Jacob Gaboury
Since 2007
Works in United States of America

BIO
Jacob Gaboury is a writer and curator living in New York City. He is currently an adjunct faculty member and doctoral candidate in the department of Media, Culture and Communication at New York University where he studies the history of art and technology, queer theory, and media archaeology. His dissertation project is titled "Image Objects: An Archaeology of Computer Graphics, 1965-1979" and it investigates the early history of computer graphics and the role they play in the move toward new forms of simulation and object orientation. In the past he has worked for the Museum of the Moving Image, the Department of Moving Image Archiving and Preservation at NYU, The Seattle Art Museum, and several IT companies in New York and Seattle.

Empty Space


survey1.jpg
(Left to Right) Maryanne Casasanta, Abigail McGuane, Lili Huston-Herterich, Aaron Graham

An Immaterial Survey of Our Peers is a group show currently on display at the School of the Art Institute of Chicago. Curated by Web collective JOGGING, the exhibit brings together the work of a group of artists whose art is primarily displayed and distributed via the Web. Given the immaterial quality of much of the work, the show does not physically take place within the gallery space itself. Instead, the artwork has been collected and arranged over photos of the empty gallery space using digital compositing techniques. These photos are then displayed as documentation of the exhibit on the show website, and projected onto the walls of the gallery space for the show's duration. Artists on display include AIDS-3D, Kari Altmann, Jon Rafman, Travess Smalley, Ben Schumacher, and Hermonie Only, among many others. The show is currently on display both online and at the Sullivan Galleries at the School of the Art Institute of Chicago.

READ ON »


Jimmy Wales at the New Museum, April 8th


482px-Jimmy_Wales_Fundraiser_Appeal_edit.jpg
Portrait of Jimmy Wales, from Wikipedia

Our sister institution, The New Museum, is hosting a talk by Wikipedia founder Jimmy Wales next week, on Thursday, April 8th at 6:30pm. This is an opportunity to hear Wales speak about the history of the site, its impact, and his ideas for the future of technology and culture.

The talk takes place as part of the Stuart Regan Visionaries Series, in which the New Museum honors individuals who have made important contributions to art and culture, and are actively imagining a better future. Information and tickets can be found at the New Museum.

READ ON »


Interview with DIS


The art and design behind DIS Magazine is unlike any other fashion publication to date. Its contributors eschew the standard conventions of print publication to create an ever evolving series of related threads, organized around categories such as distaste, dystopia, discover, and dysmorphia. DIS is a collaborative project amongst artists, designers, stylists, writers and friends. They are Lauren Boyle, Solomon Chase, S. Adrian Massey III, Marco Roso, Patrik Sandberg, Nicholas Scholl, and David Toro, along with guest contributors that include artists such as Ryan Trecartin, Anna Lundh and Scott Hug. I recently conducted this Q&A via email with the members of DIS, in which they discuss the magazine's goals, its unique use of digital media technologies and the Web, and the future of the publication.


General Web Content


On gaming, gear, and tech sites across the net one can find threads asking users for ratings and approval on their equipment. A simple search for "rate my rig", "rate my setup", "rate my collection", "rate my gear" will return hundreds of these images and videos. From snapshots of elaborate home entertainment centers to short videos displaying one's own modded gear, a sense of pride and showmanship pervades throughout. The threads and video clips speak to the social and performative nature of collection, as well as a competitive consumerist drive, and offer a glimpse into the lives, homes, and obsessions of geeks of all kinds.




setup11.jpg


-->
setup13.jpg


setup14.jpg


setup17.jpg


setup8.jpg

READ ON »


Storage Facility


sculpturestorage.jpg

Today and tomorrow are the last two days of art collective The Cave's week-long residency at La Mama gallery space in the East Village. The group has been running an series titled "SCULPTURE STORAGE" in which a small stage hosts a series of performances, screenings, workshops and lectures. Not only do the lectures themselves deal with the issue of storage and the archive, the series itself functions as a performance of the act of storage:

"The platform will start out empty, but will accumulate debris from each event as it takes place. The physical wear on the structure and the rubble left from the nine days will act as a living timeline of the events that took place there. Posters surrounding the stage will both advertise and memorialize the events as they unfold during the exhibition."

