Brian Droitcour
Since 2008
Works in BROOKLYN, New York United States of America

BIO
Rhizome curatorial fellow September 2008 - April 2009, staff writer April 2009 - December 2011, poetry editor January 2012 - 20??

TO ALL THE PEOPLE WHO HAVE HAD THEIR LIVES WRECKED BY COMPUTERS, SOCIAL MEDIA, AND THE INTERNET


The Urgency, the new DVD release from Extreme Animals (Jacob Ciocci and David Wightman), is a "visual album," like Beyoncé by Beyoncé, but any similarity to Beyoncé begins and ends with format. Beyoncé is too serious, too straight—the wrong kind of urgency. Her hooks have never found their way into the pop-punk power ballads of Extreme Animals, which mix club disco, heavy metal, and chiptunes with maximalist, strobing montage. 

If there's a diva who is muse to the duo, it's the fickle Katy Perry, whose songs are sampled on two of The Urgency's eight tracks. Inspirational Katy Perry, who dedicates a rousing anthem to everyone who has ever felt like a plastic bag. Party girl Katy Perry, who gets wasted every Friday night. Bisexual Katy Perry who kissed a girl and liked it and wants to see your peacock-cock-cock. Dom/sub Katy Perry who yearns to be poisoned by aliens and is also the tiger who you will hear roar.  


The Unfinished Business of a Yugoslav Internet


 
Aleksandra Domanović, From yu to me (2014). Commissioned by Rhizome, Abandon Normal Devices, and Fridericianum.

Aleksandra Domanović used to own an international sampler of domain names: aleksandradomanovic.sk, aleksandradomanovic.rs, aleksandradomanovic.si, aleksandradomanovic.eu. It's usually enough for an artist or other public figure to claim their name on .com, and Domanović did, but by staking out real estate in the top-level domains governed by Slovakia, Serbia, Slovenia, and the European Union she reminded herself, and anyone else paying attention, about the friction of states and networks, names, and domains. Domanović was born in Yugoslavia, and when it was gone her citizenship drifted. If for some of its users the World Wide Web appears boundlessly ephemeral in comparison to the permanence of statehood, in Domanović's experience of recent history, states and domains alike are tools of control that can be surprisingly fragile and flexible.


Businesslike: DIS Magazine's Stock Database


Shawn Maximo, from Neighboring Interests, 2013

Last month, DIS Magazine made The Suzanne Geiss Company, a gallery in downtown New York, an open photo studio. Don’t worry if you missed it. There wasn’t much to see. The first time I went, the main gallery was empty, save for some dark bags on the floor. In the office, a few people chatted and looked at a laptop. “The photographer is on break,” they told me. “Come back in an hour.” I did. It was just as deserted. (Later, I learned that Frank Benson was taking photos in the dark back room, to avoid interference from the main gallery’s skylight.) I returned a few days later, on a Sunday morning when the editors of DIS were there. One of them was polishing a prop fridge. An intern busied herself with a vacuum.

But the substance of the show wasn’t what was happening in the gallery but the result of it: disimages.com, a fully functional online stock-photo database. The project received its initial funding in the 2011 cycle of Rhizome Commissions, and once DIS secured the rest of the necessary capital and set up the site’s framework, they started production at Suzanne Geiss. disimages.com will continue to expand its offerings as the contributing artists finish retouching their work. For now, visitors can peruse Shawn Maximo’s surreal interiors, where domestic spaces are enclosed by planes of sky and beach; Ian Cheng’s 3D renderings of heads with the DIS Images logo mapped over their contours; and Katja Novitskova’s insertions of safari animals and Powerpoint clip art in white-cube galleries.

Katja Novitskova, from Future Growth Approximations, 2013

DIS Images marks a significant shift in the way artists approach stock photography. Onlines image databases proliferated in the ...

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Artist Profile: Jeff Baij


It seems like artists who were actively making and showing their work online a few years ago have either started making objects and pursuing the familiar career path of the artist—gallery shows, teaching engagements, studio assistantships, grants, and so on—or they gave up and went into another field, like programming or web design. You haven’t done either of those things. You’re still making internet art. What’s that like?

its really weird brian

like really really weird

lemme give you a few reasons why my life has ended up like this, and also a few reasons why its weird

um i mean to be honest the first reason i dont show really is because being around gallery people for more than 5 or 10 minutes without being absolutely shitfaced is literally (Literally) in my top 3 least favorite things in the entire world.

teaching could be cool? i actually love the idea of molding (moulding?) young minds but how does one start this career path? maybe you can give me some pointers. even in an [ed.] if you'd like. [I think you’d have to get an MFA. But based on your answers I don’t think you’d like being in an MFA program. – BD]

assistantships are the same deal as showing- artists are gross, both mentally and physically (trust me on this, i am one) and i like making actual money

which brings me to why i dont make objects: im poor

so maybe i should apply for grants? is that how artists get money to work? i have no idea im really bad at the art thing, except that my work looks really nice and makes a lot of cute girls super happy.

ok so its weird because when im at an opening or out with new people they always say OH WHAT KIND OF ART DO U MAKE and i always say UHH I TAKE OTHER PEOPLES SHIT OFF THE WEB AND CHANGE IT A LITTLE BIT AND CALL IT ART and its awk my g, so awk.

another reason why its weird is because i get super wasted with a lot of like "cool" and "up and coming" artists on the regs and being the net guy/ coolest person in the room is like, pretty exhausting u know?

i just wanna use this space to say plz dont remove any of the swearing from the interview, ive waited a very very long time for this

also plz dont correct any spelling or punctuation, they arent mistakes (im just that cool)

also please leave the above note in the interview (also this one)

next!


