Posts for May 2009

Rhizome 50,000 Webpage Roll Call

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We would like to thank everyone who has contributed to Rhizome over the last seven weeks by purchasing pixels on The Rhizome 50,000 Dollar Webpage. We missed a few people in our first post so here's an updated version. Thank you so much to all the contributors. There's one week left to participate so we urge you: get involved now, make your mark, buy pixels today!

Roll call of contributors below:


Another Unknown Time, The Disagreeing Internet, Chris Coy, Ideas for Creative Exploration, Up it up!, Dennis Knopf, Michael Bell-Smith, Marc Kremers, MTAA, Hans Verhaegan, Miro, Paperheart, Mark Tribe, paintings that move, Kendra Gaeta, Glowlab, Pluralmedium, Mariah Fee, webjam, Tumbarumba, Andrew Venell, 39 Forks, The Groundswell Collective, Sal Randolph, Fat Little Bird, Little Sis, Christopher Pappas, blackaeonium: Lisa Cianci Ted Davis, Pitchaya Sudbanthad, Rob Cornell, Quite MIce, Petrafael, Peter Horvath Harm Van Den Dorpel, Club Internet, Charles Broskoski, Participatory Politics Foundation, Nasty Nets, Michael Mandiberg, MasterList2000 - A. Bill Miller, Cory Arcangel, Light Industry, Eric Dymond, Flictions xurban_collective, One Million Points of Light, Patrick May, Melissa Roberts, BECA Gallery, Lori Hepner, Mr. Matt Spangler, Sally Mckay and Lorna Mills, Ola Vasiljeva, Britta Gustafson, Wonderful Life, XPACE, Matthew Williamson, Magical Elves, Snoozebot, Migrating Forms, Kat Savage, Visual Living, Elise Roedenbeck, Kurt Schlough, Hair Shirt, Luke Palascak, Bob O'Connor, Source of Yellow, out_4_pizza, Ash Sechler, ArtCat, Ben Needham, Alex Mooney, dorkbot, Jacob Pongratz, Nathaniel Stern, janedapain, Constant Dullaart, Toporek, Wooden Iron, Blown Up Explosion, blownupblowup.com, Rodan Tekle, Collin LaFleche, Parker Koo Ito, Steven Read, Lee Gainer, TANLINES, Jon Rafman, Ben Coonley Brooklyn Acadey of Music, Enrich Medium, Charles Westerman fnnnf, Scenes of Provincial Life, Greg Leuch, Sentimental Value, Archives & Museum Informatics, A Million Keys, Net Art Sucks, Jason Metcalf V-TV Art Verbal Television, Bo Lee, Patrick Lichty, Foxy ...

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Rhizome Benefit is One Week Away!

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That's correct. The Rhizome Benefit is now one week away. It will be a great night with live music and performance and all the proceeds will go towards Rhizome's programs and operations! We hope you'll join us!

Benefit tickets are available online: http://www.rhizome.org/benefit

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"New Criteria for New Media" Guidelines

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Originally written as an internal guideline for the University of Maine's New Media Department, "New Criteria for New Media" describes revised promotion and tenure criteria for faculty working in New Media departments. Acknowledging the increased importance of digital scholarship and publication outside the closed network of peer-reviewed paper journals, this paper argues for the need for universities to support new models of research and discussion by rewarding those who publish in non-traditional avenues. Jon Ippolito posted this paper to Rhizome recently, but it also came out in the Winter 2009 issue of Leonardo and has been circulating elsewhere. When Networked_Performance posted "New Criteria for New Media", one commentator noted that universities in the UK have long honored academics in new media and understand that many of them produce their work online. Perhaps this document is more specific to the American university system and certain pockets that exist within it, such as the University of Maine. The title of Ippolito's Rhizome post is "Prod your university into the 21st century" and no doubt some prodding is due here in the United States. For one radical approach, check Mark C. Taylor's "End the University as We Know It".

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The Claps of Bandwidth (2009) - Jacob Broms Engblom

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The Song of Bandwidth (2009) - Jacob Broms Engblom

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Pop Up Shop

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Image: Raster Noton, Shop, installation view, Tokyo

e-flux's Lower East Side space will host a temporary record store for German electronic label Raster-Noton over the next two months. The record label came out of artists Olaf Bender and Frank Bretschneider's label Rastermusic and artist Carsten Nicolai's own Noton.archiv für ton und nichtton in 1999, and their individual sensibilities have shaped the minimalist aesthetic the label is now known for. Many of the artists who have releases on Raster-Norton, such as Ryoji Ikeda, CM Von Hausswolff and Marc Behrens, examine the materiality of sound as part of their visual arts practice. No wonder, then, that the label's short residency in Manhattan will take the form of an installation, titled The Shop, where none of their over 100 releases will actually be for purchase. Instead, all of their output will be exhibited as artifacts, with CDs displayed and recordings audible via listening stations. Some of these recordings will activate the movement of light in White Line Light, a work by Olaf Bender and Carsten Nicolai that will illuminate the installation. The Shop opens May 26th with a performance by Nicolai and Bender and runs until the end of July.

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PRIME REAL ESTATE AVAILABLE

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UNITS FROM $5.00 to $35,050 AVAILABLE IMMEDIATELY
IDEAL FOR ARTIST, PROFESSIONALS, YOUNG STUDENTS, MUSICIANS, ETC.
ALL PURCHASES ARE 100% TAX-DEDUCTIBLE
PRIME AREA OF INTERNET, JUST 4 DIGITS TO RHIZOME.ORG
VISIT HTTP://WWW.RHIZOME.ORG/50k TO PURCHASE DIRECTLY FROM OWNER. OR E-MAIL ONE OF OUR PIXEL BROKERS at 50k@rhizome.org TO PROCESS YOUR ORDER FOR YOU.

ACT FAST - OFFER ENDS MAY 28TH!!!

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Play Pause and Rewind: Sadie Benning Returns to the Whitney

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Image: Sadie Benning, drawing for Play Pause, 2001-06

Born in Milwaukee, Wisconsin in 1973, video artist and musician Sadie Benning came of age in the art world in the 1990s with well-known journalesque-video tapes, experimental exposés made on the Fisher Price Pixelvision camera that her father, experimental filmmaker James Benning, had given her. Also a former member of the band Le Tigre, Benning is known for her bold and brazen style. Her works have previously shown in the Whitney Biennial in 1993 and in 2000. Her current installation Play Pause (2006), is also now on display at the Whitney.

Play Pause is a two channel video installation that projects images of thousands of hand drawn, gouache on paper, illustrations that Benning made between 2001-2006. Most of them are drawn in black and white with a light gray wash underneath, but a few of the images are also treated with a monochrome tint of red, blue, or green. The piece runs for 29 minutes on a loop. The illustrations were all scanned and arranged in this sequence for the piece. Coupled with surround sound, they tell a story of a “day in the life,” of an anonymous protagonist. Each image appears for only a few seconds, and then another similar image appears: from the first steps on the street, the stores, advertisements, shop fronts, anonymous people, night life, dance clubs, after hours sex, television, and scenes of departure from the train station and airport.

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Image: Sadie Benning, drawing for Play Pause, 2001-06

The title Play Pause alludes to the installation’s strange sense of detachment coupled with vulnerability. This tension arises in several ways: the rhythm and pace of the installation, the space itself, and the particular images displayed. The first juxtaposition occurs between the surround sound pulsing around slow ...

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Stock Sadness (2009) - Ryan Barone

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Getty Images Hollywood (2007) - Joel Holmberg

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