Events this evening include a lecture on "The Personal Website" by Travess Smalley of Poster Company and a tour of Kool-Aid Man in Second Life given by artist Jon Rafman. The full schedule can be found online at The Cave.

READ ON »



Discussions (6) Opportunities (0) Events (0) Jobs (0)
DISCUSSION

A Queer History of Computing


Thank you for your comment! The five I have chosen were selected because they can be directly linked to one another through either a personal or professional connection, though this means the history is largely white, male, and cisgendered. But as I mention in the footnotes and as Dimonic mentioned above, there is so much beyond that history, and my hope is that the project expands beyond these limitations.

I am very concerned with problematizing the class and gender dynamics of this history in particular, especially since I am using the term "queer" here in a slippery way, applying it to a group of men who may better fit its historically pejorative definition more than its contemporary transgressive one. I'd love to chat more online and in person. I'll contact you through twitter and perhaps we can get a coffee.

DISCUSSION

A Queer History of Computing


The five I plan to feature are all in some direct way connected to Turing, though there is always the possibility of expanding the project beyond that scope, and Sophie Wilson is a fantastic suggestion. It's also a largely British history, as I mention in the footnotes above, and there is worthwhile work to be done in an American context as well.

DISCUSSION

Tool Time: Cory Arcangel at The Whitney


I totally agree with what you say about the role of critique, and I honestly don't see any personal criticism in your comments, so no worries there. In fact it is probably true that this piece was never really a "review" of the show. I will say that it was most definitely a critique, and for me personally I find critique much more useful than review, which tends toward a short series of deeply personal opinions about the work of others. The critique could definitely have been more negative, or touched on pieces in the show that I did not like or that did not seem fit for inclusion, of which there were several. But what seemed more interesting for me was the way the show reflected on the very question of success and failure in technologically mediated art, particularly in a context as institutionalized and monied as the Whitney, and even more particularly through an artist that is so devisive and so often described in terms of his failure to achieve the status of "real" art.

Honestly I just found it more interesting to talk about what the show might mean instead of whether or not it was good. People are going to see the show regardless, and I'd rather they read a piece that puts the show in a context they hadn't thought of then go in with the idea that the show is good or bad because they read it on a website. Is it the responsibility of a site like Rhizome to publish reviews that take a clear stance on the quality or validity of shows such as this? Maybe. But honestly I find that kind of work dull, particularly when it devolves into snark and shade that does more to boost the ego of the reviewer than it does to inform its readers. In fact I would argue that it is precisely those kinds of reviews that are uncritical, or at least, critically shallow.

DISCUSSION

Tool Time: Cory Arcangel at The Whitney


If it helps any, I actually came into the show with a ton of reservations and after having an extended conversation with our editor about how I would probably totally pan the show and I hoped that was OK. I would not consider myself one of the people who sees Cory as an outstanding representation of new media art, particularly in 2011.

Part of the reason I reviewed the show as I did is that I was not particularly interested in the pieces as artworks - and how they might fit into a longer art historical tradition - but more what they might be saying about art, technology, and culture. Whether or not the pieces are good is entirely beside the point for me. And, not to contradict Brian, but what the artist's intentions were when creating that piece, or whether or not he did it for the reasons I gave in my review, is also not personally of interest. And while I said in the first paragraph of my review that even though the show was "about" failure the show itself was not a failure, that does not mean that many of the pieces were not critical or intellectual failures, particularly in their failure to provoke any consideration from the viewer beyond "I see what you did there."

But when I went to the show having to actually consider the pieces beyond their immediate punchline and forced myself away from the kind of knee-jerk eat-our-own criticism that is so easy with so much of this kind of work - and so prevalent in this community - I found something that I thought was worth writing about, and that (hopefully) wasn't the same kind of critique that everyone has given Cory for years. For me the review wasn't about if the show was good or bad, it was about what it meant both for the new media art community and within the broader context of art, technology, and culture.

DISCUSSION

It’s Only Humanist


It's interesting that so few artists have used the kind of default 3D models that are widely used in the industry and available in all 3D modeling software (Utah Teapot, Stanford Dragon, Stanford Bunny, Suzanne). Ceci did a series of posts several months ago and we could only find like two or three.

So while this may be a question of defaults it doesn't seem to be reflecting on technologically specific defaults, just culturally specific defaults and readily available forms.