Tom Moody
Since 2002
Works in New York, New York United States of America

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DISCUSSION

Reappearance of the Undead


I am proud to be a part of the new webring for Agatha.

In a talk at Bryce Wolkowitz gallery a while back Olia Lialina discussed the context of this work when it was made versus the present context.
Everything on the Web loaded slowly and you never knew what was coming up or when.
Consumers had more patience because they were accustomed to this.
Her art played with the uncertainties of this new vehicle.

To consume the site now you should know you are meant to keep clicking somewhere on the page in a state of semi-frustration. You don't get to the globe hopping web ring without navigating a series of popups and new pages that you have to keep clicking, clicking.

I raised a point in the new media vs artists with computers discussion that no one responded to. For proles like me who use Windows at home because it is the workplace default, there has been a certain loss of innocence about clicking pop ups, or clicking a lot of unknown places on a web page. IE is called Internet Exploder for a reason. Even with Firefox 3 we still get trojans pushed onto our computers (and Firefox 3 wouldn't allow certain popups on Agatha).

So, because of this menace, clicking around websites is not viewed with pleasure but with trepidation. Isn't this a fundamental change in the work and should restorers be taking this into consideration? Should critics and curators of web art?

DISCUSSION

"In Real Life" at Capricious Space


By the way, speaking of IRL, how about the insightful spam in these comments? I forgot to plug my online pet grooming service.

DISCUSSION

"In Real Life" at Capricious Space


I enjoyed the performance by ASDF:

"With Mylinh Nguyen sitting in the gallery and David Horvitz chatting live from Golden Age in Chicago, ASDF [made] available an ephemeral show of 48 artists existing for only 4 hours. Each art work [was] available, one at a time, for only 5 minutes. The works [were] sized to print and available for download (also including instructions so that viewers may print the works using basic consumer technologies). After the 4 hours are up all the original files [were] deleted."

The 8 1/2 x 11 artworks inkjet-printed and hurriedly taped to the wall in a line around the room were nothing to write home about but it was interesting to see the webcam projection of the crowd in Chicago with their identical group of objects in a line around their room. It felt like looking through a doorway into a parallel universe. Who are these people standing around with their Chicago versions of the art? Is that Chicago-me mugging for the camera?

ASDF''s was a work that took the real time/real space aspects of the gallery presentation into account, the internet vs white box dynamic, as well as the crowd or party vibe that became part of the art.

DISCUSSION


Re-reading my earlier comment in this thread, when I said no one knew what the term Internet Aware Art meant in the Rhizome posts following the Net Aesthetics 2 panel discussion, I may have been confusing it with "emotional net art" and "epic net art," two other terms that seemed to have a lot of individual meanings but are more critic-driven than artist-driven.

DISCUSSION


Hi, Ed,
Enjoying this slow motion discussion!
You said Lonergan's term "has certainly resonated and has gained some significance in describing the approach of other artists."
Resonated with whom?
Two of the artists you cite (Stern, Seth Price) aren't influenced by Lonergan at all, certainly not his coinage. Maybe AIDS-3D is but I haven't seen an interview where they acknowledged the debt in making their OMG piece.
We could indeed "parse intentionality all day long about what Guthrie meant (unless he chimes in here himself)." That's my point - we could and he hasn't.

"Internet Aware Art as derived from an interview with Guthrie Lonergan" is not really a highlight of 2008 but the subject of an essay you feel needs to be written.