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

Mapping Landscape Paintings: Joe Hamilton's 'Indirect Flights' on the front page

Joe Hamilton's Indirect Flights is on the front page of rhizome.org through Sunday, as part of the ongoing online digital painting exhibition "Brushes," presented by Rhizome and the New Museum as part of the First Look series.

All of the works in "Brushes" are paintings made on the computer and shown primarily online. The exhibition focuses on works that are derived from an artist's bodily gestures, rather than those that are derived from code-based practices. In the case of Indirect Flights, the brushstrokes in the work are actually sampled from high-resolution scans of landscape paintings by notable historical figures like Van Gogh and Arthur Streeton. Thus, the gestures in this case were made long ago on canvas, and only later translated to digital form. 

Jacob Ciocci Paints Outside of the Box

For his contribution to the ongoing online digital painting exhibition "Brushes," presented by Rhizome and the New Museum as part of the First Look series, artist Jacob Ciocci presents a series of gifs from his New Expressions series. The gifs are viewable on the front page of rhizome.org through Oct 4 and permanently on the online exhibition page. 

The gifs are made by printing material from the internet, gluing, collaging and painting it, scanning the result back into the computer, animating it digitally, and repeating. He has applied this practice to works that are shown onscreen, such as these GIFs, while also creating objects for gallery display, some of which incorporate video projection into the work.

Between 'Total War' and History Painting: Andrej Ujhazy for 'Brushes'

For his contribution to the ongoing online exhibition "Brushes," presented by Rhizome and the New Museum as part of the First Look series, artist Andrej Ujhazy presents a large-scale (70MB, 15120x7560 pixel) digital painting created in Adobe Photoshop, presented as a png file that can be viewed or downloaded here.


Detail of Andrej Ujhazy, congress of the sarmatian women by the black sea to dissolve the amazonian tribes and withdraw from history, aug1 333 (after Total War: Atilla™).png (2015), Photoshop painting, 15120 × 7560 pixels. 

Andrej Ujhazy undertook this work while playing a video game from the Total War series that features massive armies fighting in grandiose landscapes during the late Roman Empire. Ujhazy set out to make an epic historical painting in the traditional sense, drawing inspiration from the videogame and from the underlying history it represented, but working from a contemporary cultural reference point. The tribe Ujhazy was playing in the game was the Sarmatians, a central Asian people for whom women played an important role in warfare; they were described by Herodotus as the descendants of Amazon mothers. Thus, the painting was partly an intervention into the narrative of the game and into videogame culture as a whole, emphasizing the role played by women in both.

New digital paintings by Petra Cortright

For her contribution to the ongoing online exhibition "Brushes," presented by Rhizome and the New Museum as part of the First Look series, artist Petra Cortright presents two versions of a Photoshop composition titled all_gold_everything.psd: a GIF that cycles through all of its layers, and a video that uses wipes and dissolves to offer a slowly shifting view of the same imagery.

First Look: Brushes

This online exhibition features the work of eight artists who paint with the computer and show their work on the internet.

"Brushes," copresented by Rhizome and the New Museum as part of the series First Look: New Art Online, casts light on digital painting at a moment when the practice is gaining more widespread recognition. Unlike works by artists such as Albert Oehlen, who have translated digital gestures and imagery to a gallery context, the works featured in "Brushes"—by artists Laura Brothers, Jacob Ciocci, Petra Cortright, Joe Hamilton, Sara Ludy, Michael Manning, Giovanna Olmos, and Andrej Ujhazy—were created specifically for online circulation and display.

As art historian Alex Bacon writes in an essay for Rhizome, "In a sense, painting has always existed in relation to technology, when the term is understood in its broad definition as the practical application of specialized knowledge: the brush, the compass, the camera obscura, photography, or the inkjet printer." However, if painting has long involved the application of tools and techniques, it has also served another function: it makes technological conditions available for visual contemplation in the gallery. (Think, for example, of Vera Molnár's television paintings, which evoke the visual style of that technology.)

Today, many paintings that are displayed in the gallery are also contemplated online on platforms such as Instagram. This is a widely discussed phenomenon, but what is often overlooked in painting discourse is the role played by works created and experienced on the computer and the internet. This kind of digital painting has existed for decades: for example, the 1970s software SuperPaint already included many features found in modern paint applications. "Brushes" acknowledges this long history while focusing on practices that have emerged in recent years.

In particular, this exhibition highlights artworks that refer back, in some way, to a bodily gesture made by the artist: mouse movements, digitized brushstrokes, or touchscreen swipes. This leaves out the many artists who create painterly work by writing custom code—but despite their shared approach, these artists take diverse positions on questions of process and output.

As the role of painting in the gallery continues to shift, "Brushes" aims to suggest that works produced on the computer and experienced via the browser and the mobile app have an equal place in the medium's discourses, offering a space for contemplation of our technological society from within its complex apparatus.

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Solidarity after "Sharing:" Notes on Internet Subjects #1

Hi Abe, thanks for your feedback. Our intent with this particular panel was to articulate a position that we felt was missing from the media narrative around the sharing economy. To this end, we felt that including a sharing economy proponent would stall the discussion before any first principles could be established. I did feel, in the end, that Rob Horning's polemical skill in particular was a bit wasted without a real opponent to wield it against...

As you may know, Rhizome works quite closely with many individuals in the tech business sector; in fact, my co-organizers Nathan Jurgenson and Kate Crawford are both researchers with roles in the tech industry. I'd imagine that future Internet Subjects panels will be structured more as debates, when that seems most appropriate, and will feature not just researchers, writers, and scholars, but business people and artists as well.


Getty Images: Still Kinda Sexist?

the link didn't work: the-toast.net/2014/02/24/lean-in-stock-photos/


Getty Images: Still Kinda Sexist?

I wrote this in a moment when it felt like the media was hooked on praising the Lean In collection, and I couldn't find any voices to the contrary. Since then, there have been much better critiques, like this[/url.

The comment basically shows that my article was a failure, if people thought I was arguing that "LeanIn is not representative." I was trying to say that "LeanIn is neoliberal, and neoliberalism is bad for women."


Five Years Later, Kev Has a New Website

Kev asked me to remind Rhizome readers and net art pilgrims that they can visit him this summer and buy an Italian ice at DiCosmo's on 96th St. in Rockaway Beach. See the bottom of the post for full updated info!


The Accidental Archivist: Criticism on Facebook, and How to Preserve It

Tom, apologies, the pics were faked by Zach, I'm adding a clarifying caption. Thanks for clarifying your position - I'm sorry for incorrectly characterizing it!