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 also curated a large scale public art installation by San Francisco-based artist Kota Ezawa in YBCA’s sculpture court, the solo exhibition Brenna Murphy: Liquid Vehicle Transmitter and co-curated YBCA’s signature triennial Bay Area Now 7 as well as the touring group exhibition Alien She that examines the lasting influence of the punk feminist movement Riot Grrrl on contemporary artists.

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 radio stations KALX, East Village Radio and Radio Valencia.

Images from Jonathan Zawada's exhibit "Over Time" at PRISM



Why the Earth is Green, 2010

The exhibition focuses on large-scale landscape paintings whose topographies are derived from graph data. Zawada collected and compared a variety of data series that extrapolate information over time, such as “Marijuana usage among year 12 students vs. CD and Vinyl record sales between 1975 and 2000” or “Value of land per square meter in Second Life vs. Value of land per square foot in Dubai between 2007 and 2009.” The data is then manipulated through a 3D fractal program and the resulting environment becomes a virtual abstraction that mimics a mountainous landscape.

Painted on linen, the landscapes are a response to the “virtual” reality of digital experiences that are highlighted by the intrinsic flatness and surreal color palate. Invoking the robotics hypothesis of the “Uncanny Valley,” the works take on an android quality, a sense of reality but not quite, registering with the viewer as both familiar and dissimilar. This theme carries through to his drawings, juxtaposing the hyper-real with the conceptually abstract and underlining the temporality of human experience.

-- DESCRIPTION FROM STATEMENT FOR "OVER TIME" AT PRISM (DEC 16, 2010 — FEB 12, 2011)

Flight 77, 2010

Earth Movers, 2010

Very Hot Nights, 2010

Land Sale, 2010

Originally via TRIANGULATION BLOG

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Rectangle & Rectangles (1984) - Réné Jodoin



This is a didactic film in disguise. A progression of brilliant geometric shapes bombard the screen to the insistent beat of drums. The filmmaker programmed a computer to coordinate a highly complex operation involving an electronic beam of light, color filters and a camera. This animation film, without words, is designed to expose the power of the cinematic medium, and to illustrate the abstract nature of time.

-- DESCRIPTION FROM THE NATIONAL FILM BOARD OF CANADA

Originally via DIAMOND VARIATIONS

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Aquarelles (1980) - Tom DeWitt, Vibeke Sorensen and Dean Winkler



Video by Tom DeWitt, Vibeke Sorensen and Dean Winkler. Music by Vibeke Sorensen.

Originally via Diamond Variations

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