Olson has served as Editor & Curator at Rhizome, the inaugural curator at Zero1, and Associate Director at SF Camerawork. She's contributed to many major journals & books and this year Cocom Press published Arte Postinternet, a Spanish translation of her texts on Postinternet Art, a movement she framed in 2006. In 2015 LINK Editions will publish a retrospective anthology of over a decade of her writings on contemporary art which have helped establish a vocabulary for the criticism of new media. Meanwhile, she has also curated programs at the Guggenheim, New Museum, SFMOMA, White Columns, Artists Space, and Bitforms Gallery. She has served on Advisory Boards for Ars Electronica, Transmediale, ISEA, the International Academy of Digital Arts & Sciences, Creative Capital, the Getty Foundation, the Rockefeller Foundation, the Kennedy Center, and the Tribeca Film Festival.
Olson studied Fine Art at Goldsmiths, History of Consciousness at UC Santa Cruz, and Rhetoric & Film Studies at UC Berkeley. She has recently been a visiting artist at Yale, SAIC, Oberlin, and VCU; a Visiting Critic at Brown; and Visiting Faculty at Bard College's Milton Avery Graduate School of the Arts and Ox-Bow. She previously taught at NYU's Tisch School of the Arts' new media graduate program (ITP) and was Assistant Professor of New Media at SUNY-Purchase's School of Film & Media Studies. She was recently an Artist-in-Residence at Eyebeam & is currently Visiting Critic at RISD.
The Whitney Museum artport has been an important institutional presence in net art and new media since its launch in 2002. Created and curated by Christiane Paul, artport features online commissions as well as documentation of new media artworks from the museum's exhibitions and collections. This year, artport as a whole was made an official part of the Whitney Museum collection; to mark this occasion, participating artist Marisa Olson interviewed Paul about the program's history and evolution over thirteen years.
Douglas Davis, image from The World's First Collaborative Sentence (1994).
Collections like artport are a rare and valuable window onto a field of practice that, in some senses, was borne out of not being taken seriously. From mid-80s Eastern European game crackers to late-90s net artists, the first people working online were often isolated, by default or design, and were certainly marginalized by the art world, where few curators knew of their existence and fewer took them seriously, advocated for them, or worked to theorize and articulate the art historical precedents and currents flowing through the work. Help me fast-forward to the beginning of this century at one of the most important international art museums. Many of the US museums that funded new media projects did so with dot-com infusions that dried-up after 2000. Artport officially launched in 2001; the same year, you curated a section devoted to net art in the Whitney Biennial. What was the behind-the-scenes sequence of events that led to artport's founding?
I think artport's inception was emblematic of a wave of interest in net art in the US around the turn of the century and in the early 2000s. This more committed involvement with the art form interestingly coincided with or came shortly after the dot com bubble, which inflated from 1997–2000, had its climax on March 10, 2000 when NASDAQ peaked, and burst pretty much the next day. Net art, however, remained a very active practice and started appearing on the radar of more US art institutions. To some extent, their interest may have been sparked by European exhibitions that had begun to respond to the effects of the web on artistic practice earlier on. In 1997, Documenta X had already included web projects (that year the Documenta website was also famously "stolen"—that is, copied and archived—by Vuk Cosic in the project Documenta: done) and Net Condition, which took place at ZKM in 1999/2000, further acknowledged the importance of art on the web.
US museums increasingly began to take notice. Steve Dietz, who had started the Walker Art Center's New Media Initiatives early on, in 1996, was curating the online art Gallery 9 and digital art study collection. Jon Ippolito, in his role as Associate Curator of Media Arts at the Guggenheim, was commissioning net art in the early 2000s and in 2002, Benjamin Weil, with Joseph Rosa, unveiled a new version of SFMOMA's E-space, which had been created in 2000. This was the institutional netscape in which I created artport in 2001, since I felt that the Whitney, which had for the first time included net art in its 2000 Biennial, also needed a portal to online art. The original artport was much more of a satellite site and less integrated into whitney.org than it is now. Artist Yael Kanarek redesigned the site not too long after its initial launch and created version 1.1. Artport in its early days was sponsored by a backend storage company in New Jersey, which was then bought by HP, so HP appeared as the official sponsor. I think it is notable that sponsorship at that point did not come from a new tech company but a brand name that presumably wanted to appear more cutting edge.
Nancy Holt, Boomerang (1974), still from video.
In her time on this planet, Nancy Holt came to be known as a great American Land Artist, and certainly her brilliant installations, like Utah's Sun Tunnels and collaborations with her partner Robert Smithson and their peers, are profoundly significant, but it was her work in film & video that has had the greatest personal impact on me.
