LA-based arts organization TELIC has been a key player in the West Coast new media scene for over half a decade, mounting significant exhibitions and public programs including both recognized mid-career artists and emerging risk-takers. Now they've taken their own risk of sorts, particularly in what is so turbulent a funding climate for nonprofit arts organizations, by going back to the drawing board to redefine the mandate of presenting media art. Their new "Public School" initiative draws on internet culture's ideals about non-hierarchical (or shall we say "rhizomatic"?) collaborative structures and open source input models to offer an offline transmission of ideas in the form of classes. There are no pop quizzes, report cards, or dress codes in this school, just student-defined curricula in which the public can get together to make art or talk about cultural issues. So far topics have ranged from 8-bit workshops to a Public Service Announcement-making social studies class enticingly titled, "Yo, Dick... Ad Feminem: When Ads Attack." In a true nod to the awesomely collaborative nature of the LA alternative art community, the Public School was recently invited by local allies Machine Project to hold classes at LACMA during their recent intervention-like funfest of public events. After putting out a call for classes to be taught inside a Richard Serra sculpture on the museum grounds, blog readers could vote on course proposals--as is the model for all of their offerings--that included a thoughtfully recursive workshop entitled, "For RICHARD SERRA: me, you and some other creative people in a small but open space learning from each other." You'd never know it from the title, but the class would involve Miranda July (the artist who co-created the arguably pedagogical participatory web project Learning to Love You More with Harrell Fletcher) teaching "a workshop ...
From the artist's statement: International Klein Blue (Google Monochromes) is a series of eleven monochromatic works created by conducting web searches for International Klein Blue, a color developed and patented in the 1950s by French artist Yves Klein. Created "as a means of evoking the immateriality and boundlessness of his own particular utopian vision of the world", IKB falls outside of the color gamut of modern computers rendering each digital reproduction inaccurate.
As promised, I attended last week's "24-Hour Program on the Concept of Time" at the Guggenheim and wrote the following report, which attempts to convey both the variety of approaches participants took to the symposium's broad topic as well as the experience of being present and alert for the full duration, with just a break for breakfast and a few power naps.
The HUO-year is a unit of time invented by art critic Jennifer Allen to measure how far in the future a name will be remembered. You get one year for each project, two for an exhibition, seven for an interview, etc. HUO expands to Hans Ulrich Obrist, the curator whose intellectual hyperactivity inspired Allen to write a wry essay predicting that Obrist's omnipresence in the present will guarantee him more future name-recognition than John Cage, even as a performance of the latter's ORGAN2/ASLSP (As Slow As Possible) continues to hum through the year 2639. Obrist racked up a few dozen more HUO-years at the "24-Hour Program on the Concept of Time," as did the event's organizer, Guggenheim chief curator Nancy Spector. With an eye to the future, the entire Program was recorded, and at this moment the Guggenheim's curatorial staff is surely working to label, transcribe, and catalogue those videos for posterity. In the meantime, here's an elliptical and incomplete summary.
The symposium began with a talk by philosopher Ted Sider, who gave a lucid description of the theory of static time, which proposes that entities are permanently present at points in space but are only visible to us at certain points in time. Next was Joshua Viertel, president of Slow Foods USA, an earnest nonprofit administrator ...
Forever, commissioned by London's Victoria & Albert Museum and on view until February 1st, is a generative artwork which produces an unrepeatable sequence of animations and audio. Universal Everything also created video podcasts of the work's output, which are available on iTunes. The display, a video wall, intentionally stands in stark contrast to the museum's more traditional architecture. The team claim that the installation will tour and that the work will be modified according to the parameters of each location.
Forever at the Victoria & Albert Museum from Universal Everything on Vimeo.
For much of the world, and even for residents of America's other 49 states, California is more of a fantasy than a place. This fantasy stipulates in part that this West Coast territory is comprised mostly of balmy beaches swarming with beach bunnies, palm trees, and pina coladas. There are many flaws in this fantasy, but the idea that California is rich in resources is true. Among those to be celebrated are its artists and, in particular, the large number of brilliant new media practitioners employed by the University of California system. Talk about brain trusts! Curator Christiane Paul has tapped into this vast resource in organizing "Scalable Relations," a series of exhibitions featuring artists who are faculty members of the UC Digital Arts Research Network (DARnet). Ordinarily this kind of members-only context would have a sour ring to it, but the assignment to bring together such a large and diversely talented group of artists actually establishes the onus to make some deeper comment about what they do have in common: new media. There is a kind of challenge in the act of curating or criticizing new media art, which revolves around the question of the extent to which one should foreground technology. For some artists, the medium is, well, the message, while for others it's merely a tool to address the subject of technology. And of course, there's so much middle ground... This show include works that very diversely "illustrate the complexities and shifting contexts of today's information society." But the very fact that our society is an information society points to a scenario in which technology will sometimes be blatantly paramount, while at other times it will be transparent or embedded. Frankly, the very notion of what constitutes "high tech" is shifting so rapidly ...
Long Island City's Socrates Sculpture Park is currently seeking applications for their 2009 cycle. There are four separate programs available -- an Emerging Artist Fellowship Program which provides a 2 to 6 month residency and financial assistance, a 2009 Spring exhibition entitled State Fair which will transform the park into a fairground, Open Space which supports the execution of individual projects, and their biennial of site-specific, temporary, interactive and ephemeral works Float. The latter seems particularly suited to many of the practices covered here on Rhizome (Jon Rubin and Shana Moulton are past participants), but all of these opportunities might potentially be relevant. Applications are due January 26, 2009. Visit their website or download the application for more information.
Digital Arts and New Media (DANM) Technical Coordinator