The Luminant Point Arrays show tube televisions in the moment they are switched off. The television picture breaks down and creates a structure of light. The pictures refuse external reference and broach the issue of the difference between abstraction and concretion in photography. The breakdown of the television picture describes the breakdown of the reference. The product is self-referential photography.
“Highways Connect and Divide,” an exhibition on display at Foxy Productions featuring work by Cory Arcangel, Tauba Auerbach, Bureau of Inverse Technology, I/O/D, JODI, Nam June Paik, Sterling Ruby, and Kerry Tribe, considers how the structure of information influences its transmission, reception, and legitimacy. Using the highway as a metaphor, the show constructs a dialog concerning the geography of transmission and the role of the artist in reimagining the systems that impact our lives.
Highways, or channels of transmission are playfully interrupted in Nam June Paik's pioneering work Beatles Electroniques (1966-1972), where a TV broadcast of the Beatles’ A Hard Day's Night (1964) is disrupted by a magnet, rendering the familiar images into abstractions that reveal the underlying technological structure of the electronic signal. In a similar vein, though nearly forty years later, JODI's Geo Goo (2008-2011, ongoing) obstructs Google maps with failures and errors, stripping it of functionality and turning the ordered maps into chaos. The result is a disorienting and emphatic challenge to the technology’s authority and power. In both works, the technological architecture is given precedence over the intended distribution of content.
Maps are also the subject of Kerry Tribe's work North is West / South is East (2001), where the geography of Los Angeles is redrawn from memory by random individuals approached at the LAX Airport. The resulting maps, framed and mounted on the gallery wall, elevate the personal and unique realities over the legitimate cartographic version. Legitimacy and authorization are challenged further by Bureau of Inverse Technology's (BIT) video Bit Plane (1997), where ...
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PHONEBOOK 3 is a directory of independent art spaces, programming, and projects throughout the United States and a collection of critical essays and practical information written by the people who run them. Previous issues of PHONEBOOK published in 2008 and 2009 focused mainly on alternative spaces. PHONEBOOK 3 will expand to include public programming, unconventional residencies, alternative schools, and community resources; all of the projects that form and support art ecologies across the nation, as well as historical documents marking their past.
The directory organizes art spaces into four categories depending upon the primary tools they provided to artists and their community including SPACE to show art, TIME to present performances, a PLACE for artists to stay and make work, and RESOURCES in the form of physical materials or research archives. Each section of the book includes commissioned essays by creative arts administrators and organizers providing individualized accounts of innovative and relevant strategies to keeping projects afloat. These essays will focus on art spaces that have made the transition from small and temporary to large and permanent while maintaining the values and principles they began with. Also included will be short essays interspersed throughout, describing practical bits of skill-sharing and personal reflections as well as historical documents from art spaces and residency programs that have shaped and expanded the definition and function of independent and alternative art spaces in the United States over the last 100 years.