Posts for April 2011

READ/WRITE at 319 Scholes: A Photo Essay

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From March 17-30th, 319 Scholes showcased a final project culminating a year and a half of online projects from Internet curatorial team JstChillin in the exhibition READ/WRITE. The Internet embodied, READ/WRITE translates the spirit of their online program for an onsite exhibition.

Participating artists include Brad Troemel and Lauren Christiansen, Nick De Marco, Math Wrath, Hanna Terese Nilsson and Rasmus Svensson, Ryan Barone, Ben Schumacher, Zach Shipko, Artie Vierkant, Martin Kohout, Anne de Vries, Ivan Gaytan, Eilis McDonald, Tabor Robak, Bailey Salisbury, Simmons & Burke, Mitch Trale, Eugene Kotlyarenko, Jonathan Vingiano, Jon Rafman, Jacob Broms Engblom and Ryder Ripps, Guthrie Lonergan, Ida Lehtonen, Ben Vickers, Duncan Malashock, Tolga Taluy, Melissa Sachs and Cameron Soren, Daniel Leyva, Chris Coy and Rafael Rozendaal.


Ida Lehtonen, Untitled, 2011. Performance March 17, 2011.

 

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Reminder: Apply for Rhizome's 2011 Commissions Cycle!

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The deadline for Rhizome's 2011 Commissions cycle is one month away. Our annual commission program supports emerging artists by providing grants for the creation of significant works of new media art. Rhizome will award ten grants, eight by a jury of experts in the field, and two determined by Rhizome's member community through an open vote. For more details and to apply, visit the commissions page.

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Rectangle & Rectangles (1984) - Réné Jodoin

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This is a didactic film in disguise. A progression of brilliant geometric shapes bombard the screen to the insistent beat of drums. The filmmaker programmed a computer to coordinate a highly complex operation involving an electronic beam of light, color filters and a camera. This animation film, without words, is designed to expose the power of the cinematic medium, and to illustrate the abstract nature of time.

-- DESCRIPTION FROM THE NATIONAL FILM BOARD OF CANADA

Originally via DIAMOND VARIATIONS

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Images from Jonathan Zawada's exhibit "Over Time" at PRISM

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Why the Earth is Green, 2010

The exhibition focuses on large-scale landscape paintings whose topographies are derived from graph data. Zawada collected and compared a variety of data series that extrapolate information over time, such as “Marijuana usage among year 12 students vs. CD and Vinyl record sales between 1975 and 2000” or “Value of land per square meter in Second Life vs. Value of land per square foot in Dubai between 2007 and 2009.” The data is then manipulated through a 3D fractal program and the resulting environment becomes a virtual abstraction that mimics a mountainous landscape.

Painted on linen, the landscapes are a response to the “virtual” reality of digital experiences that are highlighted by the intrinsic flatness and surreal color palate. Invoking the robotics hypothesis of the “Uncanny Valley,” the works take on an android quality, a sense of reality but not quite, registering with the viewer as both familiar and dissimilar. This theme carries through to his drawings, juxtaposing the hyper-real with the conceptually abstract and underlining the temporality of human experience.

-- DESCRIPTION FROM STATEMENT FOR "OVER TIME" AT PRISM (DEC 16, 2010 — FEB 12, 2011)

Flight 77, 2010

Earth Movers, 2010

Very Hot Nights, 2010

Land Sale, 2010

Originally via TRIANGULATION BLOG

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Sun can’t see the light (2011) - Francoise Gamma

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Select Sunsets (2010) - Laurel Schwulst

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Currently on view as part of Laurel Schwulst's Proposals for Future Parks at bubblebyte.org.

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gif. jpg. png. tif. at HEREart

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"gif. jpg. png. tif. (gjpt)," an exhibition currently on display at HEREart , explores the relationship between standardized digital image formats and visual representation. Curated by Jess Ramsay and featuring work by Jason Huff, Jordan Tate and Adam Tindale, Seyhan Musaoglu, and Giselle Zatonyl, the exhibition demonstrates how fully digital imaging has permeated visual culture. The works in the exhibition approach the pixel as a key structural component of visual representation, manipulating it to expose the formal characteristics of digital media.

Jordan Tate and Adam Tindale, Lossless, 2010.