I somehow didn't see Boomerang, her 1974 video performance usually credited to her collaborator Richard Serra, until I was a Ph.D. student in Linda Williams's Phenomenology of Film seminar at UC Berkeley's Rhetoric program, but the time delay was more than made up for by the work's formative resonance. In the video, made during Serra's residency at a Texas television station, a young Holt is seen sitting in an anchor's chair before a staid blue background. Despite brief station ID graphic overlays and one minute of silence in the midst of the ten-minute piece (announced as audio trouble and reminding viewers of the work's live TV origin), the work is in many ways sound-centric.
On Saturday, April 11th, New York's School of Visual Arts will co-present the 2009 Visual Music Marathon with the New York Digital Salon and Northeastern University. Promising genre-bending work from fifteen countries, the lineup crams 120 works by new media artists and digital composers into 12 hours. If it's true, as is often said, that MTV killed the attention spans of Generations X and Y, this six-minute-per-piece average ought to suit most festivalgoers' minds, and the resultant shuffling on and off stage will surely be a spectacle in its own rite. In all seriousness, this annual event is a highlight of New York's already thriving electronic music scene and promises many a treat for your eyes and ears. The illustrious organizers behind the marathon know their visual music history and want to remind readers that, "The roots of the genre date back more than two hundred years to the ocular harpsichords and color-music scales of the 18th century," and "the current art form came to fruition following the emergence of film and video in the 20th century." The remarkable ten dozen artists participating in this one-day event will bring us work incorporating such diverse materials as hand-processed film, algorithmically-generated video, visual interpretations of music, and some good old fashioned music-music. From luminaries like Oskar Fischinger, Hans Richter, and Steina Vasulka to emerging artists Joe Tekippe and Chiaki Watanabe, the program will be another star on the map that claims NYC as fertile territory for sonic exploration. - Marisa Olson
The National Museum of Contemporary Art (EMST) in Athens, Greece, has committed itself to curating a number of recent exhibitions of internet art. Their current show, "Tag Ties and Affective Spies," features contributions from both net vets and emerging surfers, including Christophe Bruno, Gregory Chatonsky, Paolo Cirio, JODI, Jonathan Harris and Sep Kamvar, Les Liens Invisibles, Personal Cinema and The Erasers, Ramsay Stirling, and Wayne Clements. The online exhibition takes an antagonistic approach to Web 2.0, citing a constant balance "between order and chaos, democracy and adhocracy." Curator Daphne Dragona raises the question of whether the social web is a preexisting platform on which people connect, or whether it is indeed constructed in the act of uploading, tagging, and disclosing previously private information about ourselves on sites like Flickr, YouTube, and Facebook. Dragona asks whether we are truly connecting and interacting, or merely broadcasting. While her curatorial statement doesn't address the issue directly, the show's title hints at the level of self-surveillance in play on these sites. Accordingly, many of the selected works take a critical, if not DIY, approach to the internet. The collective Les Liens Invisibles tends to create works that make an ironic mash-up of the often divergent mantras of tactical media, culture jamming, surrealism, and situationism. In their Subvertr, they encourage Flickr users to "subverTag" their posted images, creating an intentional disassociation between an image's content and its interpretion, with the aim of "breaking the strict rules of significance that characterize the mainstream collective imaginary..." JODI's work, Del.icio.us/ winning information (2008) exploits the limited stylistic parameters of the social bookmarking site. Using ASCII and Unicode page titles to form visual marks, a cryptic tag vocabulary, and a recursive taxonomy, their fun-to-follow site critiques the broader content of the web ...
In 1997, internet art hall-of-famer Olia Lialina made a "net drama" called Agatha Appears that was written for Netscape 3 and 4 in HTML 3.2. One of the main features of the interactive narrative was the travel of the eponymous avatar across the internet. Let's just say the girl got around. But the magical illusion of the piece was that she appeared to stay still, even when links in the narrative were clicked and the viewer's address bar indicated movement to another server. But in time, both the browser and code in which the story was written became defunct and the piece unraveled as the sites previously hosting the links and files upon which Agatha was dependent disappeared or cleaned house. Such a scenario is common to early internet art (and will no doubt continue to plague the field), as ours is an upgrade culture constantly driving towards new tools, platforms, and codes. Many have debated whether to let older works whither or how it might be possible to update these works, making them compatible with new systems. For those who are interested, some of the best research on the subject has been performed by the folks affiliated with the Variable Media Initiative. Meanwhile, luddites and neophiles alike are now in luck because Agatha Appears has just undergone rejuvenation. Ela Wysocka, a restorer working at Budapest's Center for Culture & Communication Foundation has worked to overcome the sound problems, code incompatibilities, and file corruption and disappearance issues, and she's written a fascinating report about the process, here. And new collaborating hosts have jumped in line to bring the piece back to life, so that like a black and white boyfriend coming home from war, Agatha now offers us a shiny new webring as a token of ...
