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

ARTBASE (7)
PORTFOLIO (3)
BIO
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.

Drawn Out Processes



The convention of the summer show, in New York, has historically been a mixed bag. At times it's an excuse for a gallery to do something fun, restrict work hours, and chill out a bit. It also tends to be the busy season for both emerging artists and curators, with group shows dominating the docket and variably playful, political, or conceptual themes running the show. Chelsea gallery Josée Bienvenu's summer show, "microwave, six," includes seventeen emerging and mid-career artists in their annual effort to (unlike the cooking apparatus that shares its name) slow down and pay attention to artists "who commit to the obscene activity of paying attention." It's hard to say what's obscene about this act, except that it's so rarely done as to potentially render it indulgent in some people's eyes. Each of the selected artists create rather slow-cooked drawings that "document the relentless propagation of delicacy as a subversive attitude." In other words, forget the short attention spans painted by the information economy, these pieces actually manage to transmit a high level of information, even as they eschew the ephemeral forms of files and bits to take up the hard-knocked life of a work on paper. Ernesto Caivano continues his epic series of drawings about an otherworldly landscape in which a man and woman simultaneously evolve into a spaceship and a lowly earth creature. Phoebe Washburn gives us highly-systematized, if cryptic analysis of devices and histories like Gatorade Storage Tank Study. Both Alexandra Grant and Casey Jex Smith offer readings and translations of the visual qualities of language, while Jacob Dyrenforth's newspaper-style pixilated (or is it pointilated?) drawings of concert crowds speak to the age-old effort of visualists to convey the maximum amount of information in the least ...

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Fun Is Back



Those three words are the declaration of Manuel Buerger, a young German artist whose practice encompasses graphic design, fine art, theory, and music. Buerger did his graduate studies in Media Art under the direction of pioneering internet artist Olia Lialina and this reveals itself best in the humor Buerger directs at his projects that are often just as goofy as they are subtly, intelligently deconstructive of media culture and its conventions. His Master's thesis was an artist book-cum-manifesto on the cultural and economic imperative towards newness, with the figure of a UFO used to navigate the philosophy of novelty. Buerger followed this project with an A5 fanzine that was, in fact, a critical examination of the role of individuality in the Microsoft software platform. Designed in MS Word, I doc. you will! both celebrates and critiques the rigidity and dominance of this environment, pointing to the strict adherence to publishing protocols written into Word, despite the seeming emphasis on personalization within tools and templates. Predicated on a reading of Deleuze's theories on societies of control, Buerger argues, "The last 25 years have rapidly changed the means of computer aided self-portrayal. 'Individualization' is the product of this development--consumption stresses our uniqueness." That said, a number of Buerger's projects end up focusing on consumer culture, or the fine line between that culture and its production. While net-based experiments like his Nostril Karaoke leave us a bit speechless, his Designerz is a clever, gif-based trope-popping of the archetypal designer-holding-poster portrait, reflected in the style of a permanent zoom into a hall of mirrors. The artist is currently at work on a MIDI-album called "10/10," in which "the idea is to take ten ultra-cool midi-instruments (10 of 128) and dedicate a song to each instrument," and he's an active ...

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Social Work for Robots



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 ...

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Auditory Autobiographies




"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."

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Getting Sand in the Art



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!

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