Required Reading: Net Art gets bodied


 Ann Hirsch, Playground, 2013 Performance at the New Museum

Johanna Fateman's "Women on the Verge," running in the current issue of Artforum, takes an in-depth and sensitive look at the recent online exhibition "Body Anxiety" and the work of several notable artists currently working online. The article serves as an excellent snapshot of the "current predicament" of contemporary feminism, and the seemingly conflicted positions the artists adopt:

As skeptical inheritors of the third-wave pro-sex torch, they share no unified agenda, only a cultural predicament. If to put an image of one's body on the Internet is to frame it with the apparatus of porn, to lose control of its circulation, and to expose oneself to the cultural anxiety, sexist scrutiny, and confounding hostility that attend the gesture, then what’s the way forward? There’s no single path, of course. But in many of the standout works that have emerged from this scene, young women—in registers of resignation or defiance, didactically or through performing the intertwinements of "sexuality, innocence, darkness, complacency"—seem to pull off the paradoxical feat of taking back their images at the very moment of surrender.

To celebrate this well-deserved consideration, we've collected a few resources from the Rhizome archives for further research into the topics and artists that were covered in this article, and one or two that weren't:

Josephine Bosma's review "'Body Anxiety:' Sabatoging Big Daddy Mainframe, via Online Exhibition," which discusses the show in the context of prehistories of feminism in net art.

This resource list by the Old Boys Network, which includes manifestos and writings from '90s cyberfeminist leaders like VNS Matrix and Shu Lea Cheang. This 1998 interview between Cheang and Alex Galloway is well worth revisiting. A more recent 2012 interview with Cheang and Yin Ho can be found here, in which she discusses at length her 1998 project Brandon. Parts of the project have now been restored on the Guggenheim website.

Ann Hirsch, whose 2013 Rhizome commission Playground was presented last weekend at JOAN in Los Angeles, was quoted extensively in Fateman's essay. For more on Hirsch, see her 2012 Artist Profile, Moira Weigel on Playground, and Morgan Quaintance's review of the London performance.

An Artist Profile of Jennifer Chan highlights the artist-curator's attention to cyberfeminism in relation to her own practice.

Last fall, Hannah Black and Amalia Ulman participated in our series of discussions Art in Circulation, during which Ulman launched the First Look exhibition of Excellences & Perfections. There have also been Artist Profiles of the former and the latter.

Bunny Rogers talked in depth about online identities in her Artist Profile, and participated in an evening called Internet as Poetry last summer. She'll be working on a Rhizome commission later this year.

Finally, check out Rachel Rabbit White's recap of the 2013 women-only event Zoë Salditch curated at Transfer Gallery in Brooklyn, Oh gURL: It’s so good to finally meet u IRL.

Enjoy, and we hope to see more writing about net art and online exhibitions from Artforum in the future.


Announcing Rhizome's Autumn/Winter Program


Above: Lance Wakeling, still from Field Visits for Chelsea Manning (work in progress).

This Fall/Winter, Rhizome presents events, commissions, and exhibitions that offer considered illumination of contemporary digital culture, provide support for artists, and elaborate our vision for the born digital arts institution.


Index of Rhizome Today for August


Rhizome Today is an experiment in ephemeral blogging: posts written and published each morning, and unpublished within a day. The latest post can always be found at

After some discussion about the best way to wrap up each month's posts, we've decided to publish a list of topics and people covered on Today during the preceding month. Here is the index for Rhizome Today in August, 2014. 


  • Amazon (8-Aug, 11-Aug, 26-Aug)
  • ARE.NA (20-Aug)


July 2: NYC poetry event with Kev, Bunny Rogers, and Brigid Mason


Rhizome Presents: Internet as Poetry
+ Book launch for Cunny Poem Vol. 1
Issue Project Room
July 2, 8pm


The Image of a Storm Cloud


The following is a fictionalized account of the opening of Jon Rafman's You Are Standing in an Open Field, which was on view from Sept 12 - Oct 26, 2013 at Zach Feuer Gallery in New York. 

