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
Events are subject to change
Through June 1
Visual arts grantees Xenobia Bailey, Arthur Simms, and Jeanette Louie
be showing their work in Artists to Artists, an exhibition of works by
artists from The Marie Walsh Sharpe Art Foundation Space Program at Ace
Gallery, 275 Hudson Street, New York, 212-255-5599.
Through June 2
A group show called Staging the Indian: The Politics of Representation
include visual arts grantee Bently Spang
>>if he has to do it in opposition to everyone else.
>This is funny, since when did Ivan Pope become everyone else?
imo you put yourself in opposition to almost everyone else. i agree
with ivan pope, you never generously agree with anyone. you use your
knowledge as a blunt object.
[how can i frame my next comment in a constructive way? can't really,
please understand it's expressed with only the best of intentions]
your performance on this list doesn't need an explanation (and i for
one was a bit insulted by it), i think i can safely speak for the
majority when i say we're mostly bored of this sort of thing; having
watched different personalities come and go over the years, it's a
bit 1998. the only one that turned out to be interesting is NN, and
that's coz NN is so damn rigorous and unstoppable. (meiko and ryu are
my all time favorites though.)
Robots Find a Muse Other Than Mayhem
By DAVID F. GALLAGHER
"There seemed to be so much attention to that kind of thing," Mr.
Repetto said. Robots have a creative side, and to help them flaunt it
he organized a robot talent show. "ArtBots," held at Pratt Institute
in Brooklyn on Saturday, featured 10 robot-centric projects by
artists, engineers and tinkerers and attracted hundreds of spectators.