Artists M. River and T. Whid formed MTAA in 1996 and soon after began to explore the internet, video, software and sculpture as mediums for their conceptually-based art. The duo’s exhibition history includes group shows and screenings at The New Museum of Contemporary Art, Postmasters Gallery and Artists Space, all in New York City, and at The Getty Research Institute in Los Angeles. In "New Media Art" (Taschen, 2006), authors Mark Tribe and Reena Jana describe MTAA’s "One Year Performance Video (aka samHsiehUpdate)" as “a deftly transparent demonstration of new media’s ability to manipulate our perceptions of time.” The collaboration has earned grants and awards from Creative Capital, Rhizome.org, Eyebeam, New Radio & Performing Arts, Inc. and The Whitney Museum of American Art.
The audio works of TRACEPLACESPACE were formed loosely in response to ever-accelerating technological developments, passing time, urgent ecological issues, and remarkable events of our globally connected system in process long before but brought to the forefront since the latter part of the year 2001. The works of TRACEPLACESPACE are components of a digital, multi-media, network-infused performance of the same title.
I like to perform this work in small community venues, outdoor gatherings, art-spaces, and galleries where everyone is welcome and can sit on the floor, talk to one another, and drink green tea. However I will perform TRACEPLACESPACE approximately anywhere.
I have to admit that I'd not given much thought to film outside the cinema, web film or live video, or anything like that, but I've spent lots of time here hanging out with Peter Horvath and I'm impressed.
Peter makes very beautiful films for the web, and you can check them all out online. Today he showed us The Presence of Absence, which was comissioned for the Whitney Museum's Artport in 2003, and then Tenderly Yours from 2005, which "resituates the personal, casual and ambiguous approach of French new wave cinema in a net art narrative that explores love, loss and memory. The story is recited by a striking and illustrious persona, who moves through the city with her lover. Her willful independence is intoxicating, though her sense of self is ambiguous..." Gorgeous.
“Ono had first done the performance in 1964, in Japan,
and again at Carnegie Hall, in New York, in 1965.
Ono sat motionless on the stage after inviting the audience
to come up and cut away her clothing, covering her breasts
at the moment of unbosoming.”
from Bedazzled .
Conglomco Media Network is pleased to announce the official beta release of the META[CC] video engine at http://meta-cc.net.
META[CC] seeks to create an open forum for real time discussion, commentary, and cross-refrencing of electronic news and televised media. By combining strategies employed in web-based discussion forums, blogs , tele-text subtitling, on-demand video streaming, and search engines, the open captioning format employed by META[CC] will allow users to gain multiple perspectives and resources engaging current events. The system is adaptable for use with any cable or broadcast television network.
We hope that you will take a moment from your viewing time to add the RSS feed of a blog you find noteworthy. As more information sources are supplied to META[CC], the more intelligent the system becomes. As such, the META[CC] search engine is apolitical and influenced only by the news and information sources supplied by its viewers/users. We apologize, but at this time podcasts and vlogs are not supported.
Many thanks for your interest and participation,
The META[CC] team
Another question raised on the Net Ae panel of a few weeks back was the idea of an 'epic' net art. Where is it? Is it possible? Who would want to do it?
Is Pseudo.com an example of epic net art? Did we not know that we were in the midst of the most epic work of net art ever as it went on?
The first piece of net art that MTAA ever did, BUYING TIME: The Nostalgia-Free History Sale was done in conjunction with G. H. Hovagimyan's ArtDirt streaming video show on Pseudo.com. (We didn't know what the hell we were doing at the time.) There was a lot of art happening at pseudo's offices (as well as really great parties). Jeff Gompertz (of Fakeshop) was heavily involved as well.
I'm bringing all this up as a way to help bolster Harris' claim that pseudo.com was a 'fake' company and an elaborate piece of 'performance art.' Perhaps it was. Did he out-etoy etoy but not tell anybody until now? Can something be an art work if no one knows it's an art work? Is he simply a revisionist fraud?
At the Net Aesthetics panel the question of political net art was addressed. Our moderator, Ed Halter, asked, "why isn't there more?" The panel didn't really have a good answer. Later, it was sort of itching at me and I thought of a few pieces.
It's weird that I didn't think of this at the panel, because Rhizome's own 2008 commissions contain at least one political work:
AddArt -- anti-corporate = political IMHO
Here's some other political net art:
Michael Mandiberg's Real Costs and Oil Standard
oops, one quibble..
"This is Tim's conceptual "net art." Rachel Greene's Thames & Hudson Internet Art book is comprised entirely of this genre of net art."
More self-serving posting right... now:
MTAA's Random Access Mortality is included in that book and I would classify it as web art.
Except for the fact that it's part of Website Unseen -- which is net art.
It's all so confusing...
We ended up agreeing about all that?
"If the net is generative and net.art is on the net, but the art world isn't generative and net.art is a product of the artworld, there would appear to be a contradiction. ;-) "
Well, that's sort-of my point... is net art a product of the art world? On a whole, I would say have to say no. Does the art world trade in net art? Not yet, not really.
Beyond the question of net art, perhaps the art world is somewhat generative, but it does have its choke points and gatekeepers, making it less generative (in Zittrain's sense).