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.
Jon Rubin's work "explores the social dynamics of public spaces and the lives of ordinary individuals." Often working in collaboration with other artists, institutions, and members of the general public, his projects have included setting up a gallery that exhibits only information about the neighborhood's inhabitants, broadcasting an office's telephone conversations through a talking piano, producing a cable access variety show at a senior center, and a variety of fake businesses that traded on interaction and the art of conversation. The artist's two most recent projects offer a glimpse into the delicate balance of precision and irony that render his work so poignant. Earlier this month, at Los Angeles' Machine Project, Rubin's A Practical Demonstration was "an exercise in suspended orbits, suspended disbelief, and circular group formations." It's the latter, the part about people standing in circles, that is so interesting. As the artist played director, a group of local amateur videographers captured a 360-degree image of a stuntman jumping from the gallery's second floor window. (He was going for "a very clumsy 'Matrix' effect.") Simultaneously, a circle of international collaborators documented the activity of the sun over a 24-hour period. The result of all this participatory documentation was an edited two-channel video in which both the jumper and the sun appear to float in mid-air. On its own, such a video project visually resembles many that have come before it, but Rubin sets his apart by devoting special attention to the details of social collaboration, thus creating a more meaningful experience. The same can be said of his current project taking place on the streets of Pittsburgh, in collaboration with the legendary installation art museum, The Mattress Factory. Like many of his initiatives, Join the Human to Robot Army began with a ...
"When the power of love, overcomes the love of power, the world will know the peace." This prophecy by rock legend Jimi Hendrix could be the foreword to a manifesto on the use of music in the propagation of nationalism, but instead it's a point of inspiration for "The Sonic Self," an exhibition at the Chelsea Art Museum. Open through August 30, the show brings together a range of "participating artists from around the world with the main goal that their collaborative projects will bridge disparate audio-visual practices and expose their shared languages." In keeping with recent curatorial trends, "The Sonic Self" is part-exhibition and part-workshop, aiming to explore the relationship between sound and identity through installations, audio/visual performances, and participatory events in which collaborators work to innovate new devices for the creation of auditory autobiographies. While the relationship at stake seems most universally to be about "being heard," the selected artists are working with material ranging from live performances to field recordings to computer-generated sound to DJ samples. In the spirit of tracing "similarities and differences in the growing confluence of audio and visual experiences in contemporary complex and diverse global culture," the project will travel to St. Petersburg, Russia, and Chennai, India, following its New York debut. - Marisa Olson
Video: Philip Dadson and Don McGlashan in From Scratch's performance of "Drum/Sing."
Has anyone noticed that it's summer in much of the world? Inspired by this deeply intellectual curatorial premise, a number of beach-based art invitations have been hitting our inboxes. The fiery purple and magenta gradient html invite for Glow Santa Monica reads, "Whether you get your brain waves translated onto a LED display or find yourself lost in a Neptunian lair of a surreal persuasion, please join us on July 19th to spend the night and greet the dawn with others so inclined as to believe our common spaces can be playful, inspiring, and thought-provoking, not just functional." If you are so inclined, and in the neighborhood, a visit to the Santa Monica beach, pier, and Palisades park from 7pm-7am, July 19-20 will put you in contact with installations by highly-regarded artists like Usman Haque and Shih Chieh Huang, and installations organized by such venerable orgs as Machine Project, VJ Culture, and the 18th Street Arts Center. The works slated for inclusion are colorful, interactive, luminescent (perhaps not surprisingly, given the promising title), and big...as in ambitious. There will also be all-night DJ sets and live performances. Now, you could throw on some swim trunks and flip flops to see work like this in a museum, but we're guessing it wouldn't be the same. - Marisa Olson
Image: Grant Davis, Video RIOT!
A new copyright-related exhibition curated by Inke Arns and Francis Hunger, of Hartware MedienKunstVerein, in Dortmund (DE), has one heck of a title: "Anna Kournikova Deleted By Memeright Trusted System: Art in the Age of Intellectual Property." Then again, it sounds like a heck of a show. The first piece visitors will see when they enter the HMKV exhibition space is a video by Negativland and Tim Maloney, called Gimme the Mermaid, in which Disney's Little Mermaid character is seen shouting, "You can't use it without my permission...I'm gonna sue your ass!" The exhibit, which runs July 19-October 19 is part of a larger initiative called "Work 2.0: Copyright and Creative Work in the Digital Age," which includes a iRights.info, web-based research project exploring new labor relations emerging in this litigious era; and a September 26-28 symposium on "Creative Work and Copyright." The show features a good mix of established artists in that field as well as others from the world of fine art and media production, including Christophe Bruno, Nate Harrison, John Heartfield, Kembrew McLeod, Monochrom, Alexei Shulgin + Aristarkh Chernyshev, Cornelia Sollfrank, Stay Free, UBERMORGEN.COM + Alessandro Ludovico + Paolo Cirio, and others. The show's title is plucked from a short story by participating artist David Rice who writes of a time in the future when stars' brands are maintained by laserbeam-armed satellites who snuff out unauthorized copycats. In the story, the "real" tennis star Anna Kournikova is accidentally misrecognized as a fake and "deleted" by the system. These sorts of sci-fi narratives always provide a touchstone for public fears and fantasies about the future, particularly in relationship to technology. This exhibition emerges from a contemporary context in which the development of new technologies that make copying easier have led to unprecedentedly stringent ...
Cat Mazza is a practitioner of what sociologist Betsy Greer has called "craftivism." She's used knitting and other needlecraft-related processes to address pertinent political issues. Her projects are particularly adept at effecting a tactical turning of the tables on issues; for instance, using hand-made (though often computer- or software-assisted) processes to address labor conditions. Her latest project is similarly successful at fighting fire with fire (or should we say "fiber"?), parodying a US government program--even using its own explicit instructions--to critique the ideas behind it. Stitch for Senate is a contemporary take on the historic practice of charitable knitting. During WWII, women and children supported the war effort by knitting clothing and protective gear for soldiers abroad. Following the US invasion of Iraq, Americans were encouraged to make similar efforts for soldiers stationed in Iraq and Aghanistan. However, as Mazza points out in a video on her site, this war is not as popular as WWII, consequently neither is the knitting initiative. On the fourth anniversary of the invasion, in order to spur more thought and dialogue about the war, Mazza launched Stitch for Senate which encourages users to download patterns and knit helmet liners not for combat troops but for every member of the US Senate (the legislative body that votes to declare war), giving them the responsibility of distributing the fuzzy armaments. Meanwhile, the website is a space for documentation of these efforts as well as posts by users about war-related discussions and acts of charity, patriotism, and activism within radius of their own local knitting circles. A few helmet liners won't unravel the war, but as with craft groups before them, projects like these do provide a safe platform for approaching (or stabbing a needle into) bigger issues. - Marisa Olson