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Coming up at Rhizome: New Silent Series, Benefit, Commissions and Seven on Seven

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Lots going on at Rhizome HQ these days! See below for some of our upcoming programs.



▶ New Silent Series - Digital Folklore: A Conversation with Olia Lialina and Dragan Espenschied
Friday, April 15th 2011 at 7pm at the New Museum

How is folk culture defined in the digital age? This is the question that renowned artists Olia Lialina and Dragan Espenschied set out to answer in their new book, Digital Folklore (2010), an anthology that examines an emergent kind of amateur, popular art: the kind made by computer users. The artists write: “Users’ endeavors, like glittering star backgrounds, kittens, and rainbow gradients, are mostly derided as kitsch or in the most extreme cases, postulated as the end of culture itself. In fact this evolving vernacular, created by users for users, is the most important, beautiful and misunderstood language of new media.” At this talk, part of the monthly New Silent Series, Lialina and Espenschied will present their groundbreaking book, and their new definition of contemporary folk art.





▶ Rhizome's 15th Anniversary Benefit
Thursday, April 21st 2011 at the New Museum. 7pm VIP cocktails, 9pm Afterparty

Join us for Rhizome's 15th Anniversary Benefit on April 21st in the New Museum Skyroom. This year we're honoring our founder Mark Tribe. Get tickets here!



▶ Rhizome Commissions 2011
Deadline: May 1, 2011

Founded in 2001, the goal of the Rhizome Commissions Program is to support emerging artists by providing grants for the creation of significant works of new media art. By new media art, we mean projects that creatively engage new and networked technologies and works that reflect on the broader social and political impact of these tools and media in a variety of forms. Rhizome defines emerging artist as artists who exhibit great potential yet are not fully recognized within their field. Commissioned works can take the final form of web-based works, works that engage mobile platforms, performance, video, installation or sound art. Projects can be made for the context of the gallery, the public, the web or networked devices. Rhizome Commissions awards generally range from $1,000 to $5,000.





▶ Seven on Seven
May 14, 2011 at the New Museum

Presented by AOL, Seven on Seven is a major conference that pairs seven leading artists with seven game-changing technologists in teams of two, and challenges them to develop something new --be it an application, social media, artwork, product, or whatever they imagine-- over the course of a single day. The seven teams will work together at locations around the New York City on May 13th, 2011, and unveil their ideas at a one-day event at the New Museum on May 14, 2011. Seven on Seven is organized by Rhizome.

This year's participants are:

ARTISTS:
Michael Bell-Smith
Ricardo Cabello (mr.doob)
Cao Fei
Liz Magic Laser
Zach Lieberman
Rashaad Newsome
Camille Utterback

TECHNOLOGISTS:
Andy Baio
Ben Cerveny
Jeri Ellsworth
Kellan Elliott-McCrea
Bre Pettis
Chris Poole (moot)
Erica Sadun

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Art Tape: Live With / Think About (2011) - Michael Bell-Smith

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Originally via VVORK

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Terminal Convention Takes Flight

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Exterior of the Cork International Airport (Credit: Mike Hannon Media)

What is an airport? There are few buildings as strictly controlled, commercially exploited and emotionally embedded in the contemporary word. Junctions of humanity, they are sites of equal boredom and threat. Airports are dynamic spaces, with flows of people and capital yet they are as susceptible to the effects of socio-economic and political changes as they are to extreme weather changes. Filled with ubiquitous surveillance, continual identification and suspicion, what happens when they loose this function and just become buildings again?

Terminal Convention was a contemporary exhibition and symposium housed in the decommissioned terminal building of Cork International Airport in the Republic of Ireland. The old terminal stands in the shadow of its new, bright, open and airy, off-the-shelf 21st century airport successor, and the decommissioned terminal has remained a virtually untouched unknown wonderland for international artists to transform.

What is striking about this particular airport ex-terminal is its friendly persona, at times more akin to a bizarre extended living room than an airport, with its fireplaces and fish tanks in the baggage reclaim area. Striped of its function and control, the space is deadened and immobile without the continuous hums and flows of international travel. The description ‘decommissioned’ implies something more than simply the staff moving out and locking the door – the building has been stripped of all its symbolic authority. The new freedom to roam, unchecked, through the once tightly controlled spaces provides a small thrill, the ‘no entry’ signs remain in place, but are now rendered obsolete.

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