No Layout is a new online platform for independent art and fashion publishers. While mainstream print publishers are struggling to address online content, making their magazines available through clunky PDF apps like Exactly or posting limited articles to their websites, no one has yet come up with a solution for the relatively niche market of independent art publications and zines. No Layout, started by Daniel Pianetti, provides a fully readable library of this print material. So far, their roster rivals that of a well curated museum bookstore or specialty shop, including gallerist Javier Peres' art mag Daddy, Swiss contemporary art journal der:die:das:, urbanism magazine Monu, small art zines like FPCF, and even historical publications like the avant garde journal 291 from 1915, to name a few of the 100 or so publishers available through the site. I spoke with Pianetti to find out more about the project.
Artist, author, NYU professor, and Rhizome's first programmer, Alexander Galloway writes in support of Rhizome's Community Campaign. See message below:
When I think of net culture I think of Rhizome. Working with Rhizome founder Mark Tribe and editor Rachel Greene and many others from Rhizome's infancy in 1996 to 2002, the Rhizome community has had a profound impact on me, affecting how I think about art, code, and culture. I learned how to program at Rhizome. I learned how to be a better writer and editor. And most importantly I learned a little bit about net culture and what it means to bring people together online to talk about art. And to make it.
In my role as editor I read each and every email posted to Rhizome for
six years. The highlight? It was probably when
Since the bubble years Rhizome has only gotten better. With Web 2.0 a whole new generation of art makers and web surfers have redefined the relationship between art and technology. I started working at Rhizome in the fall of 1996 as an intern and I've supported the Rhizome campaign each year since then. Everyone knows that arts funding in the US is not what it should be. Rhizome stays online because of people like you and me. I ...
Music by Tom DeWitt and Vibeke Sorensen.
Does your living room, dining room, waiting room, smoking lounge, meditation hut, cave, central command center or dungeon need sprucing up? Behold Brody Condon's Celebrant at the Hermannsdenkmal (with Girlfriend) (2010):
The work is hand screenprinted on digital-c print and is 30 x 24 inches large. If you give at the cast iron level to Rhizome's Community Campaign - that's $4000 - you can have this magnificent beauty for your very own.
Need guidance on how to become your very own Yes Man? Give at the Silver level - $100 - and receive an original poster by the Yes Men made especially for the Rhizome Campaign. Titled "Yes Men 2.0: How to Become a Yes Man" (2010) the poster provides all the instructional material you need in order to pull off a transformation from average human into a super-subversive, headline-hijacking, raucous YES MAN.
Rhizome supports artists. It’s what we do. My aim for Rhizome’s editorial - the daily blog and our weekly mailer Rhizome News - is to give our audience balanced, smart, in-depth coverage of the new media art field. When readers land on our front page, I think about how our content might benefit their work as artists, educators, curators, students, and creative professionals. The blog is a resource for our community. I hope that our posts provide a mainline to our (often underrepresented) field, both past and present. By donating to Rhizome, you not only help our many fantastic programs, such as Commissions, Artbase, Events, Opportunities and Announcements, you also guarantee to keep editorial alive.
In the past year, we’ve covered so much ground on the blog. The diversity of our posts reflects the distinctive place of our organization. Here’s a recap of some highlights from Rhizome’s editorial in 2010:
- Writers Initiative, where we commission original articles by critics and artists on a variety of different subjects. In the past 12 months alone, we’ve featured interviews with sound art collective Ultra-red, new media performance artist Jeremy Bailey, the performance artist behind the Interior Semiotics meme Natacha Stolz, Jamie Warren of the innovative children’s television program Whoop Dee Doo and many others. We’ve run essays on online curatorial collective Jstchillin, the use of the spreadsheet in artistic practice, and even a round up of all the latest artist-produced iPhone apps. Not to mention the book reviews of titles such as Beryl Graham and Sarah Cook’s “Rethinking Curating: Art after New Media”, Steve Goodman’s “Sonic Warfare: Sound, Affect and the Ecology of Fear” and John Zorn’s edited anthology of writings on music and mysticism “Arcana ...
Those who give at the platinum level - $1000 - will receive an edition of photo documentation from International Airport Montello, an ongoing project by Rhizome-commissioned artists eteam (Franziska Lamprecht and Hajoe Moderegger).
International Airport Montello began in 2005, when the artists started working with the community of Montello in Nevada to establish an international airport on abandoned landing strips located in close proximity to this tiny town, complete with an official site. This edition assembles 13 photos of the process, printed on acid free archival MOAB Legion cotton paper.
Click the above and receive a unique artwork by Amy Granat. Titled White Fade (2008) the piece is a silver gelatin print of a scratched and chemically altered single film frame. Granat is known for her direct manipulation of film stock, and her practice spans film, sound, installation and photography.