joy garnett
Since the beginning
Works in United States of America

Joy Garnett is a painter based in New York. She appropriates news images from the Internet and re-invents them as paintings. Her subject is the apocalyptic-sublime landscape, as well as the digital image itself as cultural artifact in an increasingly technologized world. Her image research has resulted in online documentation projects, most notably The Bomb Project.

Notable past exhibitions include her recent solo shows at Winkleman Gallery, New York and at the National Academy of Sciences, Washington, DC; group exhibitions organized by the Whitney Museum of American Art, P.S.1/MoMA Contemporary Art Center, Artists Space, White Columns (New York), Kettle's Yard, Cambridge (UK), and De Witte Zaal, Ghent (Belgium). She shows with aeroplastics contemporary, Brussels, Belgium.

extended network >


The Bomb Project

First Pulse Projects

NEWSgrist - where spin is art

Discussions (685) Opportunities (5) Events (8) Jobs (0)

Fwd: 2 jobs here


---------- Forwarded message ----------
From: elin o'Hara slavick <>
Date: Dec 10, 2006 1:04 PM
Subject: 2 jobs here

Dear Friends,

Please pass these job descriptions - Digital Media and
Photo/Printmaking Lab managers/lecturers - on to any qualified or
interested artists. So far, we only have 1 applicant for the digital
position. The deadline is january 10. THANKS! elin

Lecturer/Lab Manager


Re: Re: Re: New on

a funny joke.

annie abrahams wrote:
> > I hope other women also will leave the blogs to men and will try to
> > invest lists again

530 laguardia place #5, nyc 10012


Fwd: Art Video MFA at Syracuse University


---------- Forwarded message ----------
From: <>
Date: Oct 23, 2006 12:49 PM
Subject: Art Video MFA at Syracuse University


Dear Colleagues:

I'm writing to ask if you know any good prospects for graduate school. We
offer an MFA in Art Video, an interdisciplinary graduate degree in our
Department of Transmedia at Syracuse University.

We expect our MFA candidates to concentrate their research in video, but
encourage a wide spectrum of art-making including performance,
experimental narrative, documentary, video sculpture, installation, and
network and systems approaches. Grad students in Art Video mix with
fellow students and faculty in photography, film and computer art through
elective studies and collaborative initiatives. Transmedia and Syracuse
University offer a wide range of academic options including media art
history and theory courses, as well as diverse studies throughout the
humanities and sciences.

Our MFA is a three-year degree, and we offer plenty of opportunities for
our grad students to teach, as TAs or adjunct instructors. This has made
our graduates very successful in landing teaching jobs. Sarah Abbott,
Assistant Professor at the University of Regina; Malgaly Ponce, Assistant
Professor at Bridgewater State College; Jeremy Drummond, Assistant
Professor at the University of Richmond; Cary Peppermint, Assistant
Professor at Colgate University; Edgar Endress, Assistant Professor at
George Mason University; are a few of our recent graduates who are now
teaching while they continue their work as media artists. Many of our
graduates decide not to teach. Bill Viola is a fine example of a Syracuse
University alumnus who decided to focus 100% of his time on his video art.

We offer our graduate students solid technical support with digital
camcorders, non-linear editing stations, multi-format transfer systems,
DVD burners, DLP video projectors, etc., and 24-hour access to these
assets. Our critique rooms are equipped with large plasma screens and our
video art archive of tapes and DVDs is second to none.

Financial support is available through Graduate and Teaching
Assistantships (TA and GA support includes tuition and cash stipends) and
Syracuse University Fellowships (full tuition and cash stipends completely
free of GA/TA duties in the first and third years) on a competitive basis.

