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)

CFE: (Mouments)

Hi. Below are two CFE's. They are for two portions of a larger
project on monuments. One is for gallery & public art installations
and one is for "proposals" for "improbable monuments," which would
live only on the web... Overall, this will be a very large, ambitious
project by SF Camerawork which will include a printed journal with
critical essays & portfolios, a CD-ROM addendum with video clips &
interviews, and the three-component exhibition... Please forward!

SF Camerawork
Receipt Deadline: August 29, 2003

Improbable Monuments
part of
An exhibition of work scheduled for the Fall, 2004, curated by SF Camerawork

Monument Recall is an exhibition of work by artists who are
challenging ideas of 'monument.' Through scale, material, subject
matter and concept, the work in this exhibition reframes and
challenges conventions and traditions of public monuments in public
spaces. Improbable Monuments is a web component of this exhibition,
calling for work that will only be exhibited on-line.

We are looking for Proposals for Improbable Monuments, monuments that
are unlikely to happen. These proposal ideas should not be
restricted by subject matter, historical voice, materials, funds,
location or any other more practical, social or political
considerations which usually influence and shape public monuments.
Proposals should include a description of the project idea and
intention, images of the design, materials (if the idea is physical)
and how it functions. Submissions for this call must be received by
August 29, 2003.

Materials for review:
All submissions should be available either on-line (please send url
for viewing) or in (web ready) digital files on CD-ROMS (format for
Macs). Work should be completed net-based projects only; not
portfolios on web pages. Please include an Artist Statement & CV, as
well as a SASE for the return of your materials. Mail material to:
1246 Folsom Street, San Francisco, CA 94103
or email submissions to:


SF Camerawork
Receipt Deadline: August 29, 2003


An exhibition of work scheduled for the Fall, 2004, curated by SF Camerawork

Monument Recall is an exhibition of work by artists who are
challenging ideas of 'monument.' Through scale, material, subject
matter and concept, the work in this exhibition reframes and
challenges conventions and traditions of public monuments in public
Work can be in Photography, Performance, Video, Digital and
Interactive Media, Web or Installation. Submissions for this call
must be received by August 29, 2003.

Materials for review:
Send examples of work and projects in : CD-ROM, DVD, clearly labeled
slides, (sending exactly 8 of your strongest images, with each slide
having your name, address, and title of work), Web, Video (NTSC/VHS
and cued for preview), or small prints., including information on the
examples of work sent (materials, size, date and title of the work).
Do not send original work.

Please include an Artist Statement, CV and Project Description. The
Project Description should include details of the project, completion
date and previous exhibitions (if any) of the proposed work. Also,
include a SASE for the return of your materials.
Send the materials to:
1246 Folsom Street, San Francisco, CA 94103

For more information, contact:
Paula Levine (

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


Cameraless Film Screening (SF)

The screening below is organized in conjunction with AGITATE, at SF
Camerawork. This is a rare opportunity to see some amazing
performative, kinetically-inspired, experimental film work. Please,
please come! ~marisa

Haptic Refractions: A Cameraless Evening
Thursday, May 22 at 7:30 pm - opens at 7:00 pm
at the Yerba Buena Center for the Arts, San Francisco

Presented by SF Cinematheque in conjunction with Agitate
Curated by Irina Leimbacher and Steve Polta

A cinema based on touch, gestures of contact between the surface of
film and the world, is the basis of tonight's screening. Emulsive
transformations, both human and the earth's, palimpsests of paint and
scratchings, or traces left by light and life transform the site of
film into a new experience of sight. Films include: silt's
performance of their multiple-projector biotriptych (excerpted from
All Pieces of a River Shore), a continuation of their investigations
of film emulsion as a microcosmic peering into the earth's crust;
Fred Worden's Automatic Writing 2; Rock Ross' Psycho Porpoise;
Izabella Pruska-Oldenhof's Light Magic; Saul Levine's Light Lick (az
sent)-Only Sunshine; Karen Johannesen's Untitled; Alexis Bravos' The
World's Dry Lever; Luis Recoder's Silver Recovery; Steve Polta's A
Glimpse of Soviet Science; and Phil Solomon and Stan Brakhage's The

$7 general admission /$4 Cinematheque and Camerawork members, students, seniors

***Thank you, HOTEL TRITON, for sponsoring Agitate.***

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


AGITATE/Happening @ Camerawork

Dear All,

AGITATE is now open at Camerawork and I cannot tell you how excited I
am about the show. (!!) Since they began planning it before I started
working here, I don't feel too shameless in telling you it's one of
the best exhibits I've seen in years and I am very proud to be
associated with it. I hope that you can all come check it out. Below
is a description of the show. You might want to come see it this
Tuesday evening, when we will host a "Happening" by Jean-Phillipe
Baert, an intensely brilliant young Parisian artist. All info below.
I hope to see you! ~marisa

