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

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The Accidental Archivist: Criticism on Facebook, and How to Preserve It

As for grinding my teeth over this post (see, Twitter) two months ago I wrote here ( ) that if "Zachary Kaplan is zealously following and participating in conversations elsewhere, why not enlarge that role and have a mechanism in place to feed those discussions back into Rhizome? A kind of human-edited 'track back' function. Take 'Facebook content' and reclaim it for a non-profit commons (within the bounds of copyright law, if that's even possible)."

That doesn't mean Facebook itself isn't grind-worthy. It's pretty much The Devil, for reasons mentioned by Marianna Aguirre (above), Geert Lovink, and many others (Zuckerberg's LOL about art criticism -- assuming it's not fake -- ought to send a shiver up everyone's spine). Yet for whatever reason the new media community has embraced it and often hides critical judgments behind various layers of friend connection and the impermanence you've described here. Am all in favor of getting this out in the open, or at least, more open.


Art Focused and Distracted: Three new media exhibitions curated by Joshua Decter

Mr. Decter points out a factual error in my post -- I wrote that in his "Screen" show he "placed TV cameras in the room to film the works." I updated the post to describe more accurately how video images of the works appeared in the gallery. Apologies for the error.
Otherwise, I think we mostly have differences of opinion, not fact. Mr. Decter's sense is that virtual curator and virtual artist displays aren't (or weren't) common in museum programming; my sense is that they are (or were). Who did them first doesn't really matter if they are unhelpful, as in overly reductive, ideas. My point in mentioning Google Sketch-Up wasn't to say it was around in 1999. Clearly it wasn't. It was to make a connection between what Mr. Decter was doing with then-current 3D software and what artists are still doing with virtual "white cube"-placed objects ("[reducing the slow] process of artistic thought and individuation of ... physical collections to simplified mix and match objects," I wrote in the post). Yesterday's unfortunate idea is today's unfortunate trend.
I haven't read Mr. Decter's book, the release of which roughly coincided with this Rhizome post. Here's hoping he'll be joining the conversation on the vagaries of post-internet art, or po-net, as some are calling it! These issues are too important to leave to Hollywood collectors.


Shia LaBeouf: Is there genius in his endgame?

Michael, thanks for the link to the Simchowitz interview. He is quite the self-regarding loudmouth, or "amplification nodule," to use his term. Interesting that he gives no credit to Rhizome or the pre-Facebook blogosphere for first introducing his stable of "Post-Internet" superstars -- it's as if they had no careers or critical recognition before he started pushing them. His presence on the scene should make Rhizome uneasy about continuing to carry critical water for the brand (it certainly does me). Perhaps enough has been done for that particular group of artists -- they have him now.


Collecting Contemporary Art Means Collecting Digital Art

My use of the term "souvenir" referred to an established practice of selling documentation for "immaterial" performances, happenings, etc. The classic example: Chris Burden had himself nailed to a Volkswagen in the 1974 piece Trans-fixed. The objects for sale were documentary photos, explanatory text and the actual nails, on a small stand. My point in mentioning such precedents was to say that selling the immaterial wasn't new. Some digital works might be represented in the market by Burden-like mementos, others may not -- I wasn't saying all "digitally-derived" objects were souvenirs.