Posts for February 2011

Total Distortion (2010) - Travis Hallenbeck

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Required Reading: Ever-Changing Chains of Work: An Interview with Constant Dullaart by Franz Thalmair

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For Constant Dullaart the Internet serves as a medium as well as a subject of artistic production. His main strategy is the exploration of the multifaceted languages of contemporary images circulating on the Internet and their re-contextualisation as found material in a medium of its own. With his artworks, the Amsterdam- and Berlin-based artist digs deeply into the caches of a networked cultural production without limiting the medium to simple technological traits: the default style of Web-based platforms, their widespread and often unscrutinised use as well as the popularity of globally standardised interfaces are manipulated with the aim of investigating their social potential.

Dullaart’s practice ranges from art made with and for self-explanatory domain names such as The Revolving Internet.com or The Sleeping Internet.com and video works such as YouTube as a Subject as well as the adoption of this series of short loops for the real space under the title YouTube as a Sculpture. Furthermore, he deals with site-specific installations such as Multi-Channel Video Installation, where projector mounts where borrowed from art institutions and taken to an exhibition space to serve as sculptural elements, as well as dealing with digitally manipulated images as in the series No Sunshine, where he applies the Photoshop default techniques to remove the sun from romantic sunset pictures found on Flickr. Brian Droitcour writes for Art in America magazine: “Dullaart’s ready-mades demonstrate his interest in what might be called ‘default’ style—the bland tables of sans serif text and soulless stock photography that frame ads for some of the most common search terms (auto insurance, cheap airline tickets, pornography), baring the underbelly of the Internet’s popular use.” . . . and the circle is turning and turning and turning—with no end in sight.

-- Excerpt from "Ever-Changing Chains of Work: An Interview ...


2011 Rhizome Commissions Cycle Now Open!

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2011 Rhizome Commissions Cycle Now Open!

We are pleased to announce that the 2011 round of Rhizome Commissions is now open!

This year, Rhizome will commission ten international emerging artists to create original works of new media art, with grant awards ranging from $1,000 to $5000. Projects can can manifest for a variety of contexts, including the web, mobile devices, the gallery or public settings. Grant awards can be applied to any stage of the project.

Two of the commissions will be determined by Rhizome's membership through an open vote. The majority will be decided by a jury consisting of Lauren Cornell, executive director of Rhizome, Tina Kukelski, Associate Curator of the Carnegie International 2003; Candice Madey, founder of On Stellar Rays gallery; and, critic and curator Domenico Quaranta.

The applications deadline is Thursday April 14, 2011.

To learn about eligibility, rules, process and procedures of the 2011 Commissions Program, see our procedures page:

http://rhizome.org/commissions/procedures/

Or, go ahead and apply now!(login required)

http://rhizome.org/commissions/submit/

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Something Fishy on Pelican State Beach

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Public Access is an art project produced by David Horvitz in late December 2010 and early January 2011. For roughly two weeks, he drove along California's coast from the Mexican border up through the Oregon border. Along the way, he stopped and took pictures of himself looking out at the beach and other scenic vantage points, his stance recalling the iconic romantic painting Wanderer Above the Sea of Fog by Caspar David Friedrich from 1818 and Bas Jan Ader's 1971 Farewell to Faraway Friends. He then uploaded these photographs to the Wikipedia entries for these locations, adding new images or replacing existent images. This action produced a flurry of discussion amongst the Wikipedia community, as its members tried to figure out his identity and the purpose of the photos. Many of the original photos were cropped or deleted entirely. This post assembles documentation from Public Access. Graphic designer Eric Nylund has created a PDF publication for the project, which includes a text written by Ed Steck. This text and many of the photos taken for Public Access are now on view in the exhibit "As Yet Untitled: Artists and Writers in Collaboration" at SF Camerawork in San Francisco.

DOWNLOAD PUBLIC ACCESS PDF



A Selection of Photographs that were placed on Wikipedia:
- Border Field State Park. (The fence is the Mexican-American border.) - Silver Strand State Beach. - El Segundo. (The town I grew up in.) - Davenport.

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New Age Addiction (2011) - John Transue

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Hot Throttle (2011) - Mark Johns (Doomlaser) and Jonathan Soderstrom (Cactus)

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[PLAY]

Hot Throttle is a new game on Adult Swim from indie game designers Mark Johns (Doomlaser) and Jonathan Soderstrom (Cactus) which features scantily clad men racing around, throwing knives and pretending to be cars.

Note: We mentioned some of Adult Swim's other games by Mark Essen here on the blog a few weeks ago.

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Violin Problem No. 2 (1969) - Bruce Nauman

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Originally from UbuWeb

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Rose, ou Triple Phase (2008) - Florent Ghys

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Clapping Music - Steve Reich (2010) - Peter Vanderham

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The Search for a Center: Vito Campanelli's Web Aesthetics

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"Why look at Gustave Courbet when you can download free porn?" is a question posed by one of the animated characters in Parker Ito's sardonic Artist Statement (2009), a piece that both mocks and celebrates a selection of trite, blanket statements regarding media art. Ito's humorous animation is one of the many projects enmeshed within the dense weave of Vito Campanelli's new book Web Aesthetics: How Digital Media Affect Culture and Society (NAi Publishers), a sprawling examination of post-web visual culture and the cultural implications of various forms of digital media. While the last decade has yielded a considerable amount of scholarship judging and qualifying online interactions, tracking the transformation of identity and contemplating the changing nature of attention, Campanelli's writing project extends beyond these stock investigations and sets out to identify how the web has altered our means of experiencing and evaluating contemporary art and media. The browser, internet mailing lists, peer-to-peer networks, spam, MP3 files, vernacular video and numerous other everyday platforms and protocols are put under the microscope in the interest of cultivating a broad aesthetics of digital media. While these topical, episodic investigations are generally quite successful, Web Aesthetics is not lacking in fundamental structural and stylistic idiosyncrasies.

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