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 ...
reader list. thought some here might be interested...
i'm particularly interested in the discussion of "the apparent
tension between teaching theory and
production." it does seem (given my own experiences as a perpetual
phd student) that so many of the programs have this polarized,
alienating curricular dichotomy going and i have found myself
frustrated at the lack of middle ground. when i was in the uk, it
impressed me that art practice programs had theoretical research
components built into their degrees, whereas the two are so separated
in the US. in the context of the media arts, there seems to be a bit
more of an impetus to "present" both, but my sense is that many of
the people steering the programs are doing so under the mark of
intimidation by the so-called "new" media and, also--more
importantly, that there is a general lack of synthesis between
criticism/theory and practice. so that courses will focus on the
"right" new media readings, and possibly introducing critical theory
vets (jameson, baudrillard, foucault, etc.) in this light, but
without engaging with an application of those ideas to a reading of
any real art work. and, on the other hand, there are nuts & bolts
practice courses that (perhaps sprouting out of the
anti-intellectualism scholz mentions) snub theory as divorced from
their engagement with director or perl, and focus simply on
the rapid development of the technologies (hard and soft) associated
with "new media" is a bittersweet thing. book production timelines do
not jive with software upgrades. this we know. but, still, it would
be great if the "production" (and hiring!) of scholars equally
engaged in practice and criticism (not that i don't seem criticism as
a sort of practice, and vice-versa!) and comfortable merging the two
would catch up to the work.
my two cents...
>Date: Sat, 04 Oct 2003 16:41:17 -0400
>From: trebor scholz <firstname.lastname@example.org>
>To: Sarai List <email@example.com>
>New Media Education and Its Discontent
>"S home are the people for whom I take responsibility."
>--------------Vilem Flusser in "The Freedom of the Migrant"
>The Brazilian philosopher Vilem Flusser wrote much about the exile freely
>taking responsibility. I am in the fortunate position to enjoy teaching in a
>technology-based university department in the United States. I chose to take
>responsibility for the (new media) education of my students. And yet I
>experience conflicts among which student anti-intellectualism ranks first.
> A few anecdotal examples: one student reports how her high school teachers
>incessantly lied to her in their "interpretation" of world history and how
>that stirred up suspicion of "the intellectual." Another student claims that
>because of the availability of material online he feels less inclined to
>study the conclusions that other people draw from these texts as he himself
>can make up his mind. A graduate student recounts experiences he had as a
>critical technical practitioner in the early 90s when intellectuals applied
>the knowledge in their field to what he calls his own and quickly received a
>lot of visibility while not really understanding the issues due to a lack of
>technical insight. Students ask what it means to be intelligent and raise
>concerns that the class overlooks the type of knowledge that their
>grandmothers have, a very local and emotional insight. Maybe not
>surprisingly most distrust intellectuals in this country, calling them
>elitist, out of touch with this world, and view them as irrelevant.
>Completely quiet until then, one graduate student suddenly erupts in a
>candid impromptu lecture about the history of anti-intellectualism in the
>United States (he surely was trained to defend his position throughout his
>high school years). He traces it back to President Andrew Jackson, who
>received "sporadic education," wiped out Indian tribes and did not hesitate
>to shoot verbal contenders. Jackson hated people who knew more than he did.
>Coincidentally they were the Jews, homosexuals and immigrants of the time.
>John Quincy Adams, the sixth US president said of Jackson that he "cannot
>spell more than one word in four." The brave student then linked Jackson's
>presidency to the history of the extreme right in the United States and the
>prevalence of anti-intellectualism in this country up to this day. The
>California recall-election is a good example in which the candidate with the
>most "personality" may win over those with intellect and experience in
>politics. The last presidential elections also proved this point.
>The debate about anti-intellectualism has become more vocal in classrooms
>across America for the past 10 years. "Anti-intellectualism," in my
>encyclopedia, is described as "hostility towards, or a mistrust of
>intellectuals, and their intellectual pursuits. This may be expressed in
>various ways, such as an attack on the merits of science, education, or
>literature." The definition continues: "In another sense,
>anti-intellectualism reflects an attitude that simply takes
>'intellectualism' with a grain of salt--inasmuch as intellectuals may be
>vain or narcissistic in their self-image, so too may they be understood by
>'common people.'" And let's add some more from this source (leaving aside
>how problematic the term 'common people' obviously is):
>"Anti-intellectualism is found in every nation on earth, but has become
>associated in particular with the United States of America. It existed in
>the US before the nation itself; the New England Puritan writer John Cotton
>wrote in 1642 that 'The more learned and witty you bee, the more fit to act
>for Satan will you bee.' Anti-intellectual folklore values the self-reliant
>and 'self-made man,' schooled by society and by experience, over the
>intellectual whose learning was acquired through books and formal study."
