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 ...
celebrate Rhizome's 2005-2006 Commissions. Ten works will be on view, MTAA
will have a live, performance installation, and drinks will be served.
For more information on the 05-06 Commissions, and the artists go to:
The reception starts at 6:30, at the New Museum store:
New Museum Store
(Inside Chelsea Art Museum)
556 West 22nd Street
New York, NY 10011
Tel: (212) 219-1222
We hope to see you there!
+ + +
Editor & Curator
Rhizome.org at the
New Museum of Contemporary Art
On October 17th, Rhizome launched our annual Community Campaign. We are
trying to raise $25,000 by December 31st. This amount is absolutely
essential to our survival and growth this upcoming year. We are hoping to
reach ths goal through membership contributions and individual donations
of any size.
Last year, your contributions helped us invest significant organizational
time in making our system more open and inclusive. We did this by
enhancing our new membership policy, re-designing the site, launching a
blog, and adding much needed tools, like advanced search, that make
Rhizome content more accessible and indexical. We also went through a time
of real change, with the entire staff turning over and a rapid increase in
participation in our programs and traffic to our site. These signs of
positive growth have also brought additional administrative and technical
demands upon our already overextended staff.
This year, we are hoping to enrich our site in several ways, with an aim
to make it more collaborative and dynamic for users and easier to sustain
for staff. We are planning to do this by introducing back-end tools that
will make site management easier. We are also planning to develop
resources like the ArtBase and implement more areas for our community to
exchange ideas and projects online. One of Rhizome's key strengths,
historically, has been its role as a virtual meeting ground for people of
diverse backgrounds who are interested in the various intersections of
contemporary art and new technologies. In our anniversary year, we ask
that you support us as we work to make Rhizome even more of a resource to
the global new media art community.
Please consider renewing, joining for the first time, or making a donation
of any size. Donors at the $50 and higher levels will be thanked with
limited edition works generously donated by an exciting group of new media
artists, including Brody Condon, Kristin Lucas, Lovid, MTAA, RSG, Rick
Silva, and Lee Walton.
More information can be found here:
Thank you for your ongoing support.
All the best,
Marisa, Lauren, and Patrick
last weekend. It's one of the few places anywhere (not just NY) that
consistently supports and shows risk-taking, experimental, compelling
new media, video, and performance work--especially multi-channel work.
Tomorrow I'm seeing Yacht there and Jason Van Anden's Friday the 13th
program, there, looks amazing. When Lauren and I received this msg in
the offfice, today, I mentioned to her that Monkeytown paid my
collaborator and I better than most museums or festivals have recently
(which is relative, but still)... Despite the difficulties of running
a business like this, in a market like this, they've really been
legendary in their commitment ti supporting artists. This is a rare
space that has received kudos from both the art press and the highly
discriminating NY Times (and other) food critics. All I know is, I'm
going to have as many yummy meals & see as many shows as possible
there, this month, whether or not this really is the end.
I hope to see you there!
On 10/10/06, T.Whid <email@example.com> wrote:
> M.River and I were there just the other night and Montgomery told us
> about the financial issues. It would be a real loss to the
> Williamsburg scene.
> On 10/10/06, Sean Capone <firstname.lastname@example.org> wrote:
> > Monkeytown, located in Williamsburg, Brooklyn NY, has served as one of NY's most surprising, fun-spirited and high quality new media performance/video art venues and restaurant lounges for the past year. However, due to a crippling financial situation, it seems likely that the space will close in early November. This was just announced officially by the owner, the fabulous but frazzled Montgomery. So please, if you have a way to support Monkeytown, do so, even if it just means coming out (if you haven't already) to enjoy the final couple weeks of programming.
> > Here is the text from Montgomery's full post:
> > GOING OUT OF BUSINESS!!??
> > Yes. A mere week after celebrating our one-year anniversary and now it looks as if we will be CLOSING sometime around November 6th.
> > However, since discussing this likelihood, I have received hundreds of horrified emails and phone calls ("That can't happen."; "What the fuck."; "We love Monkey Town, please stay open!") and offers of support. But the reality is that we need a large amount of capital (around $300K); and while, many people are now working to find such capital, we are also preparing to shut down by early Novemeber.
> > Question: So what can you do to help...?
> > Answer: Come eat and drink for the next 30 days! We need to pay our remaining bills and this may be your last chance to taste your favorite dishes
> > I love Heather's (our new chef) cooking so much that we've agreed to keep adding the new items she had planned to our menu, in the meantime. And while delayed a week, we will have our Chipotle-Gorgonzola-Black Bean Lasagna back on the menu this week.
> > All of that said, we would love to stay open. And in many ways it WOULD be stupid for us to close. Our two major issues have been:
> > 1. original cost overruns and debts associated with an incompetent contractor
> > 2. a lack of operating capital that has kept us in a constant cycle of poverty
> > Despite these many challenges, we have done decently for a first year restaurant. We've even showed a "profit" during several months. But our debts have been crippling and they must be addressed. With the new capital, we would make many long overdue physical improvements and take care of our debt issues.
> > So. If you know of any person who would like to support our enterprise in a very big way, by benefaction or investment, please have them contact us at our main email: email@example.com
> > Thanks again for all the words of encouragement and support.
> > Cheers,
> > Montgomery
> > +
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> > -> questions: email@example.com
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> > -> give: http://rhizome.org/support
> > +
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> > Membership Agreement available online at http://rhizome.org/info/29.php
> -> 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
SHOW AND TELL: TARA MATEIK & THE YES MEN
Tuesday, October 17, 6:30 p.m.
Solomon R. Guggenheim Museum
1071 Fifth Avenue, New York, NY 10128
In collaboration with the Solomon R. Guggenheim Museum, Rhizome is pleased
to present "Show and Tell," an evening of humorous and political
Activist artists Tara Mateik, founder of the Society for Biological
Insurgents, and the Yes Men, an "identity correction" collective, will
assume guises and give entertaining talks demonstrating their use of
information and "disinformation" to shift balances of power.
In his words, Tara Mateik's work "stategizes to overthrow institutions of
guest-curated by Hanne Mugaas. This is our second online exhibition in
the Time Shares series.
THE COPY AND PASTE SHOW
The Copy and Paste Show explores the evolution of copy-and-paste
culture, where the copying of digital material has become a major
technique in the construction of online identity and style. Featured
artists include: Seth Price, 808, and artists collaborative, Ida
Ekblad and Anders Nordby. Each explores how copy and paste techniques,
paired with different digital tools, influence web aesthetics, music
production, and relationships on and offline.
Organized by Rhizome and co-presented by the New Museum of
Contemporary Art, Time Shares is a series of online exhibitions
dedicated to exploring the diversity of contemporary art based on the
Internet. Every six weeks, Rhizome and invited curators will launch a
new exhibition featuring an international group of artists. The series
is a component of Rhizome's Tenth Anniversary Festival of Art &
+ + +
Editor & Curator
Rhizome.org at the
New Museum of Contemporary Art