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.
Here is some unusually good generative visual art available for viewing on the Net: http://www.complexification.net/gallery . This is work by Jared Tarbell of New Mexico. I find this work quite exciting. Many of you have probably seen this work before. I have too, but only tonight have something to say about it.
What I like about it is the fusion of algorithm and art. Of course there is much generative algorithmic visual art, but this work is rather distinguished in its particular fusion.
For instance, Box.Fitting.Img is both beautiful visually and, also, the work grows from an algorithm that one may easily infer from watching the piece. It starts with 5 boxes. The color of the boxes is determined by the color of the pixel of an underlying, invisible image. Though as the piece grows, one gets other indications of the underlying image. In any case, a box grows until it touches another box. Then it stops growing and other boxes start growing in the interstices remaining.
Very simple algorithm. Plain to see. But brilliantly so, really, and unusual in its visual results.
And much of his work is this way: the algorithms are evident if you watch closely. They are simple but often generative of unusual results. And his sense of color and shape is finely drawn. No clumsy grab bag goin on here. The sense of composition is fascinating. Composition within a pseudo-random generative process.
Another wonderful part of the work is that all the source code is available to view. It's all done in a language called Processing invented not too long ago by Casey Reas and Ben Fry. Java based. Some other strong work is emerging from this language such as Martin Wattenberg's, and Marek Walczak's ...
Regina Celia Pinto:
I would like to invite you to visit my new electronic, colorful and
ilustrated book "Many Faces of Eve" at: http://arteonline.arq.br/eva/
Below ten reasons to show you why you have to visit "Many Faces of Eve". ;-)
This book is:
1- An almost pop provocative work about gender
2- The code of cheek to cheek
3- The apple in the dark - Clarice Lispector
4- The semiotic of the woman who thinks that is dressed with elegance
5- The Adam rib and how I almost could be another woman...
6- Eve got the grape
7- Venus, Body, Image, Myth
8- Face is language, face is information
9- WEBFaces' Cartography
10- Myself as Saint Clara, according Marcelo Frazão.
Now, more seriously:
"Many Faces of Eve" (http://arteonline.arq.br/eva/ ) closes the circle which
I started last year with "The Milky Way"
(http://arteonline.arq.br/via_lactea/ ) and continued with "Alice in the
Wonderbalcony", Sheep's Parade and the series of collaborative reviews of
the 2005 museum newsletter.
Key words of "Many Faces of Eve": WOMEN, IDENTITY, GENDER, HUMOR
Resolution: 1024 X 768, Flash Player 7.0, available pop up windows
Constructive criticism will be welcome!
Regina Célia Pinto
below is a press release for a show some of us are in
here in the UK. After 20/21 it tours round the UK
pretty much until 2007. Hope some of you can make it
or at least check out the site.
: : : : :
Artwork by: Simon Biggs, Glorious Ninth, Neil Jenkins,
Jess Loseby, Michael Takeo Magruder, Stanza and
: : : : :
Blurring the boundaries between the tangible gallery
and the transitory Internet, Net:Reality merges the
ethereal notions of cyber space with the aesthetics of
a physical exhibition. Seven leading UK artists
engaged in Internet and New Media practice have been
commissioned to create artworks that simultaneously
exist virtually and physically.
Rather than having a 'theme' for the artworks, the
common denominator is the media itself and the
unifying connections between the web (Net) and the
physical (Reality) elements of the compositions. The
artists in Net:Reality have each interpreted and
implemented the amorphous relationships between these
distinct spaces to create an exhibition of artworks
diverse in concepts and aesthetics - harnessing the
Internet and the gallery environment to investigate
subjects ranging from emerging technologies to social
: : : : :
Off-line until 29 October 2005 at:
20-21 Visual Arts Centre
Church Square, Scunthorpe DN15 6TB, UK
open: Tues.-Sat., 10am-5pm
telephone: +44 (0)1724 297070
On-line permanently at:
: : : : :
Net:Reality is supported by Arts Council England and
curated by Michael Takeo Magruder in partnership with
20-21 Visual Arts Centre, Scunthorpe and Q Arts,
Derby. The exhibition was generated from an idea by
Michael Takeo Magruder and Jess Loseby.
for further information contact:
Michael Takeo Magruder
firstname.lastname@example.org or email@example.com
University of Minnesota School of Music, Noel Zahler, Director
2006 Spark Festival of Electronic Music and Art
Douglas Geers, Director
West Bank Arts Quarter, University of Minnesota Twin Cities Campus
CALL FOR COMPOSERS, ARTISTS, and PRESENTERS
Submission Deadline: September 30, 2005 (postmark)
The University of Minnesota School of Music is proud to present the 2006 Spark Festival of Electronic Music and Art, February 22-26. The festival will be held on the Minneapolis campus of the University of Minnesota (USA) and at the Walker Center for Art, Minneapolis. Now in its fourth year, the Spark Festival showcases the newest groundbreaking works of digital music and art. Last year’s festival included innovative works by over one hundred international composers and artists, including featured guest artists Philippe Manoury and DJ Spooky. Leading scholars and technology specialists also presented papers relating to new technology and creativity. Audiences for the concerts, installations, and lectures last year totaled approximately 2,000 people.
Spark invites submissions of works incorporating new media, including electroacoustic concert music, experimental electronica, theatrical and dance works, installations, kinetic sculpture, artbots, video, and other non-traditional genres.
Spark also invites submission of scholarly papers on technical and aesthetic subjects related to the creation of new media art and music. All accepted papers will be published as part of the Spark proceedings. Please see http://spark.cla.umn.edu/archive.html for a PDF copy of the Spark 2005 proceedings and program. [More, including submission guidelines, at thread link.]