Migrating Forms, an offshoot of the defunct New York Underground Film Festival, runs tonight through Sunday at Anthology Film Archives in lower Manhattan. The five-day program is book-ended with feature-length films -- a 1960s-flavored, episodic satire of religion, philosophy, and criticism (Owen Land’s Dialogues) and a documentary about creationist geologists who offer evidence that the world is 6,000 years old (Michael Gitlin’s The Earth Is Young). In between there are almost one hundred long and short works to suit every taste. If you can’t get enough YouTube appropriation, montage, and computer effects, try going Saturday at 7:15 for "Mixed and Maxed," a program featuring Animal Charm and Oliver Laric, or Sunday at 4:45 for "Mature Audiences," with works by Jesse McLean and Takeshi Murata. At Saturday night’s "Tube Time!" tournament, audience members will decide which contestant found the weirdest footage online. The full schedule is here. Single tickets cost $10, and a festival pass costs $50 -- or you can get one free by being the third person to email info[at]migratingforms.org with Rhizome in the subject line!
What would Marx make of the internet? The man who envisioned future communists hunting and fishing by day and writing criticism by night would probably appreciate blogs, but think less of groceries on demand. Marx also believed that alienation stems from the worker's lack of control over the distribution and use of his product -- a theory that informs the exhibition "Forms of Melancholy," organized by Chris Coy at Sego Arts Center in Provo, Utah. Coy had about thirty of his artist friends submit designs to Café Press, the online store selling over 150 million user-generated goods. The full catalog of "Forms of Melancholy" can be viewed on a Café Press site. Coy said he wanted to show all of those products at Sego, but the order would have run over the show’s budget. His edited display can be seen in a deadpan YouTube gallery tour. It looks like a souvenir store, full of the sort of useful trinkets that, in advanced capitalist economies, function as vehicles for announcing social affiliations -- the mug with the insignia of the coffee drinker’s alma mater, the T-shirt with a bald eagle proclaiming that the wearer is a proud American. But “Forms of Melancholy” tweaks these conventions. Jeff Baij’s black hoodie reads "I hate U Mom & dad & School & Town" in Gothic script, making the message implied by a surly teen’s wardrobe bluntly explicit. There are several mugs with vacation pictures of strangers, or pictures made strange. With so many everyday things, “Forms of Melancholy” almost looks more like a novelty store rather than a gallery show. When Eilis McDonald puts the "pinwheel of death" -- the spinning Mac icon that signifies a forced pause -- on crude, animated wristwatches, it’s a pure play of signs ...
ItSpace creates a network of pages within the social networking site MySpace. Instead of featuring people, the pages feature everyday household objects. Each page has a photo of the object, a description, and most importantly, a 1-minute piece of music composed of recordings of the object being struck and resonated in various ways. All the pages, or objects, are 'friends' with each other, so that visitors who discover one object may jump to the others by clicking on the 'friends' pictures at the bottom of each page.
DREAMCAPTCHA #006 from blackmoth on Vimeo.
Kari Altmann is a Baltimore-based artist who initiated the collaborative project Netmares and Netdreams. She agreed to do an interview ahead of the project's residency on Sunday March 15th at Capricious Space in Brooklyn as part of the program In Real Life. - Brian Droitcour
Netmares and Netdreams is going to be featured "in real life" at Capricious Space in Brooklyn. How is this going to be different from the first incarnation of Version 3.0, at Current Gallery in Baltimore? What were some of the challenges you encountered when displaying an online project in physical space?
The opportunity to do version 3.0 of the show arose very suddenly. Current gave us just two weeks to put everything together. But I knew that if we didn't accept that challenge, we might never do the show at all. It wasn't ideal, but it was also perfect luck, because it needed to happen in a space like Current while we had some momentum. We just said yes and pushed through the limitations, which is how we do a lot of things.
Some netdreamers were confronted with the question of how to present things offline for the first time, and they needed to experiment with the options. We didn't have computers for the show, which I was okay with, but we also had zero budget and very limited gear. We wanted to make it the most “real” show we could without all the resources. A lot of things ended up as prints or videos. We debated over whether or not certain pieces still functioned in the way they were presented. If someone didn’t answer an email or send their piece in time, it would affect the way everything ...
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