Happening - Jean-Philippe Baert
Tuesday, May 20, 7:30 pm
SF Camerawork, 1246 Folsom btwn 8th & 9th
Gallery opens at 7:00 pm

Jean-Philippe Baert describes his "Happening" as a tableau vivant in
progress. Using digital media as a raw material, Baert introduces his
body into the video transmission of images; suspending his 'being'
between analog and digital. By exposing a monitor with his likeness
onto a mural size sheet of photo paper, the subsequent transmission
of his digital 'being' is recorded and then developed before a live
audience in the gallery. $6/$4 members, students, and seniors

May 13-June 14, 2003, at SF Camerawork, 1246 Folsom
Curated by Dore Bowen & Chuck Mobley

Situating itself in the context of a "post-photographic" digital era,
AGITATE challenges photographic convention by exhibiting works that
reexamine, rebuild, or dispense entirely with the standard
photographic apparatus, often returning to antiquarian processes. The
majority of the artists in this exhibit eschew the camera altogether
while other artists concern themselves with inventing their own
photographic lenses, devices, and printing surfaces to further their
exploration of the medium. Still others incorporate a performative
aspect into the production of their images. The after-effects of
their purposeful interruption of traditional photographic processes
and technologies alter our perception of how the medium can be
manipulated to creative ends.

Artists: Heather Ackroyd/Dan Harvey, Jean-Philippe Baert, Marco
Breuer, Binh Danh, Kate Farrall, Diane Althoff, Carlos Motta, Roger
Newton, Ann Hamilton, Cynthia Young

Gallery Hours: 12-5 pm, Tuesday-Saturday Gallery Admission is F R E E
Gallery Talks are available for classes and community groups. Please
call to schedule: 415-863-1624 or e-mail

***Thank you, HOTEL TRITON, for sponsoring Agitate.***

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


SF Camerawork Job Listing

Hi, all. We've got a position opening up at Camerawork. Please feel
free to forward this announcement to qualified/interested folks.


SF Camerawork - Job Opening

Program/Education Coordinator

Job Description-Full Time/Tuesday-Saturday, weekend and evening
installations and events. Applicants must have strong black & white
darkroom skills and experience with instructing and working with
at-risk youth.
$26K plus vacation and health benefits.

Send letter of intent, resume and list of three references with
telephone numbers to: Attn. Program/Education Coordinator Position/SF
Camerawork/1246 Folsom St./ S.F. CA 94103. Applications due June
13, 2003.

1. Coordinate First Exposures: Youth Opportunities Through
Photography, a photography/mentoring program for youth in
transitional and low-income environments. Recruit, screen, train, and
provide ongoing support for mentors and students. Develop semester
syllabus that incorporates relevant exercises, field trips and
exhibitions. Teach Saturday classes and encourage mentor and student
leadership. Oversee First Exposures web site and maintain student
archives. Facilitate appropriate crisis intervention when needed.
2. Generate and lead gallery exhibition discussions for visiting
students and community groups.
3. Coordinate Camerawork's involvement in outreach workshops and
collaborative projects with other arts, education and community
organizations in order to attract a broader audience and foster
long-term alliances.
4. Attend and actively participate in Camerawork programming meetings.

Responsible for all aspects of installation process: includes
coordinating and training volunteers and other preparators,
troubleshooting non-traditional installations, assisting curators and
Associate Director with exhibition planning, and documenting
installations. Framing, repairing, and packaging of artwork for
shipping. General gallery and installation maintenance and repair.

Responsible for various general operations of the gallery, including
but not limited to providing support to staff and board on day-to-day
basis with planning and implementing artistic programs and special
fundraising events including the annual auction.

Responsible for all technical setup for lectures, educational
activities, and fundraisers including the annual auction. Assisting
gallery manager with trouble-shooting, maintenance, and repair of
technical hardware. Coordination and delivery of loaned equipment to
and from other nonprofit organizations.

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



here's a nice general question for the list... are any of you making
(or seeing) internet-based (or -housed) work that relies upon or
constructs notions of intimacy? this could range from a consideration
of the "intimacy" of interactivity, to an autobiographical photo
project, to something like igor stromajer's "mobile intimate
communicator" (see, and much in between...

i'm considering work for an exhibition...


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