Richard Rinehart
Since the beginning
Works in Lewisburg, Pennsylvania United States of America

Richard Rinehart is the Director of the Samek Art Museum at Bucknell University. Previous to holding his position at Bucknell, Richard was the Digital Media Director and Adjunct Curator at the UC Berkeley Art Museum/Pacific Film Archive. Richard has taught digital art studio and theory at UC Berkeley in the Center for New Media and Art Practice departments. He has also been visiting faculty at the San Francisco Art Institute, UC Santa Cruz, San Francisco State University, Sonoma State University, and JFK University. Richard sits on the Executive Committee of the UC Berkeley Center for New Media and has served on the Board of Directors for New Langton Arts in San Francisco. Richard manages research projects in the area of digital culture, including the NEA-funded project, 'Archiving the Avant Garde', a national consortium of museums and artists distilling the essence of digital art in order to document and preserve it. Richard is a new media artist whose art works, papers, projects, and more can be found at
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Not Here

Mon Jun 06, 2011 12:01 - Sun Nov 27, 2011

Lewisburg, Pennsylvania
United States of America

Not Here
June 4 – November 27, 2011

Lewisburg, PA, June 4, 2011 – The Samek Art Gallery at Bucknell University is very pleased to announce that we will not be presenting the augmented reality artwork of the art collective, MANIFEST.AR from June 4 through November 27, 2011. This collective, famous for using augmented reality technology to "hijack" an exhibition at MOMA in 2010, has focused its latest intervention on an even bigger art world target, the 2011 Venice Biennale. From the collective’s Venice Biennale AR Intervention manifesto,

"As 'one of the world's most important forums for the dissemination and 'illumination' about the current developments in international art' the 54th Biennial of Venice could not justify its reputation without an uninvited Manifest.AR Augmented Reality infiltration. In order to 'challenge the conventions through which contemporary art is viewed' we have constructed virtual AR pavilions directly amongst the 30-odd buildings of the lucky few within the Giardini. In accordance with the "ILLUMInations" theme and Bice Curiger's 5 questions our uninvited participation will not be bound by nation-state borders, by physical boundaries or by conventional art world structures."

The Venice Biennale has not invited MANIFEST.AR to exhibit these artworks. The Samek Art Gallery has invited the artists to not exhibit the works. MANIFEST.AR’s Venice Biennale 2011 AR Intervention descends from the artistic lineage of Salons des Refusés and Institutional Critique. This project imbues healthy critique with a sense of play and offers a new lens through which to view questions of absence and presence, of center and periphery. Artists from Marcel Duchamp to Michael Asher to Andrea Fraser have shown that when an artist gestures beyond the limits of the current art world, they do not leave that world behind; instead they expand its borders. MANIFEST.AR is expanding the art world in a discursive sense as well as technologically and spatially. 

The Venice Biennale 2011 AR Intervention includes artworks by Tamiko Thiel, Sander Veenhof, Mark Skwarek, Will Pappenheimer, John Craig Freeman, Lily & Honglei, John Cleater, and Naoko Tosa. 

The Samek Art Gallery is closed for the summer; please do not visit looking for these groundbreaking artworks. They are not here* The Gallery will also not be hosting a gala dinner at the Cipriani Hotel in Venice to honor the artists. 
* While they are not inside The Gallery, these artworks have been dropped off, virtually, outside the doors of The Gallery and they have spilled out of the building across the Bucknell University campus. To view these artworks on-site, follow the instructions below. These artworks can be viewed from only two places on Earth: Venice, Italy and Lewisburg, PA. They can be not viewed from anywhere.

Augmented Reality
Unlike Virtual Reality, Augmented Reality is the art of overlaying virtual content on top of physical reality. Using AR apps on smart phones, viewers look at the real world around them through their phone’s camera lens, while the app inserts additional images or 3D objects into the scene. For instance, a plaza that is “in reality” empty, might contain a crystal coffin or psychotropic toad when viewed through an AR-enabled Smartphone.MANIFEST.AR writes, “The increased availability of free Augmented Reality viewers on mobile phones has brought this technology out of the lab and created a participatory form of mass media.”

The AR artworks can only be seen in Venice or Lewisburg in the display of a smartphone using the free Layar augmented reality browser:
- on a smartphone (Android, or iPhone 3GS or higher) 
- go to the web page
-then select an artwork, then launch 
- (if Layar is not installed, select “Download app” first)

Related Links
Page to Launch Artworks (on mobile device in Venice or Lewisburg)
Google Map Locations of Artworks on Bucknell Campus,-76.883644&spn=0.0041,0.008261&z=17
MANIFEST.AR Venice Biennale 2011 AR Intervention Manifesto
(includes list of artist and artworks)

Not Here was curated by Samek Art Gallery director, Richard Rinehart.

About the Samek Art Gallery
The Samek Art Gallery is an academic art laboratory that serves the students, the university community and region through innovative exhibitions and programming that focuses primarily on the art of our time. The Gallery organizes diverse and interdisciplinary programs of noteworthy art, artists, scholars and critics from around the US and the globe. The Gallery is open to the public seven days a week during the academic year, with the exceptions of university recesses and between exhibitions. Exhibitions and programs are free and open to the public.

Gallery Location
Samek Art Gallery
Bucknell University
Lewisburg, PA 17837
The Samek Art Gallery is located in the heart of Bucknell University’s campus, on the third floor of the Elaine Langone Center, on the corner of Moore Street and Seventh Avenue.

