Jones was formerly the Director of Programming at the Bryce Wolkowitz Gallery in New York, NY. Prior to this, Jones held a combined curatorial and conservation position at the Solomon R. Guggenheim Museum. She co-curated the groundbreaking exhibition Seeing Double: Emulation in Theory and Practice and coordinated the Deutsche Guggenheim exhibition, Nam June Paik: Global Groove 2004. As a key member of the Variable Media Network, Caitlin has also been responsible for developing important tools and policy for the preservation of electronic and ephemeral artworks. Her writings on new media art presentation and preservation have appeared in a wide range of catalogs and international publications.
BIO
Game(s) of War
"Ideas improve. The meaning of words participates in the improvement. Plagiarism is necessary. Progress implies it. It embraces an author's phrase, makes use of his expressions, erases a false idea, and replaces it with the right idea."
So wrote Guy Debord, prominent member of the Situationist International and major instigator of the infamous Paris uprisings of May '68. In his most famous text The Society of the Spectacle, Debord articulates the belief that free trade of thoughts and ideas is not only acceptable, but necessary for the intellectual advancement of culture. He did not simply advocate plagiarism as a means of reference, but as an active way to critically engage and subvert dominant media images -- what he and his fellow Situationists referred to as 'détournement.' Put simply, détournement is the appropriation of these prevailing images for meanings in opposition to their original intent -- a strategy that has influenced generations of activists, academics, and artists. So when the estate of Guy Debord recently sent a 'cease and desist' letter to a group of American artists for copyright infringement, people familiar with Debord's oeuvre were rightly shocked. Beyond the obvious irony of the situation, this particular case has raised questions about the complexities of copyright, monetary compensation and the historical legacy of our anti-establishment icons.Review of "In The Private Eye" at ISE Cultural Foundation
The mystery genre is one of the most robust in literature, theater and film as it has a superior ability to involve the reader in the unfolding of drama. The group show "In the Private Eye," currently on view at the ISE Cultural Foundation in New York City, reflects this same level of engagement by inviting the viewer to join with six artists in the investigation of a series of crimes, cover-ups, and historical narratives.
War Games
"I suggest that game studies should...turn not to a theory of realism in gaming as mere realistic representation, but define realist games as those games that reflect critically on the minutia of everyday life, replete as it is with struggle, personal drama, and injustice."- Alex Galloway
In his book Gaming: Essays on Algorithmic Culture, Galloway tackles the notion of "realism" in video games. By distinguishing between representational and social realism in contemporary game culture, he illuminates how militaristic, political and social norms are both reinforced and challenged. For his current project, with the programming collective Radical Software Group ("RSG"), Galloway and his collaborators (Carolyn Kane, Adam Parrish, Daniel Perlin, DJ /rupture and Matt Shadetek, and Mushon Zer-Aviv) address realism in war games by creating their own- based on "The Game of War" designed by French theorist, activist, and iconoclast Guy Debord. Debord attempted to realistically represent the basic rules and relationships of war through a simple board game known as "Kriegspiel", a variant on chess in which a third party, either human or computer, acts as a referee and mediates the movement of the opposing forces. The game's end is often indeterminate and subject to the personality of those who are playing, which, given the current war in Iraq, certainly seems realistic and gives credence to Debord's assertion that, "with [some] reservations, we may say that this game accurately portrays all the factors at work in real war." RSG translated Debord's set of rules from French into Java, and has released it as an online war game called "Kriegspiel". Debord, as a man who's probably best known for his book The Society of the Spectacle, which closely examined the use of the mass media as a political tool, the fascination and reenactment of the war ...
Transmediale @ Twenty
Over the course of its twenty-year history the annual Berlin festival Transmediale has undergone multiple transformations. Originally an offshoot of the Berlin Film Festival, it grew into Video Fest, then Transmedia and now Transmediale- an evolution that reflects the trajectory of the medium from a specialized activity to a ubiquitous component of daily life. Organized under the theme of "CONSPIRE", this year's festival seeks to, "question, subvert, undermine and bypass the unspoken rules, hidden codes of conduct and assumed truths entrenched within our information driven communication cultures and ideological belief structures." A large and truly international exhibition interprets the conspiratorial through a series of thematic 'clusters' including "Bio-Organic Systems," "Twisted Realities," and "Alternative Science / Science vs Fiction." The annual conference and keynotes includes papers by an equally diverse cast. Of particular interest this year is the session "Web 3.0: Conspiring To Keep The Net Public," which will focuses on the question of "who controls the rights, identities of the users therein" and the increasing commodification of online data and personal expression. Moderated by runme.org co-founder Olga Goriunova, the panel is composed of an international group of theorists, activists and artists including Seda Gurses, Fran Ilich, Felipe Fonseca, Michelle Teran and Simon Yuill. In addition to the exhibition and conference, the festival also hosts a series of film and video screenings and performances. The conference as a whole will be streamed live for the duration of the festival. Transmediale runs from January 30th to February 3rd. - Caitlin Jones
Editor's note: Rhizome will run a comprehensive review of the festival next week by correspondent Michelle Kasprzak.