>Concretely, anti-intellectualism manifests itself in the class room by not
>reading assignments, not contributing to class discussion, complaining about
>a high work load, skipping class, giving low evaluations to instructors with
>high standards, not bothering to do extra work, by dispassionately
>condemning intellectual debate as "boring." Incidents of racism and
>xenophobia in the classroom can be seen as part of the same problem.
> bell hooks describes the "pleasure of teaching" as an "act of resistance
>countering the overwhelming boredom, uninterest, and apathyS" In her book,
>"Teaching to Transgress," hooks describes teaching as a site for resistance,
>a place where the teacher must practice being vulnerable, and wholly
>present. I agree with her- the teacher's vulnerability brings a sense of a
>real, conflictual person to the classroom that encourages students to
>develop a similarly genuine expression of their position, free of sarcasm
>and false irony. This approach is more about learning than teaching- it is a
>process full of productive conflict in which the instructor is also
>transformed. Isn't it more fulfilling to be skilled than unskilled, to know
>than to not know, to inquire than to be self-satisfied, to strive than to be
>apathetic? What does learning mean? What does it mean to be in a place like
>a university where you have the opportunity of knowledge being presented to
>you, and time to reflect and navigate your own orientation?
> Media Study Departments bring together the most relevant sources of
>knowledge-- from cultural theory, and literature to technical skill, from
>the vocational to the conceptual. It is important to create an understanding
>of the importance of conceptual work in students. New media education faces
>other issues like the apparent tension between teaching theory and
>production, between those who "think for a living" and others who are on the
>"cutting edge" of technological innovation. In my classroom I experience
>much careerism, which I see both, as a result and a cause of student
>anti-intellectualism. Increasingly, career-minded students see college as an
>imposition between high school and the good life. The focus for many
>undergraduate students is on acquiring software and programming skills,
>which they value as the only stepping-stones to a corporate job. At the same
>time new media educators all over the country find it increasingly painful
>to prepare the next generation for their career as HTML slaves. In this
>"tech prep" atmosphere, emphasizing employability, art becomes increasingly
>"applied art." On the other hand, there is a severe problem for those
>talented graduates who decide not to seek shelter in the "industry." They
>become new media artists and apart from hard-to-get positions in academia
>there are few places that will finance them. In the North of Europe the
>situation differs somewhat as grants may cover the new media artist's
>Career-minded students often think that the cutting edge medium will get
>them "that job," with the "new and hip" constantly being in transition. "I
>don't know why we look at work in the Internet- it is already 10 years old."
>Students make similar demands of texts: "I don't know why we read this, it's
>written in 1995- that's dated now." And universities often buy into this
>perceived industry standard instead of focusing on general skills such as
>independent critical thinking that get students much further.
> How could we develop a curiosity for (art) history that then leads to, for
>example- web based art or graphics programming? The pure application of
>software programs or programming creates the most boring people says John
>Hopkins, quoted by Geert Lovink in his recent book "My First Recession"--
>"it's like amateur photo-club members comparing the length of their
>telephoto lensesS" Many in the programming communities are distrustful of
>the humanities because in their view they have little to contribute to their
>field. In addition it is an almost impossible challenge for a single human
>being to keep up with the development of all those tools. Lovink writes,
>"universities still consider the computer/ new media industries as somehow
>emulating a film-industry model, with a stable set of skills each person
>goes out into the world with after graduation." He suggests that instead,
>the most important task is to loosen up to a transient world of employment/
>work/ play and disabusing students of the notion that there is an
>"industry." It needs problematic, off-track courses, Lovink argues, because
>they usually provide skills that last much longer than the software
>applications or programming languages of the day. What is in the long-term
>interest of students may not be immediately clear to them and it takes
>courage on the side of the instructor to insist on their vision.
> I have been asked about the difference between European and US American
>academia. Comparing teaching at the Bauhaus in Weimar, Germany with my
>teaching in American universities I see indeed vast differences. The German
>educational system is heavily based on student's initiative. In Britain,
>where I studied for an M.F.A., most of learning took place within the
>student group. English tutors contributed inspiring cross-disciplinary
>anecdotes and encouraged a spirit of self-criticism. I taught art history,
>new media art practices and critical theory at universities in the North and
>South West of the United States and now on the East Coast. I experienced
>American students as often not willing to overcome the initial hindrances
>that are needed to make discourse joyful.