The People Code


Installation view of pΓσ₠§§℩η⅁ at the Goethe-Institut Library. Photo courtesy of Jenny Jaskey

The mission of the library could be described as calibrating the optimal ratio of signal to noise, by eliminating as much noise as possible. This description would cover both shushing and the extensive cataloguing that eases readers’ paths to the information they want. But what becomes of that mission when so many people carry a gateway to vast expanses of knowledge in their pockets (even if they mainly use that gateway to take selfies and play Angry Birds)? Does the library of bricks, mortar, and bound books effectively bracket the search for information by offering a specific set of physical resources, with a corresponding language of signals? Or is it yet another backdrop for selfies and Angry Birds—the constant noise of everyday life?

This fall the Goethe-Institut Library, an outpost of the German cultural ministry in SoHo, enlisted curator Jenny Jaskey to organize “The End(s) of the Library,” a year-long series of artists projects that rethink the library’s mission. common room redesigned the floor plan to open up space and introduced a modular exhibition apparatus; David Horvitz established an electronic archive of artists’ books—both scanned works on paper and ebooks—to supplement the Goethe-Institut Library’s catalogs both here and in Europe. The latest project is pΓσ₠§§℩η⅁, a collaboration by Juliete Aranda, Fia Backstrom, and R. Lyon that directly tackles questions of signals and noise. They began by processing the library’s raw database through Safari 5.0.5 and printing out the results, in which catalog entries are cluttered and stretched by symbols and glyphs—representations of the metadata that the computer needs to process catalog entries. A reading was held on January 5 where participants vocalized the print-outs, glyph ...

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DISCUSSION

A Whole New World?


I agree with Miltos that the internet is more like a territory than a tool. If an artist does a performance in a park, you'd say performance is the medium and whatever props he uses are the "tools," but the park itself is the space. Likewise, Quicktime is a tool, scripts are tools, Flickr is a tool and they are all available for use in the territory of the internet. While the internet is not cut off from the world, it does have different conventions of behavior, including different ways of looking at art. (http://www.purekev.com/ brought me back to these thoughts last week, I suggest you watch it if you haven't yet.)

That said, I don't think the Internet Pavilion successfully conveyed the idea of the internet as a territory, either in its Venice venue or the New Wave Show. The projections in Venice presented net art as an alternative kind of video art, and the New Wave Show just herds up a few pieces that have been shown already on Club Internet or other sites and validates them with the official logo of the Venice Biennale--something that seems antithetical to the ideals of piracy that Miltos is espousing. In both cases, internet art is something that be contained in a gallery or an online analogue of it, rather than existing in a broader territory. Miranda July said that her project for "Making Worlds" (described by Ceci in the post above) would be complete when people posted photos of themselves with her sculptures to their Flickrs or Facebooks or whatnot. Corny as that may be, it shows a greater sensitivity to the nature of the internet than the Internet Pavilion did.

DISCUSSION

On Networked Equality


I didn't try to establish a dichotomy, and I think you're reading that into the post because words like "political" or "formal" can suggest an implicit opposition. I realize that's a danger of using such words, but nonetheless I think they can still be useful for discussing work. (I'm guessing you feel the same way, since you used "formal" in the above quote of yours I took but put it in quotes just to be safe.) I agree that several of the Commissions have overt political concerns, but here I wasn't talking about political art in general, I was talking about artists addressing the idea of the internet as an equal socioeconomic field. Maybe one could argue that Jeff Crouse's Crowded (http://www.jeffcrouse.info/news/crowded-rhizome-proposal/) does, but it seems like a stretch.

DISCUSSION

Pizza Party (2004) - Cory Arcangel with Michael Frumin



http://www.donhopkins.com/home/catalog/images/pizzatool.gif

I think the following description goes with this image... Please correct me if I'm wrong:

http://www.donhopkins.com/drupal/node/118
ScriptX Pizza Demo

The ScriptX Pizza Demo, at "http://www.kaleida.com/official/pizza", lets you construct a pizza by plugging together ScriptX objects from several title containers delivered via the World Wide Web. First you select a pizza crust in one title container, then you can select any number of pizza toppings in separate title containers. They're dynamically loaded into the KMP and locally composed in a window, that you can interact with by dragging the toppings around on the crust. There's even a "big brother" spinning eyeball topping, that animates as you move your cursor around the screen!

This demonstrates network distribution of cross platform code and media, with local interactivity, direct manipulation, animation, dynamic binding, and plugging together objects from different containers.

There is an extension to ScriptX on the Mac that enables it to ask NetScape to open any URL, so ScriptX can cause NetScape to display a web page, load another title container, and even send messages to interactive web services (like submitting an order for a pizza).

ScriptX Web developers will go far beyond mere pizza toppings, publishing innovative interactive experiences on the network, no longer limited to the static text, graphics, and forms of HTML.


DISCUSSION


Networked Equality" is the name of the event, so by "the topic of Networked Equality" I meant the topic of that panel discussion. I summed up its contents in the first paragraph, but if that's unclear, I'll rephrase. The discussion was about networked technologies' supposed potential for creating equal educational, economic, and professional conditions vs. how the actual use of the internet usually fortifies divisions of class, sex, national origin, etc. The works I listed in the second paragraph address those issues. I was asking if anyone knew of more recent ones that do. So far the answer seems to be no.

DISCUSSION

On Tour


Hi Andy,

You and other commenters have raised some legitimate criticisms of this post, and I'd be happy to talk about them. Unfortunately, because Nikola has threatened to sue Rhizome, I'm not at liberty to respond. Thanks for understanding.