Crafting for a Cause
Reacting to rampant industrialization and increased division of labor at the end of the 19th century, a group of artists, designers and architects founded what would become known as the Arts and Crafts Movement. William Morris, Charles Rennie Mackintosh and others denounced the machinations of industrialized production in favor of the more romantic and socially responsible ideal of the craftsman. Although predominantly an aesthetic impulse, the ethos behind the Arts and Crafts Movement has inspired more overtly political and ecological movements in recent history. For example, in the 1960s and 70s, the suburbanization of the United States prompted increased interest in "back to the land" movements. The Foxfire community looked to the mountain culture of the Appalachians as keys to more sustainable and community oriented lifestyles, and the Whole Earth Catalog both advocated and provided tools for ecological and socially responsible living. In recent times, against the backdrop of globalization, unprecedented corporate control, and war, an interest in grassroots craft-based movements has emerged in full force. Shedding their predecessor's suspicion of technology, today's crafters realize the political benefit of the immediate access and increased connectivity afforded by new technologies. The New School for General Studies in New York City will examine the strategies of a new generation of craftsmen in the upcoming talk "Crafting Protest". Scheduled for Saturday January 26, panelists will discuss the "role of craft in forming national identities, especially in times of political turmoil or war; notions of patriotism; feminism and the domestic sphere; and economic models that circumvent conventional market models." Moderated by art historian Julia Bryan-Wilson, participants include Sabrina Gschwandtner, artist and founder of KnitKnit, a periodical that celebrates the convergence of craft and contemporary art, and Cat Mazza, whose software KnitPro was developed in opposition to sweatshop labor practices. Artist and Designer ...
Exhibitions Curator
Deadline:
Mon Oct 31, 2011 04:00
Location:
Vancouver,
Canada
Organization: Western Front Society
Job Title: Exhibitions Curator
Position Type: Full-time contract, 35 hours/week
Location: Vancouver, British Columbia
Salary: $31,000/year
Years Experience: 3+
DESCRIPTION
The Western Front Society seeks an outstanding, highly motivated arts professional to step into the role of Exhibitions Curator.
The Western Front is one of Canada’s pioneering artist-run centres and produces and presents works in five programs: Exhibitions, Performance Art, New Music, Media Arts, and FRONT Magazine. The Western Front was founded in 1973 by a small group of interdisciplinary artists, and has developed into an exemplary multi-disciplinary environment for experimental art practice and research. With a staff of ten plus interns and volunteers, the Society collectively produces over fifty events a year.
The Exhibitions Program has a mandate to present contemporary visual art by local, national and international artists. Intentionally open, this mandate has historically focused on artwork that is conceptual, media-based or otherwise ephemeral in nature. Currently the program promotes experimentation with conceptual models and contexts for visual art that have allowed the program to expand beyond gallery exhibitions to include artist books and posters, cross-disciplinary works, site-specific and Internet projects, and commissions.
RESPONSIBILITIES
The Exhibitions Curator reports to the Executive Director, and is responsible for:
• Developing and communicating a dynamic vision for the Exhibitions Program
• Curating exhibitions and all associated programming
• Editing publications
• Writing grants and seeking opportunities for additional funding or support
• Supervising one part-time staff member, contract workers, as well as volunteers
QUALIFICATIONS
• Exemplary knowledge and understanding of contemporary art practices
• Excellent written and verbal communication skills
• Proven financial management experience
• Strong organizational skills
• Ability to provide direction and work with a diverse staff
• High capacity to meet deadlines and work under pressure
• Knowledge of a broad range of issues related to the arts
• A clear understanding of the philosophy and history of the Canadian artist-run centre movement
• Knowledge of the principle funding agencies and prior grant writing experience
• Knowledge of managing publications and print projects
• Experience installing a variety of art exhibitions
• Mac OS, Microsoft Office, electronic mail and Filemaker Pro, an asset
BENEFITS
A competitive benefits package is available after the three months probation period is complete. After eight months of employment, four weeks paid vacation may be taken during the period when programs are recessed. An additional ten days paid holiday time may be taken during the December/January holiday period.
A part-time Exhibitions Assistant supports this position. Provisions are also made within the program budget for research-based travel.
HOW TO APPLY
The Western Front Society is committed to the principles of Employment Equity and encourages applications from Aboriginal persons, members of a visible minority group or persons with a disability.
