Ceci Moss
Since 2005
Works in Oakland, California United States of America

BIO
Ceci Moss is the Assistant Curator of Visual Arts at Yerba Buena Center for the Arts in San Francisco. She launched YBCA’s exhibition series “Control: Technology in Culture” which showcases work by emerging and mid-career artists who engage the social, cultural, and experiential implications of technology on the museum’s second floor. In its first year, the series includes solo exhibitions by Jacqueline Kiyomi Gordon, Lucy Raven, Nate Boyce and Shana Moulton. Taking its title from Gilles Deleuze’s 1992 essay “Postscript on the Societies of Control,” the series seeks to prompt timely questions about the profound and far-reaching influence of a control society in the 21st century by focusing on artists whose work spans a multitude of disciplines and relates to a diverse set of issues, including architecture, acoustics, psychology, labor, consumerism, the environment, and the military. Beyond the “Control” series, she curated a large scale public art installation by Kota Ezawa in YBCA’s sculpture court, the solo exhibition Brenna Murphy: Liquid Vehicle Transmitter, the video installation Erin Shirreff: Lake, and co-curated with Betti-Sue Hertz the exhibition portion of YBCA’s signature triennial Bay Area Now 7. She also co-curated with Astria Suparak the touring group exhibition Alien She that examines the lasting influence of the punk feminist movement Riot Grrrl on contemporary artists, and originated at the Miller Gallery, Carnegie Mellon University.

Currently a PhD candidate in Comparative Literature at New York University, her academic research addresses contemporary internet-based art practice and network culture. Her PhD dissertation “The Informational Milieu and Expanded Internet Art” examines the expansion of internet art beyond the screen in the 2000’s, especially towards sculpture and installation, as a product of what theorist Tiziana Terranova called an “informational milieu.” Combining art history and media theory through the analysis of case studies that range from internet art and social media in the 2000’s to Jean-François Lyotard’s groundbreaking new media exhibition at the Centre Pompidou in 1985 Les Immatériaux, her dissertation asks how the widespread technological capture of information affects cultural production, specifically contemporary art, and the kind of critical response it necessitates.

Her writing has appeared in Rhizome, ArtAsiaPacific, Artforum, The Wire, Performa Magazine, and various art catalogs. Prior to her position at YBCA, she was the Senior Editor of the art and technology non-profit arts organization Rhizome, and an Adjunct Instructor at New York University in the Department of Comparative Literature. From 2000-2014, she programmed a radio show dedicated to experimental music, Radio Heart, on the independent radio stations KALX, East Village Radio and Radio Valencia.

Grafikdemo (2004) - Niklas Roy



Grafikdemo is a physical wireframe model of a teapot inside a Commodore CBM cabinet. The model can be rotated by pushing keys on the keyboard. Sophisticated lighting of the model makes it hard for the viewer to distinguish whether he sees a real digital model or a fake computer screen. Grafikdemo explores the transition between reality and representation in a playful way.

-- FROM THE ARTIST'S STATEMENT

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Call for Applications: Arts Writers Grant Program



This week, the online application form for the Creative Capital | Warhol Foundation Arts Writers Grant Program opened up. The program supports individual writers whose work addresses contemporary visual art through grants ranging from 3,000 to 50,000 USD. Writers who meet the program’s eligibility requirements are invited to apply for projects falling in the following categories: Articles, Blogs, Books, New and Alternative Media and Short-Form Writing. Deadline is June 8, 2011. More info here.

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The Resurrection of Piss Christ (2011) - Anonymous



A consciously derivative work, The Resurrection of Piss Christ is a direct response to the destruction of the original. Duplicating the same fate as its star subject, Immersion (Piss Christ) is subjected to the artificial immortality we now wield through the Internet. Our interconnectedness now transforms an act of destruction - through communication and distribution - into an act of preservation.

As a statement against fundamentalism, The Resurrection will fuel it.

As a statement against the commercial value of an intentionally contentious work, The Resurrection will feed and inflate it.

I denounce any act that attempts to silence an individuals thought or speech or expression. Simultaneously, I question the integrity of a work that provokes so ineloquently.

The Resurrection flaunts its infinite reproducibility. Coupled with my anonymity, it ignores the archaic mechanism upon which the art market balances itself.

The Resurrection exists beyond the marketplace. Do what you want with it.

-- FROM THE ARTIST'S STATEMENT

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SSLEEPERHOLD - Ashes (2011) / Video directed by Seth Nemec



"Ashes" by SSLEEPERHOLD from the forthcoming album on Living Tapes. Produced and recorded by Jose Cota. Video directed by Seth Nemec.

This video was created with Paik-Abe raster manipulation unit, Brewster analog modular synthesizer, Hitachi vectorscope, Panasonic CCTV camera, Processing 1.2.1, Final Cut Pro. Produced at the Experimental Television Center.

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