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.
No longer mere distractions cooked-up by programmers as a form of light relief in the early days of computers, video games have evolved into a variety of forms and have had a wide impact on multiple generations. To some extent, the same can now be said of art that addresses video games, the visual complexity and conceptual richness of which has grown with the medium. An exhibition guest-curated by artists Marcin Ramocki and Paul Slocum at Arthouse explores "the history, control mechanisms, political and art-historical implications of electronic games" by surveying both better-known and more emerging practitioners of game-related art, including Cory Arcangel, Michael Bell-Smith, Mike Beradino, Brody Condon, Alex Galloway, JODI, Guthrie Lonergan, Kristin Lucas, Joe McKay, Michael Smith, Eddo Stern, and Keita Takahashi. RESET/PLAY is up through November 2nd and is accompanied by a series of public events that includes a night of video game competitions and a performance by New York-based sound artists Loud Objects. - Marisa Olson
Image: Brody Condon, Judgment Modification (After Memling), 2008 (Courtesy of the artist and Virgil de Voldère Gallery, New York, NY)
While the term "crowd sourcing" generally refers to a large group of people (i.e. internet users) contributing to the realization of a project, it might also apply in interesting ways to the newest installation by Jody Zellen. In "The Blackest Spot," at LA's Fringe gallery, she culls footage of crowds and corrals them into content categories which are in turn activated by visitors to the exhibition. While the crowd is usually theorized as a single entity or herd, Zellen's selections exemplify the many different means and reasons for which people choose to assemble in a single spot. When viewers step on censor-marked spots on the floor of the gallery, they trigger audio responses linked to the gatherings, ranging from quietude to cacophony. As a result, Zellen's audience is compelled to consider their own identification with those portrayed in the collected images. - Marisa OlsonImage: Jody Zellen, The Blackest Spot, 2008
Jane Philbrick's "PULL" installation, at New York's Location One gallery, is definitively interactive. Not only does it require viewer participation to really make the work happen, but it invites reflection on the agency, authority, and influence of the viewer. Flanked by walls of 502 beautifully symmetrical, gridded, illuminated fire alarms, strobes, smoke detectors, siren horns, and control panels, the installation relies on (or questions) the human impulse to pull the trigger. Once a viewer does pull on an alarm handle, loud noises, flashing lights, and loud words bombard the participant's eyes and ears in a simultaneously beautiful and overwhelming cascade. The project is intended to reflect on questions of fear and control, as well as the seductive versus destructive nature of power. Philbrick's collaboration with Honeywell Labs instigates commentary on the ways in which these issues have trickled down into architectural, industrial, and consumer devices, while upping the volume on her ongoing investigations into the subjective dimensions of language and the voice. - Marisa Olson
Image: Jane Philbrick, PULL, 2008
Red76 is an artist collective who employ a variety of media, including the internet, video, photography, printed matter, and social interaction. In fact, their use of materials is more a matter of calling up the right tools for the right job, but their projects are always infused with a kind of critical repositioning of default installation techniques and didactics. When exhibiting in a museum, they are likely to eschew wall text in favor of a giant arrow directing your attention to what you are really meant to see. In part, this bravery to bend the rules gets to the heart of their work: a persistent effort to create and critique public spaces. While Portland-based artist Sam Gould founded Red76, its membership constantly rotates, and the group privileges its open source ideals over attributed authorship. In this vein, many of their projects take the shape of "how-to" instructions, such as How to... Protest Song Karaoke, in which participants are encouraged to preface public karaoke performances with comments about the supposedly unknown political content of otherwise sappy mainstream pop hits. News Blackout was a successful example of that celebrated artists' trick known as the one-liner. The piece is a video in which someone strategically blacks out newspaper text with a black marker in order to make a statement about what often gets left out of the news. Their latest project The Battery Republic, which begins this weekend, also positions itself as an intervention. The weeklong series takes the form of a mobile tavern, which will occupy a room at the Park Avenue Armory as part of Creative Time's Democracy In America exhibition, as well as various other locations around the city. The collective will use this politicized space as a site for a variety of activities, ranging from conversations with visitors ...