Fwd: Vacant position in the Design Faculty, Institute of Time-Based Media, at Berlin University of the Arts
From: Art&Education <firstname.lastname@example.org>
Date: Nov 7, 2006 8:12 PM
Subject: Vacant position in the Design Faculty, Institute of
Time-Based Media, at Berlin University of the Arts
The following position in the Design Faculty, Institute of Time-Based
Media, is vacant at Berlin University of the Arts:
Art College Professor (m/f) - BesGr. W 3 -
for the teaching post of "Generative Art / Computational Art"
- limited to 5 years -
Teaching commitment: 18 lectures
Tasks: Teaching and research in the area of digital art with a focus
on software-based and electronic-mechanical art expression. Tasks
range from software art through interactive networked screen projects
and interactive installations to interactive environments. Lectures
include reflection on and communication of the basics of design in
practice and the theory of digital media art. Other focal areas
include communication and experimental artistic testing of
computer-supported and performance-based interactive systems; linking
audio, video, space and items. Basic artistic handling of electronics,
sensory technology, generativity and programming should also be
communicated within the framework of lectures.
Requirements: University graduate or evidence of equivalent artistic
or scientific artistic achievements and awards; teaching experience
and pedagogical skills; excellent practical artistic design in the
area of digital art; knowledge and competence in the communication of
programming and electronics. Multilingualism of advantage.
Employment requirements in accordance with
All of these things do go straight into the reblog, as do Artbase
additions and Raw posts selected by Site Editors. However, the reblog
furthers our goal of informing people about what's happening in new
media, and supporting those activities, by aggregating those notices
that the Site Editors find interesting, presenting them in a one-stop
site/feed, and this also giving the artists involved an additional
opportunity for contemplation of their work--which we know is still
all too rare, in this field.
I get extremely thankful letters from people, everyday, about the
difference it made to them to have been included in the reblog (let
alone the original site from which we reblogged) and I think this is
one way (albeit one of our many programs) to support the field. There
is also quite a 'demand' for this information and this format of
presentation, which is probably one of the reasons that, for instance,
our Raw subscribers are such a small percentage of our overall readers
and RSS subscribers.
Still, I'd like to see more original content, as well. I've posted
calls for writers and member-curated exhibits on several occasions.
The door is always open on those. It's been interesting for me to
note, though, the shift in the types (and amounts) of 'content' that
people are producing and seeking to consume, and the ways in which
they do so, since the olden days when I first signed up to Rhizome.
Francis used to refer to this as a shift between Push vs Pull models
of readership. We're committed to both.
If we're going to support the field, we've got to keep up with it.
This has always been my personal take. I know you're interested in the
2.0, as well, Pall. :)
On 10/28/06, Pall Thayer <email@example.com> wrote:
> Personally, I would like to see less reblogging and a renewed focus
> on original content. In other words, I would like to visit the
> Rhizome site to see the Rhizome site rather than to see what's going
> on on other sites. I would like to see Rhizome News, Spotlight,
> Member curated exhibits, etc. as primary elements and the Reblogged
> stuff as a side element.
> On 27.10.2006, at 12:04, Marisa Olson wrote:
> > Dear all,
> > We've recently seen some turnover among our Site Editors (formerly
> > known
> > as 'Superusers'), with some inactive members stepping down and some
> > becoming "Emeritus." At this time, I would like to add four new Site
> > Editors to our roster--and more in the future. I'm hoping that some
> > of you
> > will be interested in getting involved.
> > It would be ideal to bring on people who are familiar with new
> > media art
> > and have a background of involvement in the Rhizome community. One
> > of our
> > goals with a collectively-edited reblog was to have a diversity of
> > voices
> > representing our diverse field, something that only happens when
> > people
> > are able to fully commit to this volunteer position, which entails
> > reblogging at least ten items per month. Community participation is
> > crucial to the Reblog's success, and I thank you for considering this
> > commitment. Below is the official 'job description.' Please email me,
> > off-list, if you are interested or have any questions.
> > Rhizome's Site Editors play an important role in determining the
> > content
> > that appears on our website. Each Site Editor actively researches and
> > publishes texts on our front page Reblog, including select posts
> > from the
> > Rhizome Raw discussion list, which Site Editors evaluate for merit,
> > quality, and historical significance. Each of these texts is
> > permanently
> > archived and the discussions, announcements, reviews, essays, and
> > other
> > posts published from Raw are assigned searchable "metadata" terms
> > by Site
> > Editors, published to the Rhizome Rare discussion list, and posted
> > on the
> > Reblog. Site Editors are then actively involved in historicizing and
> > initiating discourse about new media art.
