Marisa Olson
Since the beginning
Works in Brooklyn, New York United States of America

Marisa Olson is an artist, writer, and media theorist. Her interdisciplinary work has been exhibited at the Venice Biennale, Centre Pompidou, Tate(s) Modern + Liverpool, the Nam June Paik Art Center, British Film Institute, Sundance Film Festival, PERFORMA Biennial; commissioned and collected by the Whitney Museum, Museum of Modern Art, Houston Center for Photography, Experimental Television Center, and PS122; and reviewed in Artforum, Art21, the NY Times, Liberation, Folha de Sao Paolo, the Village Voice, and elsewhere.

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.

Collectible After All: Christiane Paul on net art at the Whitney Museum

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 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.

booomerrranganggboobooomerranrang: Nancy Holt's networked video

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.

Sound and Image in Electronic Harmony

Image: Semiconductor: Ruth Jarman and Joseph Gerhardt, 200 Nanowebbers, 2005

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, 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 ...


Reappearance of the Undead


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 ...


Discussions (281) Opportunities (10) Events (4) Jobs (0)

Phil Ross & Laura Splan 8/26

Hi. Please join us for talks by two of the Bay Area's most
interesting artists incorporating science, life systems, and science
culture into their work. Both work in a variety of media ranging from
low to high tech, even calling us to redefine "tech." (You may
remember Phil's oyster sculpture from the last NewFangle...)

Info is below. I hope to see you here.


Artists Presentation - Philip Ross & Laura Splan
Tuesday, August 26, 7:30 pm
SF Camerawork, 1246 Folsom (btwn 8th & 9th)

Local artists Philip Ross and Laura Splan both make work inspired by
life and life science. Whether it's human or non-human life, growth
or decomposition, ecosystems or HMO's, each artist works in a variety
of media to present provocative work unveiling traits of the world
around us. Artist Philip Ross uses living organisms and life support
technologies as the inspiration and the means by which he makes his
work. This process has yielded a series of highly manipulated living
organisms and a number of sculptural structures specifically designed
to support, confine and protect them. Laura Splan's work explores how
our surroundings and experiences mediate our perceptions of the human
body. Believing that interaction with objects can leave a mark on our
psyche via their form and function, Splan examines the dynamics of
these interactions through visual metaphors, visceral materials, and
images that challenge our perceptions of beauty and horror. The
artist frequently uses medical science and technology as a point of
departure to question categories of what is natural, what is normal,
and what is desirable.

Gallery & Bookstore opens at 7 pm
$6/$4 members, students, and seniors

For more information on Philip Ross and Laura Splan please check out
their websites at:
Philip Ross *
Laura Splan *

Marisa S. Olson
Associate Director
SF Camerawork
415. 863. 1001


Re: From Matt Locke's blog - An Interview with Tim Etchells

see, also, the original rhizome review of surrender control (a GREAT project):

i've put feelers out for this, before, but if anyone is doing
sms/txt-msg projects, please let me know (especially americans where
this is so rare). i'm constantly looking for this, in my writing &


Marisa S. Olson
Associate Director
SF Camerawork
415. 863. 1001


Invitation to join Friendster from Marisa Olson

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cool wikki's?

hi. anyone seen any good examples of wikkis that LOOK good,
graphically, in addition to working well, having cool content, etc?

or any cool alternatives, using the same model allowing for user input?


Marisa S. Olson
Associate Director
SF Camerawork
415. 863. 1001


re-best work with Flash? [apres whidden]

ok. this is why i dislike the phrase "conceptual artist." the logic
of its established use sets the phrase up as an oxymoron, as if
"other" artists are conceptless... i like t.whid's "conceptualists"
better, but i'd still mailbomb that term, if i could...

and i know this conversation started with talking about flash, but
after reading t's notes, especially this one...

>who are these entrenched conceptualists keeping out the visual
>aesthetic in net art?

i can't help but remember the debate we all had about cory arcangel
when data diaries came out. i think cory's work is amazing, visually,
but many people seemed to feel that his "dirt aesthetics"
deprioritized the visual (i disagree, but even if so, what's wrong
with that?) and favored the conceptual.

both in the case of that work (which was based on QT films), and in
much discussion about flash art, the work frequently gets criticized
for having a "pointless" existence on the web--see, for instance, the
rhizome-archived debates of the 2000 Net Art Webby jury, regarding
heavy industries's project. the argument made by some was that it was
not net art, but simply a film, which could have shown anywhere. of
copurse, this was situated within a weby context, which is initself a
self-proclaimed "best practices" context and the sense was that chang
was less experienced in net work... but the second/implied argument
was that net art needed to be self-reflexive of its
status/site-specificity as net art. or should i say :)

i've been a bit deluged with e-mails and am wading into this
conversation without being caught up (please forgive), but it occurs
to me that (has it not already been considered) we might think about
checking these demands--with which i admit to struggling, myself...

also to be checked is the assumption that a larger amount of data or
a different kind of data is somehow more valid than another, as
"data" and/or as "art" and/or as "visual art."

i do sympathize with current arguments about getting over blaming the
"primitive" state of the web (another horrible word!), but i have
trouble agreeing with ones that work should somehow live up to the
newly "advanced" state of the web & it's accoutrements.

maybe it is about time we relate these arguments to the old painting
vs photography arguments, because that's what it's starting to feel
like. ansel adams's representations of rocks & trees are no more or
less valid to me as data-visualization and/or art than a painting.
and it's no skin off my back that some of the big "early california"
landscape painters worked from photos.

what matter what's speaking?

Marisa S. Olson
Associate Director
SF Camerawork
415. 863. 1001