In 1996, when my family got a modem and signed up for AOL, my hours of nightly screen time shifted from television to the computer. After leaving for college, I never had a television set in my home—at least not one that’s good for anything more than playing DVDs—and for me television has become a prop associated with certain locations: the ambient CNN in airports, or the numbing luxury at my parents’ house that allows me to surf an easily navigable set of discrete elements, rather than choosing what to view by picking keywords and clicking metonyms.
Antoine Catala feels roughly the same way about television, as I learned on a visit to his studio this summer, and “TV Show” his upcoming solo exhibition at 179 Canal, a new artist-run space in downtown New York, is about television’s slow demise—a phenomenon felt acutely this year as broadcast signals were converted to digital, befuddling one of television’s biggest audiences, the elderly. Catala’s comic-strip paintings of screen stills, which he dashed off quickly with glances at the television, underscore television’s identity as an industrial product, far slicker than anything one person can make alone and produced using templates. His translucent paintings on working television sets also highlight the conventions for arranging shots, as faces and settings of the broadcast form repetitious patterns around his overlaid additions. TV Blobs manipulate live feeds to make distorted, fluid three-dimensional graphics. Catala treats both the television set’s physical mass and the broadcast stream as readymade sculptural material, positioning both form and content as artifacts of the industrial age in a world that’s moving on to something else. “TV Show” opens tonight at 7:00pm.
“Quartet without Pyramid Scheme” does not, in fact, have anything to do with financial machinations, and the title of this experiment in sound installation and improvisation is a dry foil for how it actually unfolds at Brooklyn’s Diapason gallery over four Saturdays in September. Jordan Paul, the organizer of the project, began it September 5 with a pair of parallel installations in Diapason’s gallery and lounge spaces, both of which used the same set of samples—a water boiler, miked CD and DVD players, a malfunctioning audio cord—run through a MaxMSP patch that determined their placement and duration in each channel. A week later Reed Evan Rosenberg introduced some drama by adding the deep rumble of a laundromat to the array of household appliance sounds. But contrast was less a concern for Paul than a close fit as an ensemble, which is why he chose artists he had collaborated with before and requested they bring field recordings of ambient noise. While the work is declared a quartet from the start, it’s not until the last week that all four artists will be present in the gallery, which suggests an understanding of time as being as static as space is ordinarily perceived—an approach supported by the use of sounds connected to locations, and then shuffling and layering them to further mask any hints of the linear temporal movement. As the artists come to remix the samples in Diapason’s lounge each week, they retain equal shares in the quartet—unlike in a pyramid scheme—and rather than bringing a climax and collapse, the meeting of all four at the last session ought to turn out as a rearrangement of set elements, an improvisational structure that ...
When artist and curator Hilla Rebay hung Vasily Kandinsky’s paintings at the Museum of Non-Objective Painting, which she convinced her lover Solomon R. Guggenheim to open in the late 1920s, she created a sensual environment for them with colored walls, faint music, and perfumed air. It was an approximate construction of an inner, spiritual harmony unencumbered by reminders of nature, in keeping with the ideas of Kandinsky’s influential tract “Concerning the Spiritual in Art.” While multimedia updates of art from an older period risk becoming mere bells and whistles on a body of work that stands on its own merits, Kandinsky’s intense interest in synaesthesia—and his exhibition history with Guggenheim’s collection—make it seem like he might be sympathetic to opportunities for multiple sensory stimulation afforded by today’s data processing technologies. Perhaps that’s why Works & Process at the Guggenheim Museum commissioned an immersive light-and-sound piece from Rafael Lozano-Hemmer to mark the opening of the museum’s major Kandinsky retrospective, the first for the artist in more than twenty years. Levels of Nothingness, which Lozano-Hemmer developed in collaboration with philosopher Brian Massumi, takes its inspiration from Kandinsky’s 1912 essay “Yellow Sound.” The installation generates visuals from phonetic data produced by reading philosophical texts by Kandinsky and others. (At the performance, Isabella Rosselini will kick off the readings, and audience members will be encouraged to continue). Rather than translating one kind of information into another to spell out a neatly servable metaphor—as Lozano-Hemmer did, for example, with Pulse Park, which presented Madison Square Park as a living organism by animating it with lights activated by the heart rates of passers-by—Levels of Nothingness promises to be more meditative and fuzzy, suggesting the connection between thought and ...
MIT Press recently published Third Person, an essay collection that follows First Person and Second Person in a series exploring how new media has changed the roles of author and audience. Third Person declares its subject to be “vast narratives,” which editors Pat Harrigan and Noah Wardrip-Fruin define as cultural products that extend beyond the physical and temporal parameters usually associated with their medium. While most television detective shows devote one episode to one investigation, The Wire, for example, can stretch a case out over a season, and the continuity of characters and settings puts demands on a viewer’s memory that other shows rarely make. If the Harry Potter series of books is considered the authoritative source of that fictional world even after the release of the films, Lucasfilm delegates storytelling duties for Star Wars among books, movies, and animated series, and each addition extends the fictional universe in new directions in time and space. Vast narratives can also be generative frameworks that allow for many reconfigurations of the characters and settings over several instantiations, as in computer role-playing games and their pencil-and-paper counterparts like Dungeons & Dragons.
