Marisa actively contributes to the field, writing for many major art publications, ranging from magazines & exhibition catalogs to academic journals and chapters in books on the history and theory of media art. She has served as Editor & Curator at Rhizome, the inaugural curator at Zero1, and Associate Director at SF Camerawork, whose Journal she edited. In 2013 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, Marisa has also curated programs at the Guggenheim, New Museum, SFMOMA, White Columns, and Artists Space. She has served on Advisory Boards for Ars Electronica, Transmediale, ISEA, the International Academy of Digital Arts & Sciences, Creative Capital, EYEBEAM, the Getty Foundation, the Rockefeller Foundation, the Kennedy Center, and the Tribeca Film Festival.
Marisa 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, Oberlin, VCU, UC-Boulder's Brakhage Symposium, Penn State, Visiting Faculty at Bard College's Milton Avery Graduate School of the Arts, and Visiting Faculty at the School of the Art Institute of Chicago's Ox-Bow program. She previously taught at NYU's Tisch School of the Arts' new media graduate program and was Assistant Professor of New Media at SUNY-Purchase's School of Film & Media Studies. She is currently Visiting Critic at Brown University.
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 ...
The fantasy of the future and the utopian promises of new technologies have always gone hand-in-hand. If the history of technology's evolution tells the story of our culture, we can also trace our present-day novelties back to the root of our anxieties about the future and the problems these devices hoped to solve. With this correlation in mind, the interactive DVD novel The Imaginary 20th Century (2007) by Norman Klein, Margo Bistis, and Andreas Kratky, jumps back to the fin de siècle era between the 19th and 20th centuries. It was a time of wonder when new technologies and their representation were wedded in documents like panoramic films of public light shows and short actualities about newfangled transportation devices called roller skates. The novel tells the story of "the Chicago World's Fair in 1893, and the story of a woman (Carrie), who in 1901, selects four men to seduce her, each with his own version of the new century" in a recombinatory visual narrative that overlaps 2,200 images culled from primary documents, architectural plans, photos, and other ephemera with an original score. The project speaks to the multiplicity of visions circulating about what the new century would hold, and it's an even more past-tense follow-up to Norman Klein's interactive novel, Bleeding Through: Layers of Los Angeles, 1920-1986 (2003). Klein's work has clearly resonated with at least eleven people, because closing this week at Otis College of Art and Design's Ben Maltz Gallery is "The Future Imaginary," an exhibition that responds to The Imaginary 20th Century with the work of artists Deborah Aschheim, Jeff Cain, Tom Jennings, Jon Kessler, Ed Osborn, Lea Rekow, Douglas Repetto, Phil Ross, Kari Rae Seekins and Aaron Drake, and Susan Simpson. Each contribution embodies the special genre of ...
Let's admit it. Many of us have done it. You simply lift the lid on the photocopier, press your face (or other body part) against the glass, and hit "print." Sonia Sheridan has made an art out of this form of self-portraiture. The phenomenon of artists using the oft-overlooked tools around them is one with a long tradition. Think of Lillian Schwartz and the computers that surrounded her at Bell Labs, or Sadie Benning and the toy camera her father, James Benning, gave her. The list is long. And there's something about the convergence of play and experimentation that has made work like this a locus for forwarding new media. In Sheridan's case, it's partly a result of a deep attunement to the relationship between industrial methods and creative drives that has persisted for over sixty years. She was the beneficiary of a 3M residency program which allowed her to make work with equipment like their Thermo-Fax and Color-in-Color machines. In the legendary Jack Burnham-curated exhibition, "Software" (Jewish Museum, 1969), Sheridan allowed viewers to play with these machines, as well. The resultant work enabled her to comment on the compression of time in the conception-to-realization process, positioning her as an early theorist of "real time" art-making and communication. Meanwhile, her art projects helped establish the aesthetics of electronic graphics, while simultaneously pushing the formal boundaries (light, line, color) of seemingly simple systems and drawing these experiments into more and more complex generative systems. Like many artists of her generation opening up new tools, the body became a common site of investigation, and the images she continues to make reflect the metamorphosis of the body in relationship to machines. The Daniel Langois Foundation maintains an extensive archive on ...
