Humorous and surprising, smart and provocative, Rethinking Curating: Art after New Media (MIT Press, 2010) jumps from opposing viewpoints to opposing personalities, from one arts trajectory to another. The entire book is a dialectic exercise: none of its problems or theories are solved or concluded, but are rather complicated through revelations around their origins, arguments and appropriations. Overall, the book adopts the collaborative style and hyperlinked approach of the media and practice it purports to rethink. In other words, it is not just the content of the book that asks us to rethink curating, but the reading itself; by the end, we are forced to digest and internalize the consistently problematized behaviors of the “media formerly known as new.”
Kate Mondloch’s first book, Screens: Viewing Media Installation Art (University of Minnesota Press), is a welcome study of the cathode ray tubes, liquid crystal and plasma displays, and film, video and data projections that “pervade contemporary life” (xi). The author reminds us that screens are not just “illusionist windows” into other spaces or worlds, but also “physical, material entities [that] beckon, provoke, separate, and seduce” (xii). Most importantly, however, Mondloch’s approach is that of an art historian. She does not merely use art as a case study for media theory, but rather makes the contributions of artists her central focus in this, the first in-depth study of the space between bodies and screens in contemporary art.
In his book, Parables for the Virtual, Brian Massumi calls for "movement, sensation, and qualities of experience" to be put back into our understandings of embodiment. He says that contemporary society comprehends bodies, and by extension the world, almost exclusively through linguistic and visual apprehension. They are defined by their images, their symbols, what they look like and how we write and talk about them. Massumi wants to instead "engage with continuity," to encourage a processual and active approach to embodied experience. In essence, Massumi proposes that our theories "feel" again. "Act/React", curator George Fifield's "dream exhibition" that opened at the Milwaukee Art Museum last week, picks up on these phenomenologist principles. He and his selected artists invite viewer-participants to physically explore their embodied and continuous relationships to each other, the screen, space, biology, art history and perhaps more.
Fifield is quick to point out that all the works on show are unhindered by traditional interface objects such as the mouse and keyboard. Most of them instead employ computer vision technologies, more commonly known as interactive video. Here, the combined use of digital video cameras and custom computer software allows each artwork to "see," and respond to, bodies, colors and/or motion in the space of the museum. The few works not using cameras in this fashion employ similar technologies towards the same end. While this homogeneity means that the works might at first seem too similar in their interactions, their one-to-one responsiveness, and their lack of other new media-specific explorations -- such as networked art or dynamic appropriation and re-mixing systems -- it also accomplishes something most museum-based "state of the digital art" shows don't. It uses just one avenue of interest by contemporary media artists in order to dig much deeper into what their practice means, and why it's important. "Act/React" encourages an extremely varied and nuanced investigation of our embodied experiences in our own surroundings. As the curator himself notes in the Museum's press release, "If in the last century the crisis of representation was resolved by new ways of seeing, then in the twenty-first century the challenge is for artists to suggest new ways of experiencing...This is contemporary art about contemporary existence." This exhibition, in other words, implores us to look at action and reaction, at our embodied relationships, as critical experience. It is a contemporary investigation of phenomenology.
unique and authenticated virtual art objects
Crossing the Void II
Ten Cubed Gallery, Second Life
opening receptions 31 January 7pm EST (1pm SLT) and 1 February 7pm GMT (8am SLT)
Artists Scott Kildall and Nathaniel Stern have each been exploring performance and performativity in their archival prints. Kildall restages then remediates iconic performance artworks in Second Life, and Stern straps on a scanner appendage and battery pack, and performs images into existence; both processes produce art objects in the real world.
For Crossing the Void II at Ten Cubed Gallery - Haydn Shaughnessy’s new virtual space designed by New York architect Benn Dunkley - they were asked to produce unique virtual art works for sale in Second Life, which mirror their real life prints. In response, they created a series of “Simulate Editions”, where every ‘print’ is individually signed and numbered by hand, making each work ‘technically unique.’ The works are copy and modification protected, but also come with a resize script, so that the new collector/owner - and only them - can grow or shrink their purchase so as to fit into their SL space.
In addition to Kildall and Stern, also on the exhibition are Chris Ashley, Jon Coffelt and Claire Keating.
