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


I (No Longer) Have a Web Site: Access, Authenticity, and the Restoration of GeoCities


"I Have a Website." JPEG version of screenshot from One Terabyte of Kilobyte Age Photo Op.

One year ago, a system developed by artists Olia Lialina and Dragan Espenschied began taking screenshots of now-defunct GeoCities webpages from the late 1990s as they would appear on hardware and software from that time. Every twenty minutes, a new screenshot is automatically uploaded to their Tumblr, One Terabyte of Kilobyte Age Photo Op. Friday marked the one-year anniversary of the project; to celebrate, Espenschied restored the three most reblogged and liked home pages posted there, as tracked by Lialina. This article covers the why and how of this restoration.

It may seem strange to say this about the likes of "Cute Boy Site" or "Divorced Dads Page," but the remains of the GeoCities web hosting service are a vital part of our cultural legacy. In its dial-up heyday, GeoCities was where non-specialist internet users made their first-ever webpages. Today, it exists as a vast, if partial, repository of the anxieties, hopes, and dreams of those creators, and offers a snapshot of the early popular usage of a now-ubiquitous cultural form, the webpage.


Why You Should Not Buy This Painting (So That Michael Connor Can)


Austin Lee, Profile Picture (2013). 11" x 14" Acrylic on canvas.

Postmasters Gallery is now showing a solo exhibition of work by Austin Lee, a young painter whose work you should really not purchase. If his prices remain flat for long enough, it's possible that in the future, when all my babysitting bills are paid, I might stumble across it in the Postmasters sub-basement and offer whatever I happen to have in my wallet. Recent history shows us that the artworks that I have come to own do not significantly appreciate in value. Therefore, an important tip to prudent buyers: do not purchase this painting, or really any other painting by Austin Lee. Are you following my logic?


On the Front Page: Vince McKelvie


On December 2 and 3, Rhizome will present Rendered/Realtime, a series of 24 interactive animations designed and developed by Vince McKelvie. The works are displayed on the front page of Rhizome.org, occupying most of the browser window save for a minimal header and footer. Created specifically for this context, Rendered/Realtime uses a technique adapted from video game graphics, the sprite sheet, to allow the user to rotate, move, and deform rendered animated gifs in real time. Rippling and undulating, riffling and turning inside out, McKelvie's 3D forms defy easy visual comprehension, landing somewhere in between liquid geometric abstraction and sci-fi fantasy.


3 Videos by Hamishi Farah


Surfers' Paradise was an artist residency and exhibition that took place in Melbourne from 1–10 November. Fifteen Australian artists created, documented, and uploaded artworks to the internet over the course of the event. Following are works contributed to the project by Hamishi Farah (who seems to go by first name only); the full selection of works can be seen on the project's Tumblr catalog.

 


This Thursday, A Fresh Start


This Thursday, the Rhizome community will come together in the New Museum Sky Room to re-imagine its future. A future less bound by the nitpicking criticism of the past, the hand-wringing, the self-doubt. This is our promise to you: a profound sense of human connection, an art that can bridge the cultural gaps in an interconnected world, an app for every social problem, a better wave, a more sustainable and democratic glass of champagne. Are you brave enough to come with us on this journey?

Tickets begin at $50 and are on sale here. Follow us on Instagram for continuing updates. 



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DISCUSSION

Rhizome Today: A critic, with opinions about postinternet art


The internet does have a short memory, and we are always struggling against this. But I find the constantly enforcement of indebtedness equally destructive to the idea of the internet as a "vital and contested site for artistic practice." Not only does this obscure the specificity of emerging practices, it also locks the older generation in a time capsule. People like Harwood/YoHa, Olia, Ubermorgen and JODI have all made really exciting work over the last six years that isn't just a rehash of their early careers. I think discussions of the fallacies of digital dualism and web objectivity, the idea of the internet as practice and not medium, questions of digital materialism and labor, and ideas of posthuman, networked cultural production--these ideas may have been present in net art and its precursors, but they have been elaborated in recent years in ways that may be in conversation with the past, but should be appreciated for their specificity, not written off with a world weary sense of deja vu.

DISCUSSION

Rhizome Today: A critic, with opinions about postinternet art


Hi Ed! That's a very, very useful clarification. Mail forwarding hasn't routed my November issue to the new address yet... And plus, the print version is so heavy.

I have a foot in both camps on the deeper roots issue. But, it's so great to see Guthrie get his due.

DISCUSSION

Rhizome Today: A critic, with opinions about postinternet art


Oh yeah, I meant to say something about that, thank you for the addition.

DISCUSSION

DISCUSSION

Continuous Partial Listening: Holly Herndon in Conversation


Im not sure if this will work, but:

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