Since 2005
Works in Brooklyn, New York United States of America

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epic net art

I'm not sure why nobody responded to this -- perhaps because it answers so many questions so clearly, but I think Caitlin's comment is extremely insightful.


The Page Turner

This reminds me of A Boy Name Thor, which was a blog where Jason Corace wrote a song a day for I can't remember how how many months...I don't think the project is online any more.



First, apologies for taking so long to reply to this -- I keep getting stumped here:

Searching, archiving, sharing, manipulating, gaming, disruption, leveling (and on and on) - AND the internet as the field that makes it all act.

I don't mean to be obtuse, but I guess there's no avoiding it -- can you tell me the difference between the on and on list, and the Internet as the field that makes it all act? Are we talking about the difference between an action and the medium itself, a comparable example being say the difference between a brush stroke and the paint?



>Anyways, spiritsurfers intro text and Olina’s notes on the vernacular web aside, the scene seems to be in some sort of critical fog. The only rational I hear makes it all sound like formalism and I don’t think that is what going on here.

Curious on your thoughts of what is going on here.



Having read this conversation through a few times, it is not my impression that any one was trying to deliberately misread comments made. I have however, noticed a reluctance on the part of both parties to acknowledge that the other might have a point.

To my mind, it's quite understandable that T. Whid might feel attacked, but also quite reasonable that his statement Of course critiques can sometimes be helpful, but public critiques of an artist attempting to market their work? The negative probably outweighs whatever positive comes of it. I suppose that's to be judged on an individual basis. might have ruffled a few feathers a while ago, and need to be revisited (I'm not going to bother with the rest of the quotes since this was the original bone of contention). The point that seems to be unclear in this conversation is whether "critiques of artists marketing their work" = pre-reviews of unseen/yet to be opened shows, or reviews in general. I can't tell from the original thread how it was meant; I had originally assumed the former, based on previous threads at digital media tree, and because the latter sounds as though T. Whid isn't in favor of criticism, which doesn't make any sense because he's already said he thinks it has value, even though he isn't likely to personally enjoy it. (Perhaps you can clarify this issue T. Whid?)

This may or may not be relevant, but my own position on the question of the fairness of pre-reviews: I'd bet negative ones aren't all that helpful to the artist which is one of the reasons why they are typically avoided, but too much hoo-haa in their favor can be annoying too, even if there's a relationship there. The binary set up here though, doesn't take into account that there are more people involved than just the critic and the artist. While Cory Arcangel may not have benefited from threads evaluating upcoming shows, a large number of people did. For this reason, I see more good than harm came out of the discussion.

Regarding the formal characteristics of Proops painting: As Tom points out, it's hard to know too much about the "wow" factor that may or may not be present in these paintings, with a jpeg, but my educated guestimation tells me that the technical proficiency is reasonable, but not exceptional. Places that give me pause are the artist's treatment of the feet, and drapery, which looks stylized out of necessity as opposed to the rationed choice of an accomplished painter. The lack of investment in the subject matter as a whole though, to my mind almost entirely negates the chance of a wow factor. Unless it was somehow "self-aware awful", (which given the artist's thoughts in interview is entirely unlikely -, I can't imagine being able to sustain interest in this work for any length of time.