>Reading a text is like entering a room of people talking and unless we learn
>about their previous exchanges we will never be in the know but instead get
>frustrated. Knowledge is nothing innate, nothing we are born with or which
>we inherited. Often mistakenly introduced into this debate are the likes of
>Albert Einstein and Thomas Edison who had little schooling yet high
> All too often students judge texts based on their unwillingness to do the
>initial work that is necessary to enjoy theory. Rather than talking about
>building self-esteem (enough already) we need to talk about hard work and
>discipline (even if that may sound Protestant). How useful are Paulo
>Freire's notions of a pedagogy of dialogue and informal teaching in the
>context of today's US new media education that already is quite informal and
>horizontal? I see the disinterest in study caused by a widespread
>delegitimization of reading and print culture, and partially by popular
>culture that glorifies triviality, and mindlessness. Stanley Aranowitz in
>"Education and Cultural Studies" (ed. Henry A. Giroux) writes: "School
>should be a place where the virtues of learning are extolled (a) for their
>own sake and (b) for the purpose of helping students to become more active
>participants in the civic life of their neighborhoods, their cities, and the
>larger world." It is hard to bring everyday political events home, to make
>students realize how deeply linked our lives are to those of the people at
>the other side of town, or in Rwanda, Kosovo, Srebrenica, Afghanistan or
>Iraq. The trivial, localized focus of TV news reporting certainly does not
>help in internationalizing students, in opening up their views to a larger
>horizon. This false localism stops students from aiming with their artworks
>at larger international (new media) art audiences. By the same token this
>localism or regionalism should not prevent new media departments from
>developing international relationships.
> In the American consumer-driven educational system, mainly part time or
>untenured faculty's academic careers rely on student evaluations, which is
>where the system in itself is deeply at fault. How can an instructor be
>courageous under these constraints? The meaning of teaching can be found in
>the Latin word "professio," which means declaration. To be a professor means
>to declare your beliefs, which may not by any means go down well with
>students. This stance purposefully creates tension, which comprises true
>learning, a friction that makes it clearer for a student where s/he stands.
>Teaching, in the sense of Edward Said's notion of the public intellectual,
>cannot mean to please, it cannot aim at consumer sovereignty, and it cannot
>mean that the customer is easily and completely satisfied. The consumer
>model implies that the university offers "services." Courses are shaped to
>satisfy students who think of themselves as consumers who conveniently with
>next to no effort (as in shopping), graduate. If this is what teaching is
>about, it fails its mission. Students should open themselves up to
>successful learning. And the "success" in "successful learning," according
>to Bertold Brecht stands for being educational, creating change in the real
>live world. Students should get "electrified" by the widely unexplored field
>of new media.
>Net Cultures: Art, Politics, and the Everyday
>Fibre Culture New Media Education
>Geert Lovink "The Battle over New Media Art Education. Experiences and
>Models." in "My First Recession. Critical Internet Culture in Transition"
>V2_/NAi Publishers, 2003
>reader-list: an open discussion list on media and the city.
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Marisa S. Olson
415. 863. 1001
> We are looking for a visiting artist to teach a course in the Spring,
> 2004 called Art 410: Conceptual Stategies I, one of two foundation
> courses in our area Conceptual/Information Arts (C/IA). I'm
>enclosing a description of the course below.
> Art 410 meets two days a week, T/Th, 9-12 and introduces students to
> some basic applications, such as Photoshop and Illustrator, woven
> within a larger thematic framework of art and culture. The visiting
> artist could use their interests and research areas as thematic
> threads for the course.
> We are asking for a cv and brief description of ideas for teaching
> the class by October 27, 2003. We are not looking for a detailed
>syllabus, but rather a general idea of how the visiting artist would
>approach the class.
> By way of background, C/IA (http://userwww.sfsu.edu/~infoarts) is an
> area of emphasis within the Art Department, with both undergraduate
> and graduate MFA students. We encourage students to explore
> crossovers among art, technology and culture and offer students
> oppportunities to learn digital media and emergent technologies
> within the context of larger questions about technology and change
> within art and culture.
> In the Spring, 2004, in addition to the two foundation courses, Art
> 410 and Art 412, we'll be offerring Art and Biology, taught by
>Philip Ross and a course exploring interactive concepts and
>strategies through Flash taught by Steve Hartzog.
> Thanks for passing this along to those who may be interested. If you
> need any more information, please contact me.
> Many thanks and best regards,
> Paula Levine, Assistant Professor
> Conceptual/ Information Arts (C/IA)
> Art Department
> San Francisco State University
> Office: Fine Arts, Room 537
> Telephone: 415-338-6457
> Art 410: Conceptual Strategies 1
> Course description
> This course is a combination of studio, experimentation and study,
> exploring ideas, strategies and structures by which art can be made,
> through which meaning is conveyed. Through lectures, demonstrations,
> assignments and projects, readings and discussions, we will use
> materials and residue of everyday life as sources for art, explore
> relationships between art and culture and apply a variety of
> approaches to generate ideas and make work. This course is taken
> concurrently with Art 412. Both classes are required for people
> chosing to focus in the C/IA area.