> > Thanks,
> > Marisa
> > + + +
> > Marisa Olson
> > Editor & Curator
> > Rhizome.org at the
> > New Museum of Contemporary Art
> > +
> > -> post: firstname.lastname@example.org
> > -> questions: email@example.com
> > -> subscribe/unsubscribe: http://rhizome.org/preferences/
> > subscribe.rhiz
> > -> give: http://rhizome.org/support
> > +
> > Subscribers to Rhizome are subject to the terms set out in the
> > Membership Agreement available online at http://rhizome.org/info/
> > 29.php
> Pall Thayer
We've recently seen some turnover among our Site Editors (formerly known
as 'Superusers'), with some inactive members stepping down and some
becoming "Emeritus." At this time, I would like to add four new Site
Editors to our roster--and more in the future. I'm hoping that some of you
will be interested in getting involved.
It would be ideal to bring on people who are familiar with new media art
and have a background of involvement in the Rhizome community. One of our
goals with a collectively-edited reblog was to have a diversity of voices
representing our diverse field, something that only happens when people
are able to fully commit to this volunteer position, which entails
reblogging at least ten items per month. Community participation is
crucial to the Reblog's success, and I thank you for considering this
commitment. Below is the official 'job description.' Please email me,
off-list, if you are interested or have any questions.
Rhizome's Site Editors play an important role in determining the content
that appears on our website. Each Site Editor actively researches and
publishes texts on our front page Reblog, including select posts from the
Rhizome Raw discussion list, which Site Editors evaluate for merit,
quality, and historical significance. Each of these texts is permanently
archived and the discussions, announcements, reviews, essays, and other
posts published from Raw are assigned searchable "metadata" terms by Site
Editors, published to the Rhizome Rare discussion list, and posted on the
Reblog. Site Editors are then actively involved in historicizing and
initiating discourse about new media art.
+ + +
Editor & Curator
Rhizome.org at the
New Museum of Contemporary Art
From: zach <firstname.lastname@example.org>
Date: Oct 25, 2006 2:22 PM
Subject: Monkeytown AV performance tomorrow night
Hi...wanted to send out an invite for a show I'm performing at
tomorrow night at one of the greatest and most wonderful venues on the
planet, Monkeytown. As you may or may not have known, they have been
in danger of closing...but we will not allow that to happen and are in
the process of setting up efforts to ensure this incredibly important
space continues to survive. You may be asking yourself, well...how
can I help? Well, you can Buy a Monkeytown Gift Card, just in time
for the Holiday season. They look and feel like credit cards and they
can put any value on them ($25, $50, $100, or $300). They will be
valid beginning January 2007 thru December 2007. Also, there will be
a monkeytown benefit coming up in december...all the info can be found
on the monkeytown website: www.monkeytownhq.com.
Anyway, info regarding tomorrow is as follows:
Thursday, October 26
Showtimes: 7:30 and 10pm
reservations are recommended
A night of misunderstood fragmentary dreams, and languid subterranean
worlds of sound and light, curated by 2& from San Francisco. Featuring
works by Luke Dubois, Zach Layton + Chika Iijima, Shimpei Takeda +
Melissa Clarke, Randy Nordschow, and 2&. Misinterpretations A/V is an
event focused on fabricated worlds of visual texture which bump and
grind against noise and fluid sound. In the reverse panopticon style
of Monkey Town (audience seated in the middle surrounded by giant
video screens) these artists will take us all to strange new places.
Randy Nordschow: nordschow.com
Zach Layton: www.zachlaytonindustries.com
Luke Dubois: www.lukedubois.com
From: AHRC ICT Methods Network <email@example.com>
Date: Oct 24, 2006 7:38 AM
Subject: CHArt 2006 Conference - last call for bursary applications-
Deadline 1 November.
*With apologies for any cross-posting*
STUDENT BURSARIES FOR CHART 2006 - LAST CALL FOR SUBMISSIONS - DEADLINE 1
The AHRC ICT Methods Network (www.methodsnetwork.ac.uk), which exists to
promote and support the use of advanced ICT methods in arts and humanities
research, is generously offering a limited number of bursaries to
post-graduate students who wish to attend the 2006 CHArt conference, FAST
FORWARD: Art History, Curation and Practice After Media (programme below)
The conference takes place on Thursday 9 - Friday 10 November 2006 at the
Clore Lecture Theatre, Birkbeck College, Torrington Square, London, WC1 7HX.
Applications for bursaries are sought from post-graduate students registered
at UK Universities whose research interests are grounded in areas covered by
CHArt. These include: the application of ICT to the study of art and the
history of art; new media theory and new art practice; creation and curation
of digital scholarly and image resources including those in museums,
galleries or libraries, and other areas which may be considered to be within
CHArt's sphere of interest.
The bursaries are intended to help towards conference expenses. Successful
applicants will be able to claim funds up to a total of