Phone 570.577.3792
Fax 570.577.3215



Shelley Jackson: Skin

Tue Mar 01, 2011 17:49 - Tue May 31, 2011

Shelley Jackson’s Skin is equal parts conceptual art, performance art, literature, and Internet art. In 2003, Jackson wrote a 2,095-word short story that will never be published in the traditional sense. Instead, Jackson invited readers to apply to have one word from the story, chosen at random by the author, tattooed on his or her body. The project is ongoing and to date 1,875 applicants have been accepted and 553 have been permanently inked. This topographical writing will live in the world on the bodies of its participants (who are known as “words”) and will die as they do, word by word.

"[For] the Berkeley Art Museum, Jackson has cut together video footage from a small set of participants to tell a new sub-'Skin' story. Recently Jackson e-mailed them to ask that they record a video of their word tattoo, and to say the word. From those words recorded by participants, she's edited and assembled a new story." - Carolyn Kellogg, Los Angeles Times


Jeff Crouse: Unlogo

Thu Sep 09, 2010 00:00 - Thu Sep 09, 2010

Jeff Crouse: Unlogo
September 1, 2010 - November 30, 2010

Unlogo was co-curated by Steve Dietz, Jaime Austin, and Richard Rinehart and is co-presented by the Berkeley Art Museum/Pacific Film Archive and ZER01.


Corporate branding coupled with new media transforms our already cluttered visual environment into a pulsing tesseract of capital. Commercial television and video digitally blur some logos while promoting others. Music videos were introduced as short films and commercials for albums, but today’s music videos are commercials within commercials (Lady Gaga’s music video Telephone features nine product placements.) However, new media also offer new forms of resistance and play.

Enter Unlogo, a new artwork by Jeff Crouse that uses corporate technologies to new ends. Unlogo is an online corporate identity media filter; tactical media used by individuals to identify logos that may occur in photographs or video they take with their phone and to replace them with images drawn from an online databank. The website allows anyone to view and contribute to the databank, suggesting and uploading images that may be substituted for a particular logo. In allowing viewers to identify what constitutes a logo and its alternate, Unlogo asks us to consider our own role in media culture. What image will you suggest as a logo and a logo-alternate? Your Facebook pic? Your garage-band skateboard sticker? Unlogo is starting by collecting your videos that contain logos to make the filter stronger. Participate today!


Marisa Olson: Double Bind

Nice project, Annie!

Of course, "double bind" has also been used in countless other past artist projects, especially artists books. Such is the power of a meme like that. Coming up with new exhibition/artwork titles is a bit like trying to come up with a domain name that is still available, unique, powerful, and makes sense. I'm tempted to start naming exhibitions things like ""!


Marisa Olson: Double Bind

Thu Jun 03, 2010 00:00 - Thu Jun 03, 2010

Marisa Olson: Double Bind
Berkeley Art Museum & Pacific Film Archive
June 1 - August 31


A double bind is commonly known as a paradox or conflicting set of demands. But it also has a specific meaning in the world of cybernetics, where it refers to messages that conflict with each other at different levels of meaning, making it difficult for the recipient to determine the nature of the paradox, to confront the inherent dilemma, or to escape the conflict.

Marisa Olson's Double Bind (2010) is a two-channel internet video project involving two clips simultaneously and perpetually linked to each other as YouTube response videos. While the webcam-recorded clips clearly represent the before-and-after actions of Olson wrapping and unwrapping her head in pink vinyl bondage tape, their recursive linking and synced looping problematize their chronology. This perpetual feedback loop takes the word 'tape' as a double entendre, as it plays back the tropes of early feminist video art, while venturing into the stickier, tapeless world of digital memes. Despite the cause and effect narrative structure embedded in the work, there is a glaring lack of motivation beyond the recitation and unraveling of these pre-recorded histories.

Like much of Olson's interdisciplinary work, Double Bind embodies a desire to both participate-in and critique cultural phenomena. The artist's parallel research practice explores the ways in which the internet and other social media enable such forms of critical parody. In this case, she takes on what she perceives as the relative "prohibition" of art history (its own form of pop), and explores the public platform of the internet as a viable site for cultural critique.

Both channels of Double Bind will be presented side-by-side on a dedicated webpage, for Olson's exhibition. However, behind this screen the videos will be subject to the unanticipatable comments and response videos of a viewing public predominantly unaware and unconcerned about the work's status as art or its participation in art historical discourse. The artist explains that relinquishing control over the reception of her work in this way is just as pleasurable to her as any of the more classical forms of masochism implied in the videos. Essentially binding herself to broader digital culture, the true impulse in Olson's critique is a desire to pierce the confines of the white cube so as to engage more directly with participatory media. Double Bind therefore positions us between the false dilemmas of high and low culture or utopic and dystopic views of media culture.

Marisa Olson is a New York based artist, curator, and writer who is currently Assistant Professor of New Media at SUNY-Purchase. Her artistic practice ranges from performance to installation to video to net art and her subjects range from participation in pop culture to the aesthetics of failure. She has shown at the Venice Biennale, Centre Pompidou, and Whitney Museum; screened at the BFI and Sundance; been a visiting artist at Yale, Brown, and Penn; curated programs and shows at the Guggenheim, SFMOMA, and the New Museum; written for Afterimage, FlashArt, and Art Review; and been written about in Artforum, the New York Times, and Wired. She is a PhD Candidate in Rhetoric and Film at UC Berkeley and studied History of Consciousness at UC Santa Cruz.