“Cyclone” by Robert Henke.
Originally posted on VVORK by Rhizome
547 West 27th Street, 6th Floor
American Still Life
by Willie N. Steiner
John Monaco's AMERICAN STILL LIFE series brings together two disparate media, digital sculpture and images from the World Wide Web. Harkening to Caravaggio's classic painting "Eros as Victor, 1596-1598" and the subjects of "Easy Riders" magazine, Monaco has developed a new language in the history of the still life. Monaco's objects in this series are purely digital, never taking a three-dimensional form and the synthetic models and their environments are appropriated from publicly available sources.
The result of Monaco's investigation is a definition of the artist/sculptor in the digital era and the age of information.
Originally posted on ArtCal Openings by Rhizome
The symbolically powerful and emotional practice of New Zealand-born, London-based artist Nicholas Tayler has greatly impacted the British art scene. His work, once described as a 'mythical vision' of the world, explores the irrational dimensions of human experience. Presented by London's ICA, The Parallels Almanac is Tayler's latest online project. The piece takes the form of a pre-enlightenment almanac, equally comprised of both conjecture and established knowledge, in order to tell the Maori warrior tale "Kupe and the Whale". An uncanny and multi-layered universe to itself, the site is a complex network of film, photography, drawing, text, and audio accessed via charts. The user uncovers the storyline for "Kupe and the Whale" through navigation of the site's manifold areas, which present various items such as photographs of traditional ritual knives, audio commentary by Tayler, and textual definitions of terms like "global architectures". By pairing scientific methodology with speculative mysticism, The Parallels Almanac is a perceptive allegory for the present day search for the metaphysical in an anxious and confusing post- 9/11 world. - Miguel Amado
Mesmeric trii.gif posted by billy rennekamp to the Loshadka blog.
Originally posted on Loshadka by billy
Another lamentable creeping usage is not only pretentious, but it distorts and narrows what artists do. I refer to — rather than reference — the word practice, as in “Duchamp’s practice,” “Picasso’s studio practice” and worst of all, especially from the mouths of graduate students, “my practice.” Things were bad enough in the 1980s, when artists sometimes referred to their work as “production,” but at least that had a kind of grease-monkey grit to it.
I’m here to defend artists’ use of the word practice. If you’re reading this on our web site (as opposed a feed reader or aggregator) you’ll see to the left that we use the term:
The MTAA Reference Resource (MTAA-RR) attempts to archive most information regarding the art duo MTAA’s creative PRACTICE.
A response from artist T.whid of MTAA to a New York Times article entitled 'What We Talk About When We Talk About Art.' If MTAA still had comments, I'm sure this post would generate a good amount of discussion. Read through for full commentary.
Originally posted on MTAA Reference Resource by T.Whid
This is some of the most beautiful music I've heard all year: [630 KB .mp3]
It's a demo of the VirSyn Matrix vocoder. It makes me think of a priest singing the Eucharist, but with some really wack ad copy for a product I've never heard of.
Originally posted on tom moody by tom moody
ART IN GENERAL'S 10th VIDEO MARATHON
January 10-12, 2008
Sixth Floor Galleries
Art in General
79 Walker Street
New York NY 10013
tel. 212 219 0473
Organized by Hanne Mugaas
Art in General's 10th Video Marathon explores the current state of video art, situated in-between institutionalized 'Video Art' and the work emerging from the flow and dynamism of the Internet. Taking the title of Haskell Wexler's film of 1969, which suggested a critique of Marshall McLuhan's distinction between 'hot' and 'cold' media, Medium Cool suggests that video is an idea rather than a technology -- as an umbrella term for a particular set of practices, it promises democracy while at the same time threatening to reduce images to information. Through screenings, lectures, and a dedicated website, the Marathon looks at a range of video practices, including early experiments within the media itself, while dealing with issues of video distribution and copyright, the making of (art) history and legacy through moving images, and the general impact of technology on contemporary culture.