Applications containing a cover letter, curriculum vitae, three references, and writing samples, must be received by 4:00 p.m. on December 14, 2009.
Please send applications by email only to:
Exhibitions Curator Hiring Committee
Email: admin@front.bc.ca
Western Front Society
303 East 8th Avenue
Vancouver, BC V5T 1S1
www.front.bc.ca
NO PHONE CALLS PLEASE. Only candidates selected for an interview will be contacted.
Job Title: Exhibitions Curator
Position Type: Full-time contract, 35 hours/week
Location: Vancouver, British Columbia
Salary: $31,000/year
Years Experience: 3+
DESCRIPTION
The Western Front Society seeks an outstanding, highly motivated arts professional to step into the role of Exhibitions Curator.
The Western Front is one of Canada’s pioneering artist-run centres and produces and presents works in five programs: Exhibitions, Performance Art, New Music, Media Arts, and FRONT Magazine. The Western Front was founded in 1973 by a small group of interdisciplinary artists, and has developed into an exemplary multi-disciplinary environment for experimental art practice and research. With a staff of ten plus interns and volunteers, the Society collectively produces over fifty events a year.
The Exhibitions Program has a mandate to present contemporary visual art by local, national and international artists. Intentionally open, this mandate has historically focused on artwork that is conceptual, media-based or otherwise ephemeral in nature. Currently the program promotes experimentation with conceptual models and contexts for visual art that have allowed the program to expand beyond gallery exhibitions to include artist books and posters, cross-disciplinary works, site-specific and Internet projects, and commissions.
RESPONSIBILITIES
The Exhibitions Curator reports to the Executive Director, and is responsible for:
• Developing and communicating a dynamic vision for the Exhibitions Program
• Curating exhibitions and all associated programming
• Editing publications
• Writing grants and seeking opportunities for additional funding or support
• Supervising one part-time staff member, contract workers, as well as volunteers
QUALIFICATIONS
• Exemplary knowledge and understanding of contemporary art practices
• Excellent written and verbal communication skills
• Proven financial management experience
• Strong organizational skills
• Ability to provide direction and work with a diverse staff
• High capacity to meet deadlines and work under pressure
• Knowledge of a broad range of issues related to the arts
• A clear understanding of the philosophy and history of the Canadian artist-run centre movement
• Knowledge of the principle funding agencies and prior grant writing experience
• Knowledge of managing publications and print projects
• Experience installing a variety of art exhibitions
• Mac OS, Microsoft Office, electronic mail and Filemaker Pro, an asset
BENEFITS
A competitive benefits package is available after the three months probation period is complete. After eight months of employment, four weeks paid vacation may be taken during the period when programs are recessed. An additional ten days paid holiday time may be taken during the December/January holiday period.
A part-time Exhibitions Assistant supports this position. Provisions are also made within the program budget for research-based travel.
HOW TO APPLY
The Western Front Society is committed to the principles of Employment Equity and encourages applications from Aboriginal persons, members of a visible minority group or persons with a disability.
Applications containing a cover letter, curriculum vitae, three references, and writing samples, must be received by 4:00 p.m. on December 14, 2009.
Please send applications by email only to:
Exhibitions Curator Hiring Committee
Email: admin@front.bc.ca
Western Front Society
303 East 8th Avenue
Vancouver, BC V5T 1S1
www.front.bc.ca
NO PHONE CALLS PLEASE. Only candidates selected for an interview will be contacted.
epic net art
Just to be clear, I have never once suggested that market success is a good barometer of artistic success. I was responding simply to the assertions (somewhere earlier on in the 1.0 v. 2.0 discussion - and maybe we should move this discussion back there, rather than embedded in this epic art thread) that the institution and the 'art world' have embraced the 3rd generation of net artists more than the earlier generation. I almost didn't include that ps. as I don't want the discussion to go back to this 'art market' thread.
That said...
Therefore, not a distraction at all. I think it's a good barometer of where many of the artists (that I see in Chicago, Brussels, San Fran, and elsewhere) are pointing their vector of effort. To me, this shows me what is being "seen as important", when only 40 years ago, media art was still in a mode of challenging the galley and the object itself. This is a major shift...
While I agree with you Patrick that artists are directing efforts towards marketability, I certainly don't see it as a major shift. I think many Internet Artists who are gearing a part of their practice towards the institution/gallery setting, still create work that disrupts and challenges that system. And, I'm sorry, maybe my perspective as the one time programing director for a chelsea gallery that played a role in bringing some first generation net artists into the commercial sphere, but I just don't see this as a problem. I certainly see it as a trend to follow with interest, but don't see it as a whole hearted conversion to 'art world traditionalism.'
cj
That said...
