Michael Connor
Since 2002
Works in Brooklyn, New York United States of America


Bodies on the Line


"You can have the party. Give us the power!"

Andrea Fraser had already been onstage in front of a packed house at the New Orleans Museum of Art's auditorium for more than half an hour. Dressed in a black suit, she was delivering a monologue based on the transcript of an epic 1991 city council meeting. In that meeting, an ordinance was discussed that would ban discrimination in any of the social clubs that apply for parade permits in New Orleans. The discussion opened up into a marathon airing of thoughts and grievances on racism, heritage, and the role of the carnival in a city defined, in many ways, by its Mardi Gras.


First Look: Amalia Ulman—Excellences & Perfections


Amalia Ulman's social media performance Excellences & Perfections is presented as part of First Look, the ongoing series of digital projects co-curated and copresented by Rhizome and the New Museum. For this presentation, Rhizome's new social media archiving tool was used to capture the Instagram portion of the performance. View that capture here.

Amalia Ulman, Excellences & Perfections, 2014 (detail). Performance: Instagram. Courtesy the artist.

On April 19, 2014, Amalia Ulman uploaded an image to her Instagram account of the words "Part I" in black serifed lettering on a white background. The caption read, cryptically, "Excellences & Perfections." It received twenty-eight likes.

For the next several months, she conducted a scripted online performance via her Instagram and Facebook profiles. As part of this project, titled Excellences & Perfections, Ulman underwent an extreme, semi-fictionalized makeover. 

She pretended to have a breast augmentation, posting images of herself in a hospital gown and with a bandaged chest, using a padded bra and Photoshop to manipulate her image. Other elements of the makeover were not feigned; she followed the Zao Dha Diet strictly, for example, and went to pole-dancing lessons often.


First Look: David Kravitz & Frances Stark


Opening the Kimono by David Kravitz and Frances Stark is now on view as part of First Look, the New Museum's ongoing series of digital projects, which will now be co-curated and co-presented by Rhizome. Click here to view work.

David Kravitz and Frances Stark, Opening the Kimono (2014). iMessage conversation.

In a recorded iMessage chat, David Kravitz and Frances Stark satirize Silicon Valley culture and sext about creative labor.

When artist Frances Stark and Snapchat developer David Kravitz discussed the idea of having sex on stage during a public presentation at the New Museum last spring, it wasn't entirely surprising. 

This proposal came as part of Rhizome's Seven on Seven Conference, which pairs artists and technologists for a one-day collaboration with the prompt to "make something" and then present it to the public the following day. During their presentation, neither of their bodies was on view on stage (Kravitz came up alone for the Q&A). Instead, they appeared onscreen via a live iMessage conversation.


Five Years Later, Kev Has a New Website


Kev in one of his favorite meditation places, an old rock quarry upstate.

Kev Bewersdorf and I had been neighbors for months before we met. When we did, it was because he needed gas for his generator, but I didn't have any.

At that point, he had already deleted all of the images, texts, and music he'd once posted online. But previously, 2008ish, I had followed his work avidly. He used to have a website called Maximum Sorrow consisting of texts and artworks connected with his "philosophy of 'corporate spiritualism' realized through marketing practices and continuous web surfing." Bewersdorf also pursued this interest in web surfing through his occasional participation in Nasty Nets and his role as co-founder of Spirit Surfers (with Paul Slocum and Marcin Ramocki). (For those who can't remember a time before Tumblr, these were surf clubs, or artist-run collaborative blogs to which members would post found and created images, texts, gifs, and tracks.)


Aleksandra Domanović's Internet Realism


From yu to me (2014). Still frame from single-channel video with sound.

Aleksandra Domanović's From yu to me was commissioned by Rhizome, Abandon Normal Devices, and Fridericianum. View the work and read an accompanying text by Brian Droitcour here.

"Every map of the internet looks the same."

Multi-directional trees, hubs and spokes and branches, clouds of varying density: to Alex Galloway, writing in his book The Interface Effect, the many attempts to visualize information society all begin to look the same. Maps of the internet, he argues, tend to conceal more than they reveal; the main purpose they serve is to dazzle the beholder with the complexity of it all.



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DISCUSSION

the original


I've updated its record in our Collective Access system (public launch forthcoming). Date found dead, 11/21/2013.

DISCUSSION

Video of Post Net Aesthetics is Now Online


This era is too much defined by people trying to define this era!"

I like that.

About time to get that intergenerational interview series going... I'll email you!

DISCUSSION

Video of Post Net Aesthetics is Now Online


Point of clarification, she doesn't say it's the first material engagement of this kind for all artists everywhere, she says it's the first material engagement of this kind for many of the specific artists connected with what she describes as "the postinternet movement.

DISCUSSION

Video of Post Net Aesthetics is Now Online


For the most part, I thought Ben made some excellent points, although this was not one of them.

In the video, you can see that he used air quotes when referring to "contemporary art," so it comes across a bit differently than it does in the text. I take contemporary art-in-air quotes to refer to a generally non-tech savvy, moneyed group that self-identify as the mainstream of "contemporary art," as in, for example, Bishop's "Digital Divide," where she defines the mainstream as the larger art fairs and the national Biennale pavilions. So, I would characterize Ben's statement as an exaggeration, not a misrepresentation of the work that has been done on this topic for a long time, mostly outside of this self-identified group.

But to address your larger point, that was definitely not the broader idea behind this panel, nor can Rhizome be expected to stand behind every assertion made by the panelists.

Although, it would be an interesting thought experiment to try to believe in every conflicting assertion made at our events.

DISCUSSION

Video of Post Net Aesthetics is Now Online


The statement is obviously exaggerated, but I would offer a slightly different argument: VVORK was incredibly influential in demonstrating that online viewing of non-born digital artwork could be experientially rich while reaching a wide audience.

To put you back in the headspace, here's a comment by Sally McKay on digitalmediatree from 2007:

"VVork is popular because they show lots and lots of pictures of art from around the world without a bunch of commentary. I love that! It's kind of weird how rare it is."

It was rare, and that was weird. And it ain't rare anymore.

As a side note, check out how few references to the internet are in this Whitechapel book titled "A Manual for the 21st Century Art Institution," published in...2010.

http://www.amazon.com/Manual-21st-Century-Art-Institution/dp/3865606180