Olson has served as Editor & Curator at Rhizome, the inaugural curator at Zero1, and Associate Director at SF Camerawork. She's contributed to many major journals & books and this year Cocom Press published Arte Postinternet, a Spanish translation of her texts on Postinternet Art, a movement she framed in 2006. In 2015 LINK Editions will publish a retrospective anthology of over a decade of her writings on contemporary art which have helped establish a vocabulary for the criticism of new media. Meanwhile, she has also curated programs at the Guggenheim, New Museum, SFMOMA, White Columns, Artists Space, and Bitforms Gallery. She has served on Advisory Boards for Ars Electronica, Transmediale, ISEA, the International Academy of Digital Arts & Sciences, Creative Capital, the Getty Foundation, the Rockefeller Foundation, the Kennedy Center, and the Tribeca Film Festival.
Olson studied Fine Art at Goldsmiths, History of Consciousness at UC Santa Cruz, and Rhetoric & Film Studies at UC Berkeley. She has recently been a visiting artist at Yale, SAIC, Oberlin, and VCU; a Visiting Critic at Brown; and Visiting Faculty at Bard College's Milton Avery Graduate School of the Arts and Ox-Bow. She previously taught at NYU's Tisch School of the Arts' new media graduate program (ITP) and was Assistant Professor of New Media at SUNY-Purchase's School of Film & Media Studies. She was recently an Artist-in-Residence at Eyebeam & is currently Visiting Critic at RISD.
The Yes Men
The Yes Men are a group of culture jamming activists.
They pretend to be powerful people and organizations and then use
their newfound authority for practice what they call “identity correction
New on AudioHyperspace
Involvement and Participation
"At this year's Ars Electronica/Linz the exhibition Tana-Bana was the huge surprise. It showed media art works created by students of the Srishti School of Art, Design and Technology in Bangalore, India. "Tana-Bana" can be translated literally as "warp and weft" and is meant to evoke the ideal of the "integration of communities or societies". Its maybe most impressive work was "Russell TV", which was shown in the exhibition as an audiovisual documentary. It was a temporary TV station created especially for the huge downtown Russell Market. Viewers were involved in the production from the beginning. The TV-station was distributed within the huge market by cable, and by screens at the venue's entrance and in shopkeepers' stalls, it could be watched by the passers-by and the clients. "Tana-Bana" was curated by Geetha Narayanan, who is one of the founders and the director of Shrishti." From Involvement and Participation: Geetha Narayanan in Conversation with Sabine Breitsameter.
Luke Murphy
stream.mov (QTVR, 2005, 1.3MB)
This one uses meta-keywords from porn sites, rendered as curved space and written in Duchamp’s handwriting. Visit Luke’s website for more of these ‘Binaries’ and for other works such as Flash-based computer-generated drawings, such as ‘Kaleidoscope’.
Lower Your Tech
Low Tech Sensors And Actuators is a research/ art project involving “a suite of low-tech sensors and actuators using electronic children’s toys and gadgets that can be hacked for their constituent parts. In this way, artists and architects can quickly and cheaply develop interactive spaces and objects. The outcome of the project was an instruction manual of sorts, a manifesto for low-tech, a conceptual framework for complex interactive systems.
Wearable inkjet printer for street art
The FatJab is a handheld printer that allows artists to print patterns and stories on any surface in the physical space. It deliberately doesn't contain any sensing technology. The goal is to let the artist gain full control over the interface and distort the printed data as it is sprayed onto a surface to create a more personal rendering of a digital artwork.
"The idea for the FatJab came after seeing many computationaly enhanced graffiti-related projects," says Vincent Leclerc. "I was very intrigued by all the possibilities of being able to bring art created using digital media into the physical space but at the same time very frustrated by the projects I saw: they were either very ephemeral (digital projections on city walls) or were just large-scale implementations of plotters/printers that completely lost the expressive language that painters/writers have developped over centuries."
The FatJab is still a very experimental interface. FatJab.v3 is up and running, but it has many usability issues that urgently need to be resolved. Experimentation with v3 was insightful and FatJab.v4 will be on its way.