Therefore, not a distraction at all. I think it's a good barometer of where many of the artists (that I see in Chicago, Brussels, San Fran, and elsewhere) are pointing their vector of effort. To me, this shows me what is being "seen as important", when only 40 years ago, media art was still in a mode of challenging the galley and the object itself. This is a major shift...
While I agree with you Patrick that artists are directing efforts towards marketability, I certainly don't see it as a major shift. I think many Internet Artists who are gearing a part of their practice towards the institution/gallery setting, still create work that disrupts and challenges that system. And, I'm sorry, maybe my perspective as the one time programing director for a chelsea gallery that played a role in bringing some first generation net artists into the commercial sphere, but I just don't see this as a problem. I certainly see it as a trend to follow with interest, but don't see it as a whole hearted conversion to 'art world traditionalism.'
cj
epic net art
I think maybe I'm being called out here. So finally, after weeks of lurking I'll respond.
First off. Yes. the ongoing snark/sarcasm/animosity between tom, tim and mriver is super/totally/unbelievably "boring."
Secondly. And this is somewhat off topic on this particular string, but I think this entire net.art 1.0 v. net.art 2.0 conversation is, while not exactly boring, maybe a red herring. To be very simplistic about it, I don't really perceive much theoretical distance between the work of 'the old guard' and the work of the current "3rd generation" net artists. I think both were/are responding to the web as it existed at the time. In the late 1990s people wrote their own html, they 'view(ed) source,' and things were for the most part text based. And the art of the time responded accordingly, creating work about language, translation and disrupting the emerging systems that the general public was so quick to accept unconditionally.
Now, the web has obviously evolved into the web 2.0 (and all that comes with it). You don't need to code to be an internet artist because no one really needs to code to use the web anymore. You just need a myspace or facebook page, access to youtube or flickr, or a blogger address and you are 'actively' participating in the web (obviously a lot of people have written about the deeper implications of this type of migration - notably Olia in her Vernacular Web 2) http://www.contemporary-home-computing.org/vernacular-web-2/). So if internet artists are now making work that is a collection of links, a series of other people's youtube videos? Fantastic. As far as I can tell most of this work is doing so as a means to question the ease with which we are living our most intimate moments online.
The web is a different place, and so obviously the art that comes out of it is going to be different. But I think, at its very core, it is the same. Internet Art responds to the web, its development, and how we use it, regardless of whether it was made by MTAA or Guthrie Lonergan. Like I said, very simplistic, and not a fully formed argument at this point, but I think looking at why this work is so different is far less interesting than exploring its shared characteristics.
Caitlin
ps. This is just an aside. All the muttering about the 'newer generation' of Internet artists having more gallery success is also a bit of a distraction. I guarantee that Vuk, Olia, Thomson and Craighead alone have sold/exhibited more work in the past three years than all of the newer generation put together.
First off. Yes. the ongoing snark/sarcasm/animosity between tom, tim and mriver is super/totally/unbelievably "boring."
Secondly. And this is somewhat off topic on this particular string, but I think this entire net.art 1.0 v. net.art 2.0 conversation is, while not exactly boring, maybe a red herring. To be very simplistic about it, I don't really perceive much theoretical distance between the work of 'the old guard' and the work of the current "3rd generation" net artists. I think both were/are responding to the web as it existed at the time. In the late 1990s people wrote their own html, they 'view(ed) source,' and things were for the most part text based. And the art of the time responded accordingly, creating work about language, translation and disrupting the emerging systems that the general public was so quick to accept unconditionally.
Now, the web has obviously evolved into the web 2.0 (and all that comes with it). You don't need to code to be an internet artist because no one really needs to code to use the web anymore. You just need a myspace or facebook page, access to youtube or flickr, or a blogger address and you are 'actively' participating in the web (obviously a lot of people have written about the deeper implications of this type of migration - notably Olia in her Vernacular Web 2) http://www.contemporary-home-computing.org/vernacular-web-2/). So if internet artists are now making work that is a collection of links, a series of other people's youtube videos? Fantastic. As far as I can tell most of this work is doing so as a means to question the ease with which we are living our most intimate moments online.
The web is a different place, and so obviously the art that comes out of it is going to be different. But I think, at its very core, it is the same. Internet Art responds to the web, its development, and how we use it, regardless of whether it was made by MTAA or Guthrie Lonergan. Like I said, very simplistic, and not a fully formed argument at this point, but I think looking at why this work is so different is far less interesting than exploring its shared characteristics.
Caitlin
ps. This is just an aside. All the muttering about the 'newer generation' of Internet artists having more gallery success is also a bit of a distraction. I guarantee that Vuk, Olia, Thomson and Craighead alone have sold/exhibited more work in the past three years than all of the newer generation put together.