> Resources for the course come from a wide and rich field including
> disciplines within art such as video and film, sculpture, print
> making, photography, painting and digital media; work and ideas from
> the art movements, including Surrealism, Futurism, Fluxus
> Situationalists; and, in particular, work and ideas from Conceptual
> Art, contemporary and popular culture. We will also be looking across
> disciplines, taking ideas and approaches from fields outside of art,
> including cultural theory and semiotics, literature, urban studies.
> Students are encouraged to bring to assignments and discussions what
> they know from their wide range of work/life/art experiences,
> interests and fields of study.
> Semester projects may include activities such as working with lists
> and collections as sources for ideas and art, understanding
> icons/logos as signs, mapping the unmappable, looking at ways to
> represent information such as maps, exploring strategies and
> structures of collections and archives. Final projects are proposals
> for an Improbable Monument, using strategies and computer skills
> gleaned from the semester to convey and present the project ideas to
> the class.
Marisa S. Olson
415. 863. 1001
>Do you have something to sell?
>Pace Digital Gallery in New York City is curating an online exhibition of
>work that uses E-Bay (www.ebay.com), the online auction house, as a
>conceptual vehicle. We are not interested in artists selling their artwork
>or their belongings online, but rather in artists who are investigating
>notions of consumer culture, the market, ephemerality, exchange,
>intangibility, and things that cannot be for sale. We are interested in
>work that will be contemporary with the January exhibition but also in
>archived projects. We will hold an opening and print a brochure or small
>Deadline for submissions - October 30th, 2003. Send proposal or
>documentation, documentation of previous work (URL, DVD, miniDV, digital
>images), bio, CV, and statement to the attention of:
>Prof. Jillian Mcdonald
>Fine Arts, Pace University
>12th Floor, 41 Park Row
>NY, NY 10038
Marisa S. Olson
415. 863. 1001
San Francisco Camerawork is currently looking for one intern to take
on advanced duties related to the administration and programming of
For more information, please read the following internship
Deadline for receipt of applications is Friday, October 10, 2003.
Marisa S. Olson
415. 863. 1001
below, another message from the fabulous lynn hershman about
technolust. lynn worked long & hard on this, collaborating with a
number of brilliant media artists (have you see the agent ruby
site?!) and it would be rad if you, yours, and theirs went to the
screenings and notified their bay area contacts about the screening...
it's all about community, right?
This is a very exciting week for us. Our box office numbers in our
second weekend will be used to determine how we will roll out
nationally. If you have not seen the film already, join us this
weekend! Josh Kornbluth and I will be present at screenings at both
the Opera Plaza Cinema and the Shattuck Cinema this Saturday
afternoon, I'll be there Friday night!
Thank you for your support.
Opera Plaza Cinemas - 601 Van Ness (at Golden Gate), San Francisco
Shows Wed-Thurs 3:00, 5:30, 8:00 Fri-Mon 2:00, 4:45, 7:15, 9:40
Tickets are $9.25 and available at the Opera Plaza box office
Josh Kornbluth & Lynn Hershman Leeson in person Saturday, August 30th
at the 2:00 show!
Shattuck Cinemas - 2230 Shattuck Avenue, Berkeley (510)843-FILM
Shows daily at (12:45) (3:00) 5:05 7:20 9:40
Tickets are $9.25 and available at the Shattuck box office beginning 8/19
Josh Kornbluth & Lynn Hershman Leeson in person Saturday, August 30th
at the 3:00 show!
official film site: http://www.teknolustthemovie.com
also: http:// www.thinkfilmcompany.com
Selected Teknolust Reviews August 22-25
****Twisted and sexy, smart witty and funny. Tilda Swinton will knock you
out, Jan Wahl , KRON.
****The film is too clever and innovative to spoil it with over-description.
The viewer needs a first-hand experience. I loved it-the small touches
are great, from the girls' fingernails to Ruby's "dream portal" on the
Web. Technologically fresh..
*** Tilda Swinton, impeccable and witty, plays four characters in this
imaginative fantasy. Sci-fi rarely has been so playful.
-- E. Guthmann, SF Chronicle
***Like "The Rocky Horror Picture Show," "Teknolust" is so smart and so
odd it seems perfect for cult status with its colorful, clinical view
of sex, technology and donuts -- as well as a brilliant performance
by Tilda Swinton as scientist Rosetta Stone and her three clones,
Olive, Marine and Ruby.
If ever there were a homegrown movie perfect for smart folks hiding
out from summer blockbusters and gubernatorial recall shenanigans,
this is it.
There's a dream logic at work here, made dreamier by the music of
Gladiator co-scorer Klaus Badelt... For a lead actress, Teknolust is
perhaps the ultimate showcase, and Swinton takes the ball and runs
with it. When the three duplicates spontaneously break into a surreal
dance number to impress theircreator, it's like Bizarro-World
Charlie's Angels, albeit with more true spontaneity than anything in
the soggy summer sequel it plays
Marisa S. Olson
415. 863. 1001