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
I'd click on those jimpunk links but I don't want to crash my browser right now :-)
But, since MTAA did everything before everyone. I'd like to point the start date to this:
I'm unsure when it hit the net and it moved at one point to it's current location...
Officially MTAA belongs to net art 1.5, net art 1.75 - 1.9, net art 2.0 rc1, net art 2.0 rc2... but somehow we got removed from the final release of 2.0 (godamn QA testers!).
Seriously. Look up the release notes if you don't believe me.
This on-topic spam is interesting... can it really pay?
This Ross lecture is a great find Ed... more from the QA section...
2. Can you talk about art email lists/forums? Yes. I'm on the board of Rhizome and I think it's an amazing thing. I've learned an enormous amount, I think of it as a social space. It's replaced Echo for me as well as reading all art magazines. I don't read any art magazines anymore, I only look at the web. In places like 711 or Rhizome, I find access to a dialogue that I'm vitally interested in, but also that ability to take me as part of an audience of readers and transform me into a writer, to move me into places directly. They form a critical link, one that will probably be absorbed or imitated by the museum. I think the Walker, and Dia, and The Whitney and fairly soon, the SFMoMA, will be serving as that middle space, as grounding for dialogue, a kind of finder for those who don't have time.
3. What is Rhizome? Rhizome is a website (rhizome.org). Here, we'll go to it directly. They manage and maintain a dialogue, they present works by many artists, serve as a collaborating entity. It's a guerrilla operation with no money. It's three people running it (Rachel Green, Alex Galloway, Mark Tribe). They send out a weekly email newsletter that contains a great deal of information about activity on the web.
Very instructive; not just in giving us a workable concept and decent argument for the epic in net art, but in making it so damn clear how important it is to know one's history :-)
To me it's a fairly obvious point (perhaps not so obvious 10 years back): net art is uniquely situated to encompass the two poles he describes (if they are poles...).
Ross talks about a project's scope lasting 20 years (isn't Brad Brace's ISBN project approaching that) ... a 20 year series of ephemera? The web is very good at creating an ongoing relationship with a viewer, not limited to just a serial relationship, but new sorts of relationships.
Yes. I agree. I can't stand the idea that these sorts of thoughts exist on the internet.