"Zach Feuer's on 22nd Street," said Thor. He looked up from his iPhone and pointed downtown.

"That sounds right," said Zoe. "A really even number. I can picture it on their website." Zoe nodded and then coughed.

I shrugged and joined them—Thor, Zoe, and my girlfriend Ann. Thor leaned over his phone.

Thor was a tall man, handsome with thick eyebrows. At twenty-two, he was a decade younger than me. Zoe, meanwhile, had sparkly eyes. I think she was Ann's age, twenty-eight. "I haven't seen anything new by Jon in a long time," she said. "I don't even know what this is going to be like."


Generation Worked


Generation Works, an artist-run space in Tacoma, Washington, recently staged its last-ever project as part of the Upcoming Exhibitions program at abc art berlin contemporary, an art fair founded in 2008. Harry Burke reflects on their last exhibition, and on the project as a whole.

Generation Works' beginnings as a foreclosed condo in Tacoma, Washington. 

Generation Works is responsible, progressive, made of stone, its website says to you, with a touch of imagination, patience, openness. The website header, lifted from the online home of another company with the same name, appears against a background that fades from white to baby blue. In the bottom left is the emblem of its sister organisation, Open Shape, its logo like a better version of its DIS counterpart. DIS were at the fair too, in fact, in a real booth, on the Saturday presenting a talk declaring Mainstream as the truest Avant Garde.

Generation Works is the name of an artist-run space in a condo in downtown Tacoma, Washington. Since 2012 it has played host to exhibitions by three American artists: Alex Mackin Dolan, Bunny Rogers, and Jasper Spicero. It is Jasper who curated the space, which runs through three rooms, and which admitted no visitors for any of its exhibitions. On September 19 of this year, between 5:00pm and 7:00pm CET, the project space staged its last-ever exhibition in an impromptu two-walled gallery construction in the foyer of Art Berlin Contemporary, an art fair. The condo in Tacoma has been foreclosed.


Surf Report: gURLs


Texas State Senator Wendy Davis's shoes during her 13-hour filibuster on June 25, 2013.

Jennifer Steinkamp, from the seires Sexist Slides (1989). Slideshow projected on a street in Hollywood at EZTV.

Molly Soda, Inbox Full (2012). Ten-hour reading of questions sent to the artist from her Tumblr askbox.


Artist Profile: Bunny Rogers


Sister Unn's, 2011

A lot of your work seems to explore the transitional moments of adolescence into adulthood through sexual introductions like Dotyk and Waiting for Anne, as well as through sentimental mementos like the embroidered letterman jackets of Sister Jackets and even the webpage Dad’s Big Socks. With this type of memorialization, there’s also this recurrent fascination with animals as self-identifying symbols: Bunny Rogers, PonesA Very Young RiderLambslut, etc. I wonder where these animal identities intersect with this loss of naïve youth and what your relationship to them is within these transgressive adolescent shifts? Why concentrate on the prepubescent stage? What role do animals play within this shift? 

I am interested in deconstructing the comfort felt regarding how we view the transition from girlhood to adulthood.  I do not think I concentrate on the prepubescent stage, at least in the biological sense of the word. When my work is categorized with that term it sets up a discussion of a socially-familiar understanding of what [female] prepubescence means, the definition of which is confusing and contradictory. We build value systems based on that understanding. These terms are applied in an assessment of my work and me. Some of my works try to make these terms unstable, by questioning how we arrive at them. The challenge is how to broaden the grounds on which these concepts are positioned as is evident by the limitations of phrasing we have even when trying to interpret the works investigating these concerns.  I see a lot of overlap in mass culture’s sexualization and exploitation of children and animals. 

i.e. [Dance Precisions / Single Ladies / Pomona] [The Chipettes - Single Ladies [Put A Ring On It]

This ...