The following excerpt comes from the final chapter of my book Media, New Media, Postmedia, recently published in Italian by Postmediabooks, who kindly gave Rhizome permission to republish it in English. The book is an attempt to analyze the current positioning of so-called “New Media Art” in the wider field of contemporary arts, and to explore the historical, sociological and conceptual reasons for its marginal position and under-recognition in recent art history.
We have been pretty overwhelmed with support for our annual Community Campaign. We're really grateful, because we could not do without the support of our members. Our Campaign ends on 1/21/11, which is just over a week away, and we are so close to achieving our goal of $35,000. If you like Rhizome, and what we do and want to see us continue, please consider supporting us today. The amount of $35,000 is not arbitrary; it directly supports our Commissions Program (which will begin in February), this blog, and the efforts to run all of our other programs.
Arts organizations survive on the support of the publics they serve. Now is the time to become a member of Rhizome (for only $25/ a year). Our membership program offers a range of benefits, which will be enhanced when our new site launches. It's a worthwhile range of benefits, and your support will keep our programs running.
Thanks for your attention and involvement with Rhizome!
Founded in 1981, Art in General facilitates the production and exhibition of new work and aims to provide artists with an optimal support structure and venue in which to realize and present their work, whether this format entails an exhibition, event, performance, location-based work in the public domain, or the very platforms of discursive space (i.e. publication, website, etc.). There are a variety of programs that support this mission, including solo commissioned exhibitions and projects, residencies, a site-specific elevator program, and off-site projects.
The Open Call is an opportunity for artists to present their current practice to a group of arts professionals, curators, critics, and fellow artists. The selection process takes into account the many and diverse artistic practices that artists develop and use, with the purpose of presenting exhibitions that respond to different ways of being, experiencing, and producing in the world today.
This year, on the occasion of our 30th Anniversary, which launches in September 2011, we will be reviewing applications to commission artists for a variety of special projects, as well as selecting artists for the following year of programs (September 2012-July 2013). In contrast to previous years, this year we ask artists to present a portfolio of their work for review, rather than a proposal for a specific project or exhibition. Specifically, artists are asked to submit a 500-word statement, a resume, and eight digital samples of recent artwork (images, video or audio). As with previous Art in General Open Call applications, users create a profile and may save their work to review and edit until the deadline.
The photos below derive from the online photo archive "Chilton Computing Photographs: 1961-2004." Photos in the collection relate to computing and computer staff on the Chilton, Oxfordshire site that housed both the Atlas Computer Laboratory and the Rutherford Appleton Laboratory. The archive contains over 3000 photos from 1961-2004.
We have four (unpaid) positions opening at Rhizome this Spring. With our new website around the corner, this is a really exciting time to work for the organization. Visit the links below for full details about each position.
▶ Curatorial Fellow / Deadline for applications: February 3, 2011
▶ Digital Archive Fellow / Deadline for applications: February 11, 2011
▶ General Intern / Deadline for applications: January 31, 2011
▶ Technology Assistant Intern / Deadline for applications: February 3, 2011
Over the past year or so, Nicholas O'Brien has been contributing a series of very original interviews with new media artists to the Chicago-based contemporary art blog Bad at Sports. (I've posted a few of them already to Rhizome, here and here.) For each one, the interviews take place within the medium which the artists works (such as Second Life, video, or tumblr). O'Brien posted another interview this week with Nicolas Sassoon, in which they trade 3D models in between a discussion about architecture, copying/pasting, and site-specificity.
The video 'Pruitt-Igoe Falls' takes its title from Pruitt-Igoe, a large urban housing project built in the 1950s in Saint Louis, United States; quickly facing decay, its demolition by implosion started in 1972, 18 years only after construction, and was the first of this kind on such a scale. Designed by American architect Minoru YAMASKI, also responsible for the World Trade Center twin towers, Pruitt-Igoe has become an emblematic icon often evoked by all sides in public housing policy debate, and its destruction was claimed by Postmodern architectural theorician Charles JENCKS to mark 'the day Modern architecture died'.
Under these auspices, Cyprien GAILLARD's video consists of two static and silent shots, linked through a subtle crossfade plan. The first part captures the demolition, at night, of a building in Sighthill housing estate in Glasgow. A city favoured by the artist, the capital of Scotland has the highest number of high-rise housing projects in the United Kingdom, some built in the middle of ancient cemeteries and many now bound to be demolished as part of a large urban rehabilitation plan. The video starts with the striking and fraught with meaning vision of a concrete monolith rising from tombstones, under a powerful lighting that makes the whole scene look like a cinema set. When the grey block implodes and collapses, a thick cloud of dust rises slowly to the foreground and eventually covers the audience and the lights, plunging the image in the dark, out of which only emerge shadows of tombs and vegetation.
A faint light appears in the center of this nocturnal romantic vision, before intensifying and outshining what remained of the first scene: the second shot is a sight of Niagara Falls when they 'light up' at night, illuminated by spotlights that transform them into a dreamy show ...
(from Circuit Lausanne's collection on Collectionof)
Collectionof went live today, a new online platform that allows artists and art spaces to exhibit special objects that speak to their creative production. Perusing Collectionof, many of these "special objects" are not keepsakes or personal items, which one might assume from the site's title, but artworks and editions, like Alan Vega's crosses or an infinity room designed by Tauba Auerbach and Hannes Hetta. (Both very cool items, I might add.) There are a few exceptions, like Scott Ponik's section which includes some of his idiosyncratic book finds such as The Making of Kubrick's 2001 and Vicious Circles and Infinity: An Anthology of Paradoxes. Judging from the stellar list of participants so far, which range from Istanbul-based independent art space Marquise Dance Hall to Miami's Bas Fisher International to artist Cory Arcangel and musician C. Spencer Yeh, it will interesting to see how Collectionof develops.
The new site is officially up! Feel free to explore and take a look at our Orientation page for information about new changes and features. Let us know if you have feedback or suggestions.
Big thanks to Nick Hasty, David Nolen, John Michael Boling, Mushon Zer-Aviv, and Ed Nacional for all their hard work.
In this short clip, from a segment on artist Krzysztof Wodiczko from the Art21 episode Power, designer Adam Whiton of MIT's Interrogative Design Group talks about developing technologies for Wodiczko's complex interactive installations.