"You have to love dancing to stick to it. It gives you nothing back, no manuscripts to store away, no paintings to hang in museums, no poems to be printed and sold, nothing but that fleeting moment when you feel alive." Those are the words of Merce Cunningham, whose death this summer—a month after the passing of Pina Bausch—provoked a wave of public musing on the difficulties of dance’s notation and preservation, as critics expressed a bleak resignation about the medium’s supposed transience. So it’s a fortunate coincidence that the Institute of Contemporary Art in Philadelphia is starting the new season with an exhibition that demonstrates what dance has “given back” to photography, film, and video. “Dance with Camera” encompasses fifty years of art—from classics like Eleanor Antin, Bruce Nauman, and Mike Kelley to emerging artists—and all the works are rooted in choreography and modernist approaches to movement. Several of the artists make work for both theaters and galleries, and their use of the camera builds on live performance rather than serving as a record of it. Choreographer Kelly Nipper considers motion’s relation to stillness by bringing dancers to her photography studio to isolate moments, while Flora Wiegmann adapts dance phrases to places outside the theater and the camera’s lens. Elad Lassry’s 16mm films exploit the metaphoric potential of the dancer’s disciplined severity, her unity of mind and body. These artists make their camera an active agent in the work, rather than a documentary device. Their concern isn’t extending a dance’s duration in memory, but expanding the capabilities of the camera through the associative and compositional possibilities of dance. The exhibition opens Friday and runs through ...
Rhizome makes money from benefit auctions of postinternet objects whereas Artforum and Art in America do not
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The Abrons Arts Center of Henry Street Settlement is proud to present DECENTER: An Exhibition on the Centenary of the 1913 Armory Show, curated by Andrianna Campbell and Daniel S. Palmer. Opening February 17, 2013 and on view through April 7, the exhibition celebrates the legacy of the Cubist paintings and sculptures in the historic 1913 Armory Show by featuring a group of 27 emerging and internationally recognized contemporary artists, who explore the changes in perception precipitated by our digital age and who closely parallel the Cubist vernacular of fragmentation, nonlinearity, simultaneity, and decenteredness. The show highlights the sponsorship of the 50th anniversary exhibition by the Henry Street Settlement in 1963, the occasion which announced the building of what is today known as the Abrons Arts Center located at 466 Grand Street, New York, NY, on the Lower East Side of Manhattan.
The exhibition commences on the 100th anniversary of the Armory Show, Sunday, February 17, with a 1913 Armory Show Centennial Event, which will feature panel discussions about the 1913 exhibition, as well as the theme of perception and art in the digital age, followed by an opening reception. The show exhibits a group of artworks in the gallery, and also features digital works displayed at www.decenterarmory.com. The site launches February 17.
At the 1913 Armory Show, the Association of American Painters and Sculptors showcased the “New Spirit” of modern art. A backlash of scathing criticism showed how baffled the general American public was by the seeds of abstraction in the Cubist artworks, which quickly became a shorthand expression for the structural changes precipitated by modernity. They not only redefined artistic practice, but also altered our understanding of the process through which we perceive the world. On its 100th anniversary, we will celebrate the Armory Show by posing the question: What is the legacy of Cubism in the hundred years since the Armory Show’s radical display of modern art, and especially, how has this become relevant today?
Accordingly, this exhibition celebrates the centenary of the groundbreaking Armory Show by assembling artworks that analyze the digital revolution and the ways it has affected our perception of the world. Artists as varied as Sara VanDerBeek, Gabriel Orozco, Liz Magic Laser, and Abrons AIRspace residency program alumna Amy Feldman evoke the formal innovations of the historic avant-garde but differ through an embrace or flirtation with digital mediation. Artists today like Andrew Kuo, Tony Cokes, and Cory Arcangel are inspired by the inter-cultural circulation of images, ideas, and data in a worldwide network. While Pablo Picasso and fellow Cubists combined archaic Western forms and appropriated exotica to shatter inherited modes of representation, today ubiquitous computing and the digital image explosion create an intersection of the physical and the virtual, and in doing so, have decentered the locus of artistic praxis.
Although the far-reaching historical significance of the Armory Show was examined through a partial re-creation on its fiftieth anniversary in 1963 (sponsored by the Henry Street Settlement), even then, scholars acknowledged that the exhibition’s social import could not be replicated simply by re-staging the show. In order to honor that “New Spirit,” and the collaborative process through which the 27 members of the Association of American Painters and Sculptors organized this radical exhibit, the 2013 show will inhabit all available exhibition spaces at Abrons and also feature a corresponding online component of digital works. This web-based portion of the show, accessible at www.decenterarmory.com, will grow as artists invite others to contribute in a process that highlights the diversity and expansiveness of the 1913 show’s legacy as it relates to our world today.
This event celebrates the 1913 Armory Show, exactly 100 years after its doors opened to the public. What is the legacy of the exhibition, and how has it been understood and misinterpreted? Is there a “new aesthetic” brought about by perceptual shifts in the digital era? How do these changes align with the formal innovations of the historic avant garde? These two discussion panels, organized in conjunction with Abrons Art Center’s “Decenter: An Exhibition on the Centenary of the 1913 Armory Show,” will address the legacy of the 1913 Armory Show, and the ways that perception and artistic practice in the last hundred years has been radically transformed by our digital era.
Panel Discussion: The Legacy of the 1913 Armory Show:
Charles Haven Duncan (Collection Specialist, Archives of American Art)
Franklin Evans (Artist, New York)
Andrea Geyer (Artist, New York)
Marilyn Satin Kushner (Curator and Head, Department of Prints, Photographs, and Architectural Collections, New-York Historical Society; Co-curator of The Armory Show at 100)
Mary Murray (Curator of Modern and Contemporary Art, Munson Williams Proctor Arts Institute)
Panel Discussion: Perception and Art in the Digital Age:
Introduced by: Israel Rosenfield (City University of New York)
Ethan Greenbaum, Barbara Kasten, Andrew Kuo, Travess Smalley, Sara VanDerBeek
Moderated by: Brian Droitcour