The cyanotype, in some ways, fuses multiple modern impulses towards empirical knowledge. In this once novel medium, originally used to study the footprints of organic specimens and still common in kids' at-home science kits, objects are left on the surface of photosensitive paper to create a sort of blue and white negative of the item. But the image format also links itself to the study of architectural structures at the site of the blueprint and to the avant-garde's embrace of the color blue to study perception and the psychic effects of color. (Think Yves Klein.) So Christian Marclay's marriage of the cyanotype and the increasingly defunct magnetic cassette medium is just as philosophically rich as it is beautiful. And indeed, the artist's prints are extremely beautiful. On view through October 11th at New York's Paula Cooper Gallery is a solo exhibition of the artist's work. One of the pieces included, Allover, looks like an ocean of castaway cassettes and tape ribbons doing a sort of dead man's float, while the title reads as a double entendre--the image is a time-based collage (blurring representational epochs and the time it takes for the picture to seep into the paper) in which the tapes are "all over" the page and the title also signals the fact that the tapes' heyday is "all over." On the contrary, Marclay's heyday is still roaring, as the artist continues to find new ways to intertwine concepts of visual and sonic composition and to turn what might otherwise amount to commodity fetishism into poignant commentary on the evolution of technology and the narrative forms we've generated to record-keep our romance with it. - Marisa Olson
Image: Christian Marclay, Untitled (Madonna, Thy Word and Sonic Youth), 2008
My own effort in talking about Postinternet, at least in those early instances, as on the panel, was to (a) expand Rhizome's mission--I was then Editor & Curator--to cover and support a wider variety of practices; and (b) just to describe my own work and how a project like my Monitor Tracings (totally "offline" drawings) could be contextualized as internet art, or art 'after' the internet (i.e. In the style of & made after I log-off.) I think Michael puts it *perfectly* when he says, "we should understand all our gestures, 'online' and 'offline,' as actions in a network that is mediated and administered by computers." Perhaps this is obvious, but I'd say this applies to all of waking life, not just art production+reception.
I've personally moved from discussing Postinternet Art as "art after the internet" toward discussing Postinternet as "the symptoms of network culture." I am less interested in discussing PI Art specifically/exclusively, now that people have brow-beaten and/or branded the term into something far different than what I originally meant, and much more interested in discussing the social affects around the production of postinternet conditions and their manifestations. And, meanwhile, I have said (particularly in the Ullens catalogue & also in an interview in the Art and the Internet book put out by Black Dog) that, to me, Postinternet is just a 'placeholder' term around which to convene in having conversations around the latter symptoms. (I've started working on spelling these out more explicitly in recent & forthcoming writing-- including the keynote lecture I just gave at Pratt's UPLOAD conference, entitled "Postinternet is Dead. Long Live Postinternet.")
Likes/Dislikes around the word, aside, I hope this very long-running conversation around art and the internet can continue to incorporate careful consideration of the affects of network culture, as networks themselves evolve.
Like most of the folks above, I too am a "forever member," from the days of the Rhizome Communications ascii RAW listserv and, later, fancy Dreamweaver/Flash "Splash Pages," to the present. Reena Jana and I were the first two paid writers (poached from Wired!), when Alex Galloway was running "content," which at that time meant programming and editorial--though Rhizome was declaratively non-editorial, so they just commissioned book & exhibition reviews, and some interviews from us that were fed into the RAW stream and included in the Digest as Features. Oy vey, I can still remember the cross-eyed weekly ritual of trying to untangle parallel conversations to reassemble them into a coherent thread for the Digest, when I was editing it--and the race to get it out by noon one day each week!!
I've seen Rhizome go through so many changes, and I've been a part of the back channel conversations on years of them, including huge ones that we decided not to go through with. I have to say that it's always hard to serve a membership-based organization, which is what Rhizome has always thought of itself as. But I can say that every change in content or form has been discussed critically, at length, and typically not without a degree of passion.
I am also biting my tongue because I *really* do not want to put words in any staff member's mouth (past or present), but I can say that I believe everyone who's ever worked there has taken their position as a labor of love, with users/reader/members/community (everyone has their favorite self-identification; semantics trolls please don't hate today!) in mind, and everyone has collaborated with the staff to bring a unique take on how best to serve you in the current creative and technological climate. For instance, I remember that my big objective coming in the door was wanting to change the mission statement to reflect not only net art and not only highly technological art, but also art that "reflects" on technology in a meaningful way. In fact, I think contemplating this change was very much a part of my conceptualizing Postinternet.
