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
Discussions (29) Opportunities (5) Events (15) Jobs (10)

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.


James Buckhouse: Serg Riva

Wed Mar 17, 2010 00:00 - Wed Mar 17, 2010

United States of America


James Buckhouse: Serg Riva
On View Through May 31, 2010

Serg Riva, author of a blog chronicling his privileged yet insecure life as an haute couture swimwear designer, is a fictional persona and art project of Bay Area artist James Buckhouse. You can enjoy the project at the level of a witty send-up of the contemporary fashion world, but there is more going on here. Riva belongs to a long line of artistic noms de plume, from Marcel Duchamp’s alter ego Rrose Sélavy to the 1990s Internet art persona Mouchette. Mouchette demonstrated how authorship and identity are constructed amid the endless masquerade ball of the Internet, and Buckhouse takes us further by unpacking social class and psychological elements of that pastiche. Riva is an aspirational character through which Buckhouse explores how identity is constructed in the slippery class environment of the twenty-first century, where “high” and “low” cultures continue their decades-long slow-motion collision, exemplified today by the couture fashion reality TV show.


Joe McKay: Big Time

Tue Dec 01, 2009 00:00 - Tue Dec 01, 2009

United States of America


Joe McKay: Big Time
Dec 1, 2009 - Feb 28, 2010

Early seafarers would tell time by holding up a hand toward the sun. Each finger between the sun and the horizon represented fifteen minutes until sunset. Fast-forward to the late nineteenth century and the invention of “standard” time zones in which it can be six o’clock simultaneously in Bar Harbor, Maine, and Columbus, Ohio. Joe McKay’s Big Time, an Internet artwork and free downloadable iPhone app, asks what is the next step in our evolving relationship with time. It is a social sculpture that allows us to reengage with time, a social construct so primary that it has become invisible.


Every time a new BAM/PFA NetArt exhibition opens, the previous one rotates off the current calendar into the open-source Internet art archive. This month, four works by Angelo Plessas enter the archive where you can view the source code and files behind the art and download them for study, teaching and creative re-mix. Courtesy of the artists.

Big Time was supported by Rhizome. Programming by Hawkeye Parker. Presented by the Berkeley Art Museum and Pacific Film Archive.


Museum Programmer

Fri Aug 21, 2009 18:49


Applications Programmer

The mission of the UC Berkeley Art Museum and Pacific Film Archive (BAM/PFA) is to inspire the imagination and ignite critical dialogue through art and film. One of the largest university art museums in the United States, in physical and budget size and in attendance, BAM/PFA has developed an international reputation for presenting one of the most active and ambitious exhibition programs, as well as for the quality of its art and film collections and research resources. BAM/PFA is an institution with a stellar history and an exciting future. Currently, BAM/PFA is in a campaign to fund a new building. For more information, visit our website:

• Researches, proposes, designs, implements and maintains programming and other technical solutions for BAM/PFA’s online presence including website, blog, online databases, e-commerce and social media.
• Provides technical support for all aspects of the website from back-end databases to client-side scripts to dynamic data exchanges.
• Analyzes existing programs or works to formulate logic for new systems, devises logic procedures, prepares flowcharting, performs coding, data analysis and tests/debugs programs.
• Supports and modifies the back-end databases including mySQL, including making changes to fields, calculations, tables, layouts and scripts.
• Creates automated solutions for batch processes and Internet data exchanges using standards and protocols like RSS and other XML formats.
• Provides programming solutions for museum projects including exhibitions that include Internet or digital media components, media management projects and other projects as assigned.
• Provides access to, manages, and preserves media assets, including images, audio, video, multimedia, and text, and supports the databases and systems that serve these functions.
• Collaborates with curators, artists, vendors, and other digital media staff to develop and implement a wide variety of technical components for online activities, public programs and exhibitions.
• Gathers and analyzes data to prepare systems and programming documentation.

Serves on museum’s Digital Media team and the cross-departmental Web team.

Required Qualifications:
• Highly developed knowledge of, and experience with web applications, web programming languages, Internet protocols, and object oriented programming concepts.
• Demonstrated skills with compilable programming language such as C++ and scripting languages such as PHP or Perl.
• Familiarity with content management systems such as Joomla, WordPress or Movable Type.
• Strong self-motivation and ability to learn new technologies quickly and independently.
• Must be able to communicate technical information in a clear and concise manner with non-technical colleagues, and strong interpersonal and collaboration skills.
• Ability to prioritize tasks and meet multiple deadlines.
• Strong problem solving skills and creativity.
• Strong analytical and design skills, including the ability to abstract information requirements from real-world processes to understand information flows in computer systems.
• Critical thinking skills and attention to detail.
• Familiarity with the Mac platform.
• Accurate color perception and visual acuity.
• Ability to physically work in low or tight places.
• Ability to safely lift computer equipment weighing up to 30 pounds.
• Valid California driver's license and a safe driving record.

Hours: This is an 80% position, with additional hours up to 100% as needed for special projects.

This position has been designated as sensitive and may require a Criminal Background Check. We reserve the right to make employment contingent upon successful completion of a Criminal Background Check.

Salary: The full time annual salary range is $46,200 to $52,000. Actual pay will reflect hours worked. There is an excellent benefits package including three weeks vacation and benefits for eligible family members.

Application Deadline: Open until filled. First review of applications will occur on 9/3/09.

To Apply:
Visit The search feature for this website is experiencing difficulty. Go to the Advanced Search link and enter 10056 in the Job Opening ID field. If that does not bring up the position, at the Advanced Search link enter keyword "programmer". If neither of those work, or if you have trouble completing the online application, send an email message to or call 510-642-4621 for assistance.

The University of California, Berkeley is an Equal Opportunity/Affirmative Action Employer.

The University of California Regents have approved a plan to enact systemwide furloughs and other cost reduction measures due to the state budget crisis. This position may be subject to any cost cutting measures implemented at UC Berkeley.


Announcing Berkeley DMAX Blog

Tue May 27, 2008 00:00 - Tue May 27, 2008

United States of America

As an epicenter of the digital revolution, the San Francisco Bay Area is a buzzing hive of constant activity and energy around digital culture and art made possible by technological innovation. A critical feedback forum contributes to a thriving, evolving and intellectually playful cultural community. For this reason, the Berkeley Art Museum/Pacific Film Archive’s Digital Media Art Access and Exhibitions program (DMAX) and the UC Berkeley Center for New Media (BCNM) are hosting such a critical forum - in the form of the new DMAX blog - to sustain our community of thinkers.

This blog has a loose and flexible focus on: Bay Area regional / digital / art and culture. The regional focus supports a geo-physical community of familiar faces that already meets. The broad digital culture focus reflects the fact that this community spans many professional fields, creating a need for a different kind of apparatus from the traditional academic or art review.

Serving as a civic cultural forum for this broad and diverse community is a natural role for a public museum and a public university. In this spirit, this blog will not limit the public to behind-the-scenes comments, but will be open to public participation at all levels (top-level posts, comments, events) in addition to featuring bloggers drawn from the DMAX and BCNM programs. The DMAX Blog provides our community with a gathering place to let each other know what’s going on, what people think, and what’s next. Welcome home!