Regarding Rhizome's front page content...
The reblog is managed by the Site Editors, so it is a reflection of
their diverse interests as much as what people are posting to Raw or
on other blogs that are then reblogged.
When I assign articles for Rhizome News, I try to maintain a balance
between various practices within our 'wide field,' as you put it,
including online & offline work. These News pieces also get reblogged.
Additionally, we are working on automating announcements about new
Member Curated exhibits and new additions to the ArtBase, so that they
are instantly reblogged. This may help in bumping up the number of
internet-based works that are linked on the front page.
Meanwhile, we'd love to see more of you initiating Member Curated
shows... It would be interesting to see what you are currently looking
at, and how you're contextualizing it...
I hope everyone's having a nice summer!
All the best,
On 7/25/06, Jim Andrews <email@example.com> wrote:
> digital art is a wide field. there is much happening for performance, installations, mobile networks, workshops, conferences, and so on, offline or concerning local networks. and that's all good to hear about. you click links on rhizome.org's home page and you go to sites informing you of such things, and you read descriptions of the projects and see photos maybe even a video or whatever. documentation about the project.
> but i would also like to be informed via rhizome.org's web site of projects where you experience the art itself online, not just documentation about the art. and maybe it's my imagination but it seems to me i see less and less of that on rhizome.org's web site.
> net art is for the world. or much of it is, deals with language issues in an international way, ie, presents the work in more than one language or has much to say independent of its particular written/spoken language. i'd like to see more of this sort of art on rhizome.org's home page.
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> -> 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
From: EAF Director <firstname.lastname@example.org>
Date: Jul 23, 2006 6:37 PM
Subject: [spectre] NOEL SHERIDAN 1936-2006
To: "email@example.com" <firstname.lastname@example.org>
It is with sadness that the Experimental Art Foundation announces the
death of its inaugural Director, Professor Noel Sheridan.
Born in Dublin in 1936, Noel studied at Trinity College, Dublin, and
Columbia University in New York. He was a painter, and a conceptual
artist, often working in video and performance. He was deeply
committed to the development and promotion of contemporary arts.
In 1974 Noel was invited to Adelaide to be the Experimental Art
Foundation's first Director. He was already a leading exponent of the
conceptual and post-object art beginning to flourish, in Sydney
particularly, in the late nineteen sixties. In this area he will be
remembered, particularly in Adelaide, for the work 'Everyone Should
Get Stones', a work of great intellectual energy and humour, touring
and testing many styles of philosophical approach to 'reality' with a
relativist's panache indebted to the avant-garde Irish literary
tradition of Becket, Joyce & Flann O'Brien. The work was published in
book form by the EAF and shown as a gallery installation at the Art
Gallery of South Australia.
Noel took up the position of EAF Director with unbridled enthusiasm
and energy, wit, charm and humour. He quickly gave the Foundation an
international profile and exposed the local community to
extraordinary art and performance.
Much of Noel's career was in education where, as Director of the
National College of Art & Design in Dublin from 1980 to 2003, with a
four-year hiatus to direct the Perth Institute of Contemporary Arts
in Australia 1989-1993, he influenced generations of artists and arts
In 1994 Noel was awarded an Emeritus Medal for his cultural
contribution by the Australia Council for the Arts. In 2001 the Royal
Hibernian Academy, Dublin, held a retrospective exhibition of his
work and, in conjunction with, this Four Courts Press published a
book, 'On Reflection', which includes an autobiographical account and
contributions from many others, including Donald Brook and George
Noel Sheridan died in Fremantle, Western Australia, on 12th July, aged 70.
A two-minute silence was held by the Irish Parliament to note his passing.
EXPERIMENTAL ART FOUNDATION curates its exhibition program to
represent new work that expands current debates and ideas in
contemporary visual art. The EAF incorporates a gallery space,
bookshop and artists studios.
Lion Arts Centre North Terrace at Morphett Street Adelaide * PO Box
8091 Station Arcade South Australia 5000 * Tel: +618 8211 7505 * Fax
+618 8211 7323 * email@example.com * Bookshop: firstname.lastname@example.org *
http://www.eaf.asn.au * Director: Melentie Pandilovski
The Experimental Art Foundation is assisted by the Commonwealth
Government through the Australia Council, it arts funding and
advisory body and by the South Australian Government through Arts SA.