There is so much to say here, but I think I'd best sign off. This is not my soap box, and in some way, it feels weird to comment so much. I used to be a Superusing Megaposter, but as soon as I became Editor & Curator, I stepped back to focus on trying to facilitate and amplify other voices, which I do believe every Rhizome Editor has done in their own way.
I'll end with this, then. I'd be surprised if every reader, writer, or editor loved everything that ever appeared (structurally or content-wise) in their newspaper of choice. I'd be surprised if every curator or museumgoer loved every artwork shown (or every exhibition design decision) in their favorite museum. But it's the day we stop reading, stop going to look at art that disappoints me. It's the day Rhizome stops experimenting that scares me. And I wish them well on this new experiment.
Thank you for these points of clarification. I actually tried to convey (and forgive me if I failed) that your presentation was unique in identifying multiple generations of networked artists, and I particularly liked the way you talked about artists working before the internet in ways that anticipated network culture.
You also made that great point (via Hal Foster) about the ways in which critics' work is influenced by what is/ was happening at the moment they entered the art world. I admire how you helped pioneer new media criticism and yet have continued to stay on the pulse of new work. This is what I had in mind when recalling your point about your relationship to a previous generation of net-dot-artists, versus the artists of the era Inclusiva was calling the "second epoch." I just really liked the way you fleshed out more than two epochs and I wanted to highlight your catalyzing role in the net-dot-art scene, in particular.
In my own presentation, my intent absolutely was not to dismiss any previous artists, movements, practices, etc. It was simply to flesh-out one niche of new media art practice. In fact, I really liked the pointed questions that the audience asked afterwards, because it helped us have a really meaningful discussion about the problematic relationship of pro surfer work to art historical discourse, and my calls to action revolved around getting those artists to participate in learning about their own pre-histories and writing historiographies that situate their own trajectories on their own terms.
So I don't think we're in disagreement. But I appreciate your call to fine-tune my articulation of these scenarios.
I'm sorry that you found my article objectionable. I didn't intend to make the implications you suggest, but I believe your response cuts to the most interesting aspect of Laric's piece, which is the effect of remixing.
For those who care to review the lyrics to this song, they are here:
They include the refrain:
Touch my body
Put me on the floor
Wrestle me around
Play with me some more
Touch my body
Throw me on the bed
So, in fact, I do think that Carey's lyrics (and video) invite sexual fantasy, but my article doesn't say that she is asking to be violated, it says that she's asking to be remixed. Of course, the slippage between the two that you identify is what's so interesting.
In an interview with Laric, he told me that he noticed that the video takes-on an increased sexual tone when all but Carey is masked out. He was interested in how this first-person invitation to "touch my body" could be construed as an invitation to remix the visage of her body (and/or the voice emitted from it), particularly given (a) the implicit link to digital culture embodied by both the lyrics and video, and (b) the fact that the remix is now such an important part of the media ecology of pop culture.
In the last 25+ years of pop music, lining-up celebrity remixes and making singles remix-ready has been an important part of the production cycle, often preceding the release of the original recording. Almost all historical accounts of Madonna's rise to fame cite her relationship with DJs and openness to remixing as a key factor in her success. So while you may see the remix as a violent act, clearly those participating in this industry see it as an imperative.
Discussions of why a remix is or isn't violent are interesting, as they get to questions of the status of the digital reproduction. Are we remixing a person or "just" her image, and what's the difference when thinking about how a person's identity--particularly a famous person's identity--hinges upon their image? Carey's image was already manipulated before it came to us. In the interview with Laric, he pointed to a segment in the original video in which the shape of a cup becomes distorted as a result of distorting the footage to make the singer standing behind the cup appear slimmer. So this is already not her. If you listen closely, I believe there is also a question as to whether all of the voiced parts of the song are her, so the audio issue adds another layer to the phenomenological question of the brute force of the remix.
These issues of the import of the remix, the relationship to broader pop culture (rather than an insular art world), collective authorship, and the nature of Carey's invitation are what I hoped to address in this article.