I made my daughter wear the same nappy for 2 weeks in a row so that I
could donate to both turbulence and rhizome (nappy will be on ebay
auction next week...).
ok, the second part was a lie; but the "i'm broke but i still gave
them money" part is true.
On Dec 10, 2007 3:59 PM, T.Whid <firstname.lastname@example.org> wrote:
> I've donated to Turbulence and Rhizome this year and encourage
> everyone to do so.
> Turbulence has been, along with Rhizome, one of the most important
> supporters of net art.
> We all believe in net art as a medium. We don't want it to slide into
> obscurity. It can happen.
> Supporting Turbulence and Rhizome is important for the medium's
> history and it's future.
> Donate some cash now :-)
> On Dec 10, 2007 10:05 AM, marc garrett <email@example.com> wrote:
> > Hi Everyone,
> > Please go to Turbulence (http://turbulence.org) and make a donation now.
> > I really, really think that everyone should be gathering a momentum in
> > supporting Turbulence right now.
> > The positive and cultural impact that they have had in supporting and
> > nurturing the continuation of a lively and dynamic Internet and media
> > art culture, has been pretty solid through the years.
> > Many artists and artist groups have gained not only decent commissions
> > from Turbulence but they have also experienced, productive results from
> > their involvement with Turbulence regarding representation and other
> > relevant connections that feed the much needed process of becoming seen
> > by a larger audience. Their unique and flexible approach with working
> > with artists is noted and respected, we could do with a few more groups
> > like them out there.
> > I am not exactly rolling in cash, but I have made an effort in
> > contributing some money today. I want those who value our media art
> > culture to give their money and support to Turbulence also. I do not
> > just hope that Turbulence gets past this troubling period, but I also
> > personally need reassurance that there are plenty of people out there
> > who are interested in contributing to a sustainable future of groups
> > such as Turbulence beyond mere, personal and immediate needs; that
> > people are still interested in trying to maintain a creative field that
> > does not only rely on traditional structures to justify our shared
> > imaginations.
> > We need these progressive platforms to keep our work and potential
> > growth around it alive.
> > We need them all. Feed them and they feed us - it's simple.
> > So, please do not waste time and help them out before it's too late.
> > Wishing everyone well.
> > marc
> > www.furtherfield.org
> > > Many of you may not realize that we are a tiny, not-for-profit organization.
> > > Helen and I spend much of our time raising funds from government and private
> > > foundations to commission networked art. Our mission is to support both
> > > emerging and established artists.
> > >
> > > There are very few resources for new media/networked art in the United
> > > States, which makes the process highly competitive. When we succeed, we are
> > > only entitled to use a very small percentage of the grants for server
> > > maintenance and administrative overhead, which translates into inadequate
> > > salaries for ourselves and our system administrator.
> > >
> > > Our passion for the field has fueled our commitment for many years, but we
> > > can no longer sustain Turbulence, Networked Performance and Networked Music
> > > Review without your help. We hope you value them enough to help us keep them
> > > alive.
> > >
> > > Please go to Turbulence (http://turbulence.org) and make a donation now.
> > >
> > > Sincerely,
> > > Jo and Helen
> > >
> > > Jo-Anne Green, Co-Director
> > > New Radio and Performing Arts, Inc.: http://new-radio.org
> > > New York: 917.548.7780 . Boston: 617.522.3856
> > > Turbulence: http://turbulence.org
> > > Networked_Performance Blog: http://turbulence.org/blog
> > > Networked_Music_Review: http://turbulence.org/networked_music_review
> > > Upgrade! Boston: http://turbulence.org/upgrade
> > > New American Radio: http://somewhere.org
> > >
> > > +
> > > -> post: firstname.lastname@example.org
> > > -> questions: email@example.com
> > > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> > > -> give: http://rhizome.org/support
> > > +
> > > Subscribers to Rhizome are subject to the terms set out in the
> > > Membership Agreement available online at http://rhizome.org/info/29.php
> > >
> > >
> > +
> > -> post: firstname.lastname@example.org
> > -> questions: email@example.com
> > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> > -> give: http://rhizome.org/support
> > +
> > Subscribers to Rhizome are subject to the terms set out in the
> > Membership Agreement available online at http://rhizome.org/info/29.php
> -> post: firstname.lastname@example.org
> -> questions: email@example.com
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php