In the twenty years that Michael Joaquin Grey has been exhibiting, critics have often employed phrases like “back to basics” and “building blocks” to describe his interest in the conventions dictating the representation of concepts that form the foundation of human knowledge. An exhibition of Grey’s new and old work currently on view at P.S.1 includes a drawing that distills his approach: an outline of an infant playing with two red blocks is the image of a nascent mind grappling with the concept of one plus one. A larger drawing on an adjacent wall reuses the red squares to demonstrate the meaning of prepositions—above, under, behind, etc.—like a diagram in a grammar textbook. Object as preposition (1988-2007), also uses orange circles, a colored form that appears several times in the gallery. The fruit suggested by an orange round is a favorite symbol for Grey (his web site is www.citroid.com). Perhaps it’s because the tautology of the object’s name and the color that describes it produces a conundrum: a schematic picture of an orange is both an abstraction and a concrete representation. The repetition of the orange (or just orange, with no definite article) forces viewers to struggle with the same problem that Grey does: even at the most fundamental level, our descriptions of the world are frustratingly paradoxical and slippery.
Lean, instructional-pamphlet drawings dominate the first of the show’s two galleries; Perpetual ZOOZ (Madonna and Child) (2005-2009), a video projected in the second, darkened room, looks Baroque by comparison. In Grey’s “computational cinema,” The Wizard of Oz plays on both sides of a square that spins against a yellow field. The characters and scenery of the family classic ...
The afternoon of May 30 was clear and sunny, which probably accounted for the low turnout at the New Museum’s panel discussion Networked Equality. Too bad, because the presentations were engaging and generated a lively Q&A; session afterward. More than a month later, the topics raised still seem worth discussion, especially in light of the ongoing conversation about political art and the content of Rhizome’s coverage. The speakers at Networked Equality were researchers, activists, one-time dot-com entrepreneurs and self-described nerds Ethan Zuckerman and Omar Wasow. Zuckerman discussed how the internet’s vaunted potential to increase the flow of ideas across borders of nation, race, and class had been stunted by homophily, the tendency of people to stick to like-minded groups. His project Global Voices is one effort to counter that inclination by aggregating and translating independent media. Wasow, an education specialist, emphasized that access to technology would not narrow the gap between classes, and education was the key to helping disadvantaged segments of the population become participants in a networked economy.
Zuckerman is a fellow at Harvard’s Berkman Center for Internet and Society, where he said his older colleagues—academics who already had established careers when the internet appeared-- greeted networked technologies enthusiastically, predicting earth-shattering change and falling borders. To the contrary, Zuckerman and Wasow’s peers, who helped build the early internet, approached it with a healthy skepticism. This attitude resonates with some pioneering net art works, such as those of Heath Bunting and Daniel Garcia Andujar who reacted sharply to utopian views of networked technologies. BorderXing, Bunting’s project with Kayle Brandon, offered a database with instructions on how to cross borders illegally, but limited access to that database; the project showed literally how political borders were in fact ...
Lisa Oppenheim is interested in how the present viewer sees media of the past, and to study this she takes materials from archives and transforms them with editing effects that distill her interpretation of how an image’s meaning changes over time. For a show at tank.tv, on view through July 21, Oppenheim has revealed her sources and processes in texts accompanying five of her moving-image works. E-M-P-I-R-E reconstructs Andy Warhol’s eight-hour film of the same title using a single 100-foot roll of 16mm color film. “Unlike Warhol’s endurance test of extended filmic boredom, this version uses the language of structuralist ‘flicker’ films of the late 60’s and 70’s,” Brian O’Connell writes in an essay excerpted on tank.tv. He goes on to inform us that the rhythm of the flickering Empire State Buildings spells out “E-M-P-I-R-E” in Morse code—a system as obsolete as 16mm film. Explanations like these never hurt, but Oppenheim’s work is stronger when the transformation of an image over time is a compelling sight in itself. The two channels in Story, Study, Print (2005) juxtapose children’s posters used in predominantly African-American schools in the 1970s with a disconnected sequence of still and moving images; here, chance and obscurity force viewers to form their own associative links rather than relying on a statement to decode meaning. In Yule Log, 2008, a soothing image of a fireplace at Christmastime deteriorates through several repetitions, each one a 16mm copy of the last, while The Sun Is Always Setting Somewhere Else (2006) is a slide show where each frame shows a hand holding snapshots of a sunset ...
In June I traveled through southeastern Europe from Venice to Athens, where I’m looking at art and blogging. Part three of the travelogue is about Belgrade, Serbia.
With a population of two million, Belgrade is twice as big as Zagreb, which is thrice as big as Ljubljana, but the sizes of these three cities have a paradoxically inverse relationship to their cultural infrastructure, particularly at the intersection of art and technology. While little Ljubljana had enough events to fill my schedule for four days, Zagreb’s handful of galleries were in a summer slumber. But organizations were actually there, even if hibernating, while Belgrade had nothing. Many attributed that to the smaller country’s attempt to find a niche or a brand for itself in Europe’s crowded contemporary art world. “New media in Slovenia was as a more or less organized way of deterritorialization from the ex-Yugoslavian context, a systematic attempt ‘to be more serious than the system itself,’" said Maja Ciric, a Serbian curator, citing Zizek. “But in Belgrade the new media paradigm is self-driven and performed individually.”
Belgrade had a small but active demoscene in the 1990s, which gave rise to one of the most interesting art collectives in the former Yugoslavia, Kosmoplovci (pronounced “kos-mo-PLOV-tsee”). The name means something like astronauts or space sailors, and comes from a 1970s do-it-yourself science and technology magazine that some demoscene friends found at a flea market in the early ‘90s. The members of Kosmoplovci are fond of rummaging through the past, and their varied output—which includes internet works, videos, music, comics, and books—usually involves allusion and found media. Satelitska Stanica is based on an old 8mm film extolling a joint project with Japan to ...
Rhizome makes money from benefit auctions of postinternet objects whereas Artforum and Art in America do not
United States of America
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