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.
XML Translation of Dan Graham's "Schema" by matt_butler: In 1966 conceptual artist Dan Graham composed a language-based work entitled Schema. The artwork consisted of a formal procedure for how to describe a document, or a "set of pages," with no real reference to the content of that document. This schema, as he called it, shares a remarkable similarity with XML, invented over 30 years later.
The conceptual artists of the late 1960's and early 1970's were interested in the nonvisual abstraction of art and how artworks might be represented as information. Using language in a non-literary and non-poetic manner, they sought to continue the tradition of visual artists in a search for abstraction and minimalism. Many conceptual works of this time were simply words on paper, instructions, or thought experiments. Schema allowed the viewer to be aware of the material nature and structure of the document they were holding — as well as any document they might hold. Using XML, I have created a machine-readable translation of his 1966 work. Schema was originally published in issue 5+6 of Aspen magazine. It is now being archived at UbuWeb.
m.f.a. university of iowa (intermedia art). ph.d omega university (unaccredited parapsychology). maybe logic academy (robert anton wilson instructor).
matt is currently employed at the iowa city public library where he produces television programs for the library channel. he also teaches digital art at coe college in cedar rapids, ia.
matt has participated in a variety of art and technology events including versionfest at the m.c.a. chicago. his published books can be found at printed matter, inc. new york. [via Rhizome]
From E. Worthy, Early 21st Century Art (New York: Kramer Publishing 2035):
"Another rubicon was crossed in the mid-'00s with the publication of the GNY05OG (Greater New York 2005 Online Gallery). This Borgesian project began at the instigation of "blogger" James Wagner (as citizen journalists were then known). In response to a Stalinesque ban on photography at the PS1 Contemporary Art Gallery in New York, Wagner called for artists to sketch the show and offered to post the sketches to the Internet. The response was overwhelming--overcoming their natural territoriality, apathy about other artists' work and fear of not being seen as "playas," hundreds of artists flocked to the institution and submitted drawings. The gallery was so personal, idiosyncratic and non-hierarchical that critics began describing it as "better than the original show" (Village Voice) and a "case of the map becoming the territory" (October). The art was viewed all over the world, revitalizing New York as a "dynamic center of art rather than just a series of year-round vegetable stalls" (The Guardian).And then I woke up. Wagner's actual gallery, now containing eight (!) drawings, is here. Please note the drawings have an anti-hotlinking feature that may require you to turn off your Norton ...
The show also marked the beginning of a new, meta-art, wherein artists used powers of observation, drawing ability, and Photoshop skills to create an enhanced online product somewhere between the physical and the virtual. The new work had a torqued up effect akin to the sampling phenomenon in music, where tweaked sounds become more punchy and "present" than live playing. Eventually museums became physical "sample banks," with real-space objects serving much the same function as plaster casts of still life subjects in the academy, that is, mere shells used as starting points for finished electronic work.
Linking Struggles Against The Border: A Call to Come to San Diego and Strategize Against Borders and The Minutemen
deletetheborder.org - august 27-28th, san diego
Schedule of Events
Hola todos. Crazy times we find ourselves in. Millions of people forced to live underground, more than 3200 dead and tens of thousands more incapacitated crossing the border. Communities and families split by the wall. As if the border and its myriad forms of violence were not enough, racist paramilitaries are openly organizing across the US and finding enthusiastic partners in politicians and corporate press outlets alike. And then there are the numerous Neo-nazi groups crawling out from beneath their rocks, thrilled with the “Trojan Horse
Watch it live on-line here! http://mtaa.net/art/ydk
Saturday at 2:45PM Eastern Time and Sunday at 3:45PM as part of Filament Festival.
We, like you, have often wished while listening to a lecture, panel, speech or newscast to stand up and tell the speaker, "You do not know what you are talking about!"
The artists sit behind a desk with two laptops and two microphones before them. Behind them a projection screen displays the text "#mtaa" and a timer.
They announce the title of the performance, "You Do Not Know What You Are Talking About," and explain that for the duration of the performance, they will read any, only and all text sent to Twitter with the hash tag "#mtaa."
The audience is invited to start twittering.
MTAA need your tweets!
Watch it live on-line here! http://mtaa.net/art/ydk
Artists MTAA are conducting an old-fashioned barn-raising using high-tech techniques. The general public group-decides design, architectural, structural and aesthetic choices using a commercially-available barn-making kit as the starting point.
The duo then conducts this 21st century barn-raising with volunteers — perhaps including you — on October 1, 2010 on the Rensselaer Polytechnic Institute's campus. Will it be structure? A deconstructed sculpture? Some combination thereof? That's for the you to choose.