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.
DIS Magazine are killin' it again with their newly released "Labor Issue" which examines work in the culture industry in an unstable, recession-ridden world. Jenna Sauers recounts how her modeling career kicked off her descent into debt, W.A.G.E share some of their propaganda, Marco Roso's photo essay shows how one can travel if a "fetishized commodity," Paul Mpagi Sepuya documents Chelsea gallery receptionists, and much more.
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.
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.
What happened before YouTube?
It's a question we've addressed here many times before. Many different histories lead to our current moment of video sharing and DIY media-making -- some subcultural (the history of fandom and a range of other communities of practice which are generating new content), some economic, some technological. Lucas Hilderbrand, author of Inherent Vice: Bootleg Histories of Videotape and Copyright, holds some critical pieces of the puzzle, writing with historiographical sophistication about the emergence of video as a technology and as set of cultural practices, about the debates it sparked especially around shifts in control over production and distribution, about the communities which formed around the sharing of tapes, and about how all of this looks forward to contemporary digital practices. It is a book which raises vital questions and provides a rich historical context for our current debates.
As someone who lived through the era when the VCR was launched, the book brought back many memories of things I had almost forgotten about the dramatic adjustments which the culture made to this transformative and transgressive technology. Working through the book for an interview, I was struck by the fact that I, like many other instructors, have had very little to say about videotape in my current course on new media and culture, something I will work on the next time I teach it.
Given my enthusiasm for this book, I was delighted to be able to interview Hilderbrand and share with you his own reflections on the ways the history of video can help us to understand some contemporary media developments.