In keeping with this tenth anniversary of the Video Marathon, the screening Transitional Objects, curated by Thomas Beard, looks back on the past decade of electronic art as a way of thinking about a medium that has remained in flux--politically, aesthetically, and technologically--since its inception, while Artist Looking at the Camera, curated by Hanne Mugaas and Fabienne Stephan, includes the work of artists who use the medium to explore the creation and distribution of facts and history. The Marathon opens on Thursday 10th January with a lecture by Ed Halter, and ends on Saturday 12th with Art Since 1960 (According to the Internet) an event by Hanne Mugaas and Cory Arcangel, and Flipped Chips, an event curated by the artist collaborative LoVid ...
More coverage to follow on Rhizome next week.
Originally posted on Hanne Mugaas by Rhizome
Looks like Joe Milutis has been busy uploading more videos from Wave Farm performances.
Stars Like Fleas forest performance at Wave Farm, 2006. Filmed with Vidster cam.
Bryan Zimmerman of The Dust Dive performs from pond at free103point9 Wave Farm. Filmed with Vidster.
"Car Harp" installation at Wave Farm Radio Festival 2006 by Lily Gottlieb-McHale. Filmed with Fisher-Price Vidster Camera.
Wave Farm is the upstate location for transmission arts organization free103point9. The Wave Farm hosts a variety of public performances and exhibitions, as well as a residency program, a study center, and a transmission sculpture garden. For more videos from the Wave Farm, visit the link below.
Originally posted on free103point9 Newsroom by Rhizome
The next program in Rhizome's New Silent Series at the New Museum, Continuing Education for Dead Adults presents three multi-media performances that riff off youth pop culture and its long-term consequences. East Coast collective Paper Rad premieres new videos, including Problem Solvers (20 min, 2008) and a short entitled crank dat spongebob batman dropdead robocop (3 min, 2008) which, in the group's words, is a "3-minute terror-ride through the online world of youtube show-offs." New York artist Ben Coonley presents a new performance entitled Kindred Spirits is the Working Title, (15 min, 2008) and Providence-based experimental band Wizardzz (featuring members of Lightning Bolt) will perform in front of a mesmeric animated tapestry. Tickets available here.
Friday, Jan. 11, 7:00 PM
the New Museum, New York, NY
$8 general public, $6 Members (Rhizome and New Museum)
For the last ten years New York City's Art in General has been host to an annual Video Marathon - a weekend-long intensive look at the state of video art. The next in a line of guest curators to produce the event, Norwegian independent curator Hanne Mugaas has been chosen to organize this year's 10th Year Anniversary edition. Mugaas' inclusive approach to video, which extends beyond the confines of tape and dvd, is indicative of a new generation of curators identified by artist Olia Lialina in her essay "Flat Against the Wall" (2007) as those who "studied JODI at University". (JODI being the seminal computer art collective who emerged in the mid-90s.) As such, the Marathon frames video as an ideology and process that cover a selection of practices, including work on the web. Over the weekend, Art In General's galleries will host ongoing exhibitions, as well as screenings and lectures. The first exhibition, Artist Looking at the Camera, curated by Mugaas and Fabienne Stephan, is an examination of video as a conceptual forum for the production and distribution of facts and history. The second exhibition, Transitional Objects, curated by Thomas Beard, considers the fluidity of electronic art within political, aesthetic, and technological realms over the last decade. Critic Ed Halter's lecture Regarding Jeff's People takes Jeff Krulik's cult documentary Heavy Metal Parking Lot (1986) as an entry point into a discussion of public access television, underground VHS bootlegging, and the formation of subjectivity within fan culture. Mugaas and artist Cory Arcangel will present their performance/lecture Art Since 1960 (According to the Internet), which pieces together the past 48 years of art history through its fragmented representation on the web. And in a performance entitled Flipped Chips, artist collective Lovid, whose live shows involve ...