, and Ben Jones of Paper Rad, meanwhile, contribute a new series of large-scale color prints, which demonstrate the latest incarnation of their kaleidascope aesthetic that has previously been manifested in everything from books, comics, and zines to video--all of which make an appearance in the exhibition. Taken as a whole, the show demonstrates how the playful, do-it-yourself impulse guiding both collectives' practices have gone from a novel approach to images cast-off by the forward progression of pop-culture to a defining current in contemporary media-based work. Both groups will also participate in a post-Frieze event celebrating the exhibition on October 11th, providing music and visuals for an evening titled 'Tha Click Rave On.'

[Link]

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Live Stage: Paul DeMarinis [Providence]

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Paul DeMarinis :: Digital Media Lecture Series :: November 6, 2007; 7:00 pm :: RISD Auditorium, North Main St. (at College), Providence, RI.

Paul DeMarinis has been working as an electronic media artist since 1971 and has created numerous performance works, sound and computer installations and interactive electronic inventions. One of the first artists to use computers in performance, he has performed internationally, at The Kitchen, Festival d’Automne a Paris, Het Apollohuis in Holland and at Ars Electronica in Linz and created muexhibited at the I.C.C. in Tokyo, Bravin Post Lee Gallery in New York, The Museum of Modern Art in San Francisco and the 2006 Shanghai Biennale. He has received major awards and fellowships in both Visual Arts and Music from The National Endowment for the Arts, N.Y.F.A., N.Y.S.C.A., the John Simon Guggenheim Foundation, the Rockefeller Foundation and was awarded the Golden Nica for Interactive Art at Ars Electronica in 2006.

Much of his recent work deals with the areas of overlap between human communication and technology. Major installations include “The Edison Effect” which uses optics and computers to make new sounds by scanning ancient phonograph records with lasers, “Gray Matter” which uses the interaction of flesh and electricity to make music, “The Messenger” that examines the myths of electricity in communication and recent works such as “RainDance” and “Firebirds” that use fire and water to create the sounds of music and language. Public artworks include large scale interactive installations at Park Tower Hall in Tokyo, at the Olympics in Atlanta and at Expo in Lisbon and an interactive audio environment at the Ft. Lauderdale International Airport. He has been an Artist-in-Residence at The Exploratorium and at Xerox PARC and is currently Associate Professor of Art at Stanford University in California.

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Originally posted on Networked Music Review by jo


Database Aesthetics

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Database Aesthetics: Art in the Age of Information Overflow :: Victoria Vesna.

Discovering the role of data in creating a new way of experiencing--and making--art. Database Aesthetics examines the database as cultural and aesthetic form, explaining how artists have participated in network culture by creating data art. The essays in this collection look at how an aesthetic emerges when artists use the vast amounts of available information as their medium. Here, the ways information is ordered and organized become artistic choices, and artists have an essential role in influencing and critiquing the digitization of daily life.

Contributors: Sharon Daniel, Steve Deitz, Lynn Hershman Leeson, George Legrady, Eduardo Kac, Norman Klein, John Klima, Lev Manovich, Robert F. Nideffer, Nancy Paterson, Christiane Paul, Marko Peljhan, Warren Sack, Bill Seaman, Grahame Weinbren.

Victoria Vesna is a media artist, and professor and chair of the Department of Design and Media Arts at the University of California, Los Angeles.

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Originally posted on networked_performance by jo


Google Art, or How to Hack Google

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ana otero:

Hello everyone,

I'm pleased to announce the opening of "Google Art, or How to Hack Google", an online exhibition I organized for Rhizome, during my time there.

Almost coinciding with the ninth anniversary of Google search engine (last Thursday, September 27), the show "Google Art, or How to Hack Google" aims to illuminate and critique the influence of this expanding online institution. Artworks include ad hacks that attempt to foil Google's seemingly unstoppable business machinery, playful re-interpretations of search results and alterations of its geographical worldview. Together, they elevate and critique Google's logic, while recognizing its own deepening relationship with our culture, behavior and lives.

http://rhizome.org/art/exhibition/googleshow/

"Google Art, or How to Hack Google" is an online show organized by Rhizome and curated by Ana Otero.

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Originally posted on Rhizome.org Raw by ana otero


Grand Text Auto: San Andreas

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Finally, it arrives.

EXHIBITION: Grand Text Auto

LOCATION: The Beall Center for Art and Technology, UC Irvine

OPENING RECEPTION: October 4th, 6:30pm-9:00pm, Beall Center

SYMPOSIUM: October 5th, 1:00-5:00pm, Studio Art Bldg. 712, Room 160, UC Irvine

PERFORMANCE: October 5th, 6:00-8:00pm, Winifred Smith Hall, UC Irvine

GENERAL CONTACT: (949) 824-4339 or http://beallcenter.uci.edu

OVERVIEW

Many blogs have become books - from The Baghdad Blog to Belle de Jour. But Grand Text Auto is the first blog ever to become a gallery exhibition. It opens October 4th and runs through December 15th at UC Irvine’s Beall Center for Art and Technology. The exhibition features the work of Grand Text Auto members Noah Wardrip-Fruin, Mary Flanagan, Michael Mateas, Andrew Stern, Nick Montfort, Scott Rettberg, and their collaborators.

[More....]

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Ed. Note: See also a discussion of the exhibition of blogs as art projects at Tom Moody's blog. ~mo

Originally posted on Grand Text Auto by noah