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 ...
From: Beryl Graham <firstname.lastname@example.org>
Date: Dec 13, 2007 12:17 PM
Subject: One-year Curator/Researcher post
University of Sunderland
School of Arts, Design, Media & Culture
Post Doctoral Researcher
Fixed term from May 2008 to April 2009
From: Dr. Katja Kwastek <email@example.com>
Date: Dec 7, 2007 6:28 AM
Subject: Prix Ars Electronica Media Art Research Award 2008:
Dear CRUMB readers,
Please consider submitting for this award,
In conjunction with the 2008 Prix Ars Electronica, the Ludwig Boltzmann
Institute Media.Art.Research will be awarding a prize honoring an
outstanding theoretical work on the subject of <Interactive Artforms>.
Prix Ars Electronica Media.Art.Research Award wants to further scholarly
investigation of media artforms that have not yet gotten established in the
context of art museums or in the commercial art world, and of processual,
conceptual and interactive art that assumes subversive, situational and
committed positions at the interface of art, technology and society.
This new theory prize (prize money: 5.000 euros) is designed to accord due
recognition to the important work being done by art historians and media
scholars in the field of media art, which has emerged over the last two
decades as an innovative, wide-ranging discipline in its own right. The
great diversity and tremendous current relevance of this branch of artistic
production call for theoretical and scholarly reflection on the historical
significance of such artworks, on how to mediate audiences' encounters with
them and on their conservation. The Ludwig Boltzmann Institute
Media.Art.Research has been pursuing precisely these tasks since its
founding in Linz in 2005. The theory prize competition is meant to promote
an international discourse centering on the theories, methodologies and
standards of media art. Essential to this agenda is the necessity of
defining terms and developing a theoretical framework in a way that affirms
pluralism and emphatically rejects any sort of final categorization of such
What can you submit?
Theoretical works dealing with some aspect of <interactive artforms> can be
entered this year-for example,
* a university thesis/dissertation,
* a scholarly article,
* an essay,
* a book or
* an online publication.
The work must either be in the form of a completed manuscript or have
already been published. Individuals or groups of people of any nationality
are eligible to enter.
The Prix Ars Electronica Media.Art.Research Award is meant to recognize
basic scholarly research and contemporary theory construction that addresses
current scientific, social and artistic issues. In the judging, decisive
emphasis will be placed on the submission's contribution to the latest
research and not on the historical merits of the author. Consideration will
also be given to the Ludwig Boltzmann Society's overriding objective of
fostering the careers of promising academicians. The jury will pay
particular attention to the quality of the work's content and its scholarly
relevance. Contemporary methodological approaches expressed in a clear,
understandable way are especially welcome, as are innovative publication
formats (e.g. online publishing).
Deadline for submission: March 7, 2008
(but if you submit as early as possible, you give us more time to read your
More informations about the Prix and the online registration:
I just wanted to drop you a line to let you know that next month I'll
be stepping down from some (though not all!) of my responsibilities at
Later today Lauren will post a job announcement for the position of
full-time editor. I am scaling-back to a part-time position as
Curator-at-Large and I will also act as one of Rhizome's regular staff
writers. In my revised position I'll continue to organize programs and
events on behalf of Rhizome at our affiliate, the New Museum of
Contemporary Art, and at partner venues in the US and abroad.
My two and a half years at Rhizome have been so enriching and I'm
proud of the work my amazing colleagues and I have done to take
Rhizome's publications and programs to an even higher level. I don't
want to say too many goodbye-like things because I'm not leaving, I'm
just transitioning to a role that will allow me to continue
contributing to an organization I love while giving myself more time
to focus on my own art practice and to finish my dissertation.
Please stay tuned for announcements of some exciting programs on the
horizon. Until then, I'll see you on the front page!
I love being able to post images now!
This would be FOUR.