Syracuse has a burgeoning media arts scene with a lot happening on campus
and off. Spark Contemporary Art, SU's Warehouse Gallery, Light Work, the
Syracuse Film and Video Festival, and the Everson Museum of Art feature
screenings and exhibitions throughout the year. New York, Boston,
Philadelphia, Montreal, Ottawa, Buffalo and Toronto are all within easy
striking distance

To find out more about Syracuse University's Art Video MFA program, check
out the Department of Transmedia website at:
(click on Art Video) Feel free to contact me directly for further
information: Professor Tom Sherman,, or by phone at
315-443-1202. I am the Art Video MFA program coordinator.

All best wishes,

Tom Sherman
Art Video, Department of Transmedia


Professor Tom Sherman
Syracuse University
Department of Transmedia
102 Shaffer Art
Syracuse, New York 13244-1210

tel) 315-443-1202
fax) 315-443-1303




Fwd: [cc-lessigletter] A Report on the Commons

fyi Creative Commons appeal:

-------- Original Message -------- Subject: [cc-lessigletter] A Report on
the Commons Date: Wed, 18 Oct 2006 16:19:25 -0700 From: Lawrence Lessig
<> <> To:
So, with this email, Creative Commons launches its second (now
officially) annual fundraising campaign. Last year, through the
course of that first campaign, I wrote a series of letters explaining
a bit about where Creative Commons came from, and where it was going.
Those letters (creatively labeled "Lessig Letters") are still
available here. [ ]. This
year, I'm going to talk a bit less, and in my place, we're going to
tell the stories of some of the extraordinary Creative Commons
projects that have been flourishing around the world.

But first, a bit of recap: Creative Commons is a nonprofit
corporation, dedicated to making it simpler for people to share and
build upon the work of others, consistent with the rules of
copyright. We provide free licenses that mark creative work with the
freedom the creator wants it to carry, so others can share the work,
or remix the work, or both share and remix the work, as the author

We were motivated to begin this project about four years ago because
we realized a point that's obvious once you see it: that however
important the "all rights reserved" model of copyright is to some
creators, it is not the model that works for many, maybe most.
Scholars, scientists and educators, for example, are also creators,
but they don't depend upon the perfect control of their work -
deciding who can access it, or who can copy it, or who can build upon
it - for them to have the incentive to create great works. Perhaps
even more importantly, for the many who create for what our board
member, Joi Ito, calls the "sharing economy," "all rights reserved"
makes little sense. The millions of photos on Flickr [ http:// ], for example, licensed under Creative
Commons licenses are made available by people who want to make their
creativity available to others without demanding payment upfront, or
control over how their work gets used. These people are creators -
some professional, but many amateur, where amateur doesn't mean
"amateurish," but rather people who do what they do for the love of
their work, and not for the money. Creative Commons provides free
tools to help these creators create in the way that they think best.

Creative Commons launched the licensing project in December 2002.
Within a year, there were more than 1,000,000 link-backs to our
licenses (meaning at least a million places on the web where people
were linking to our licenses, and presumptively licensing content
under those licenses). Within two years, that number was 12,000,000.
At the end of our last fundraising campaign, it had grown to about
45,000,000 link-backs to our licenses. That was December, 2005. In
the first six months of 2006, that number grew by almost 100,000,000
licenses. In June, we reported about 140,000,000 link-backs to our
licenses. We have hit a stride, and more and more of the net marks
itself with the freedoms that Creative Commons helps secure.

This success has been primarily built by thousands of volunteers
across the world who have worked to launch Creative Commons projects
locally, and worked to spread our movement to artists and educators
internationally. But it is supported by the contributions of many
more. Each year we ask more to join this movement in both ways. These
letters are invitations to join in the support for Creative Commons.

The plea for support in these letters will be subtle. (We've
perfected subliminal email.)
But if you'd like to opt out of these letters, just click here
Alternatively, if you know others who might enjoy this weekly
missive, click here
and we'll invite them to join as well.
And if you'd like to just get it over, and donate, click here.

Next week, I'll talk a bit more about the values behind our movement.
And the week following that, the first story from the front lines of CC.


To link to or comment on this message, go to:

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