The EAF is also supported through the Visual Arts and Craft Strategy,
an initiative of the Australian, State and Territory Governments.
SPECTRE list for media culture in Deep Europe
Info, archive and help:
From: nat muller <email@example.com>
Date: Jul 20, 2006 8:13 AM
Subject: [spectre] Out of Beirut: Exit Stamp July 17 2006
Out of Beirut: Exit Stamp July 17 2006
My Lebanese exit stamp reads July 17th; it was supposed to read August
4th. It wasn't till the next day, Tuesday July 18th that I arrived with
the second flight of the Dutch evacuation convoy via Aleppo at the
military airbase in Eindhoven. My friends and family were relieved to see
me "out of Beirut", and escaping the violence. The flurry of smses with
these 3 simple words "are you out?" keep coming in till today, July 20th.
It is strange how an exit can take on different connotations, what is
deemed a lucky escape in one context, is an artistic export product in
another: "Out of Beirut" is the name of an exhibition recently held at
the museum of Modern Art in Oxford. I had made a mental note to ask my
artist friends in Beirut to borrow the catalogue from them. There was no
time. Nor was there time to say goodbye to friends; it all happened so
I had only registered with the Dutch embassy on Friday July 14th; noone
was picking up the phone so J. and I decided to go there. Very few people
there, just one obviously distressed Dutchman of Lebanese origin. "I
haven't been back since 26 years, and now this", he tells me. The lady at
the counter copies my passport and asks me for phone numbers. She
reassures me that now we have only reached "Phase I", and that no
evacuation plans are being made. She advises me to stay in Beirut, and
not attempt to go to Syria by myself, since the embassy cannot vouch for
my safety. Fine, I wasn't thinking of leaving to Syria, despite the many
phone calls of Swiss friends urging me to join them just across the border
In the meanwhile the situation keeps escalating, and bombs keep pounding
infrastructure, the South, and the Dahiyeh; the casualties mount. We move
from Qasqas to a friend's place in Achrafieh. By now electricity is on and
off. We see the first refugees wandering around bewildered in the streets
of well-to do Achrafieh. Whenever electricity is on, we are glued to the
TV. I joke that the only new Arabic word I learned this time around is
"khabar ajil" (breaking news). One wonders when news stops being news,
how long it will take the world this time to turn its head away with bored
media saturation; how many more atrocities have to be committed before
something can be viewed as "news". There's a paralysing silence on the
part of the international community, especially the EU: no official or
strong condemnation of the disproportionate use of force, absolutely
I am in the middle of an interview with Belgian national radio Sunday
night, fulminating at how biased the media coverage is, when an sms of the
Dutch embassy shows up on my phone: "Evacuation at 5.30 am at the Dutch
embassy; bring money, passport, food, one piece of luggage." I panic: to
stay/to go; how can I say goodbye to my friends? I only have hours. In
the middle of my panic someone from Foreign Affairs in The Hague calls me.
His voice is so calm and friendly, as if he rehearsed the words and tone
to perfection. He inquires whether I had received the sms, whether I was
fine and had any additional questions. "Is the crossing to Syria safe", I
ask him. It takes him a few
a couple of updates on the Satellite Jockey project (
following the show in Barcelona's Sonar Festival ( http://sonar.es )
S.J. moves on to Manchester's Futuresonic 2006 Festival (
this next weekend where
Satellite Jockey "Eco-Dub Mix" ( http://satellitejockey.net/ecodub.htm )
Also as part of the Futuresonic installation, a soundtrack to surf
google earth by:
Satellite Jockey - Low Pressure (Sound) System Mix (
18 min / 20 mb
1. Vladmir Ussachevsky - Wireless Fantasy
2. Kaffe Matthews - She could
3. Kid 606 - Site Specific Sound Installation
4. Alva Noto - 06-f117.tiff
5. Fennesz - Before I Leave
6. AGF - Loading
And (if you read Italian) an interview with me about the S.J. project
in this month's Digimag ( http://www.digicult.it/digimag/ )