15 Seconds of Indecision (2009) - Robert Wodzinski

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Interview with JODI

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fromjodi
toceci.moss
dateThu, Apr 2, 2009 at 3:07 AM
subjectdodo ¿ǝɯozıɥɹ ɹoɟ ʍǝıʌɹǝʇuı :ǝɹ

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YouTube Records (2009) - JODI

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ItSpace (2007) - Peter Traub

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ItSpace creates a network of pages within the social networking site MySpace. Instead of featuring people, the pages feature everyday household objects. Each page has a photo of the object, a description, and most importantly, a 1-minute piece of music composed of recordings of the object being struck and resonated in various ways. All the pages, or objects, are 'friends' with each other, so that visitors who discover one object may jump to the others by clicking on the 'friends' pictures at the bottom of each page.

-- EXCERPT FROM THE ARTIST'S STATEMENT

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Solitude (2009) - Bailey Salisbury

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John Latham on tank.tv

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Image: John Latham, Speak, 1968-69, 16mm (Screengrab, Original 16mm)

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Image: John Latham, Erth, 1971 (Screengrab, Original 16mm)

John Latham's films Erth (1971), Britannica (1971), Talk, Mr. Bard (1968), Unedited Material from the Star (1960), and Speak (1968-69) are now on view at tank.tv. See below for a short excerpt from the curatorial statement.

The influence of John Latham (1921-2006), an artist whose work includes painting, performance and film to mention just a few, has extended far beyond the boundaries of the art world. Interested in theoretical physics, Latham developed an opposing cosmology which rejected the primacy of space and matter and favour of time and event. The body of work and concepts which developed out of this way of thinking still challenge the way we conceive of art as event and of the place of the artist within society. Notions of event can be seen as transversal to Latham's whole oeuvre. Indeed, a pioneer in the use of spray paint in the 1950's, Latham started spraying black dots on canvasses. For him, such a gesture and the resulting pictorial effect was similar to the structure and the functioning of the cosmos. "Least events" (the spray burst occurring in time) produce beings (the black dots) out of nothingness (the blank canvas).

His impact on conceptual art can be best appreciated in his opinions concerning language. For Latham, since language stems from objects, it is unable to grasp a reality based on events. According to Latham this results in the lack of a common conception of the world, which is itself responsible for the division of people. In his practice Latham attempted to transpose the unseizability of events through objects into art, thus coining the term "event structure".

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Rhizome's "The Long Gallery" at Why + Wherefore

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Rhizome's Curatorial Fellow Brian Droitcour organized an online exhibition, which went live last night, for Why + Wherefore's series "7 x 7." Titled "The Long Gallery" the show brings together works that horizontally exceed the standard-sized frame of the browser. Artists include Justin Kemp, Christy Matson, Brenna Murphy, Bennett Williamson, Petra Cortright, Peter Baldes, and Daniel Eatock. The show is the sixth installment of seven separate online exhibitions curated by seven websites with seven works each. (Whew! So many 7s.) Apparently it was a pain to code too, sorry W+W!

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Untitled Black Video (2009) - Martijn Hendriks

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Reconstruction of a cellphone video of Saddam Hussein’s execution that was leaked onto the internet, only using found comments on the video that were posted on web forums on the first day of the video’s appearance

-- FROM THE ARTIST'S DESCRIPTION

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Curating Contemplation

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The current exhibition at the Solomon R. Guggenheim Museum, "The Third Mind: American Artists Contemplate Asia, 1860-1989" is in many ways a bold take on the "group show" genre. Not focused on a particular era, style or group of artists, Senior Curator for Asian Art Alexandra Munroe has instead created a sweeping show of over 110 artists around an idea as ethereal and subjective as cultural "contemplation." The show's thesis, that "vanguard artists consistently looked toward 'the East' to forge an independent artistic identity that would define the modern age -- and the modern mind -- through a new understanding of existence, nature, and consciousness" certainly seems timely in this era of rampant globalization, but it simultaneously opens the door to a host of debatable issues around cultural appropriation.

The broad scope and variety of art forms covered under this broad thematic umbrella, from paintings of James McNeill Whistler and Mary Cassatt through multimedia works of Tehching Hsieh and Laurie Anderson, creates a compelling alternate to the usually mono-cultural narrative of Art History. For those of us interested particularly in time-based media, it also provides a compelling context through which to view issues such as duration, notation, communication systems, and networking that are so prevalent in time-based forms.

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-colorheXaequo.- (2004) - jimpunk

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This work was created as a response to the open call for Who's Afraid of Blue, Red and Green?, a project sponsored by Creative Time in 2004. Artist Günther Selichar invited participants to submit animations using the colors blue, red and green. Works were then displayed on the "59th Minute: Video Art on the Times Square Astrovision by Panasonic."

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