NEWSgrist: *NOWN/Candyland* Vol.4, no.2 (Jan. 27, 2003)

NEWSgrist: *NOWN/Candyland* Vol.4, no.2 (Jan. 27, 2003)
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NEWSgrist
where spin is art
http://newsgrist.net
{bi-weekly news digest}
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Vol. 4, no.2 (Jan. 27, 2003)
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CONTENTS:

- *Splash* NOWN: Michelle Handelman's "Candyland"
- *Quote/s* Virtual collectives
- *Url/s* CLUI, SCICULT + RUNME
- *Better Than Coke* closerthantherealthing @ THE THING
- *Power Points* Perry Hoberman talk @ jihui
- *Crackerjack* announcing the Low-Level Allstars DVD!
- *General Idea of Group Material* Making art together…
- *Playing the Field* The C5 Landscape Projects
- *Southern Comfort* Black Towns.org: Arts Online
- *Book Grist - 1* ARTFAN launches at Printed Matter
- *Book Grist - 2* Bruce Sterling's Tommorrow Now
- *Open Call* Eyebeam's Artist in Residence program
- *Classified* Large artist studio in Tribeca

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*Splash* http://newsgrist.net

"NOWN" - a group exhibition curated by Michele Thursz
at the Wood Street Galleries, Pittsburgh PA
http://www.pgharts.org/art/current.cfm

This issue's Splash features a still from "Candyland" by
Michelle Handelman. Artists participating in NOWN are:
Karl Ackermann + Kinya Hanada, Michelle Handelman
Robert Lazzarini, Cory Arcangel, Tobias Bernstrup
Craig Kalpakjian, Yael Kanarek, Miltos Manetas
Michael Rees, Willy Le Maitre + Erik Rozenzveig

"NOWN accesses the space between fantasy and the
fragmented nature of reality implied when viewed through
or by an animated object, person or place.

splash archived at:
http://www.newsgrist.net/Splash_Nown.html
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*Quote/s*

Many of the new art collectives are virtual: they reside on the
Internet, that intrinsically collective medium. They are fluid in
size, and members may not even know the identity of other
members. The kinds of art they produce vary widely, but when it
is political it tends to be actively so. To much of the art world,
these collectives barely exist. Their work is difficult to market;
it's available to everyone free; traditional criteria of judgment,
the kind that make critics so comfortable with, say, painting,
don't apply.

(Holland Cotter - see * * below)
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*Url/s*

The Center For Land Use Interpretation (CLUI)
http://www.clui.org/

SCICULT
http://www.scicult.com

RUNME.org Software Art Repository
is now open for upload / download
http://runme.org
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*Better Than Coke*

"closerthantherealthing"

an exhibition featuring 8 microinstallations with video work
curated by Caspar Stracke
opens at The Thing's New York office
January 31 - Feb 7
on view in office + continued online: http://bbs.thing.net

THE THING
601 West 26th Street 4th flr., NYC
212 937 0444
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*Power Points*

jihui - Digital Salon
presents
Perry Hoberman

Friday, January 31, 2003 7 PM
@ Parsons Center for New Design
55 West 13th Street, 9th Fl.
New York, NY 10011
Live Webcast @ http://agent.netart-init.org starts 7pm EST.

Perry Hoberman will be discussing his current exhibition at
Postmasters Gallery. In this exhibition, Hoberman tackles one
of our current dilemmas: in a world of ever-increasingly
"powerful" media technologies, our own power to creatively
make use these technologies is under constant threat on a
variety of fronts. Restrictions and surveillance are being hard-
coded into the hardware, software and networks we use daily in
a process that seems determined to make us little more than
fodder for an ever-more-profitable army of passive and fearful
consumers.

Several works satirize the endless attempts to price and profit
from what has become known as "intellectual property" - a term
that emphasizes ownership above all. A series of prints is based
on the ubiquitous dialog boxes that appear whenever we open,
save, close, delete, or do anything at all with the files on our
computers. Another series of prints consist of superimposed
images of every spam email message that Hoberman received
over a given period of time, in an attempt to visualize the
increasing onslaught of unsolicited advertising and to transform
an utterly debased form of communication into something
beautiful. Several works deal with iconography of the All-Seeing
Eye, recently repurposed as the symbol of John Poindexter's
"Total Information Awareness System," thus shifting its meaning
from a suggestion of divine omniscience to a more earthbound
ideal of total surveillance.

Perry Hoberman is one of the pioneers of new media art, having
addressed the form, content and social implications of media
technology for over twenty years. During that time, he has
exhibited internationally, with major shows throughout the USA
and Europe. His work is currently on view in the "Future Cinema"
exhibition at the ZKM Center for New Media in Karlsruhe.
Hoberman has been the recipient of numerous grants and
awards, and is both a 2002 Guggenheim Foundation Fellow and
a 2002 Rockefeller Foundation Media Art Fellow.

jihui (the meeting point), a self-regulated digital salon, invites all
interested people to send ideas for discussion/performance/etc.
jihui is where your voice is heard and your vision shared.
jihui is sponsored by Digital Design Department and Center for
New Design @ Parsons School of Design

jihui is organized by agent.netart (http://agent.netart-init.org),
a joint public program by NETART INITIATIVE and
INTELLIGENT AGENT
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*Crackerjack*

Radical Software Group (RSG) & Beige announce a new
DVD documenting the Commodore 64 intro scene…

LOW LEVEL ALL-STARS
video graffiti from the Commodore 64 computer
+ DVD (NTSC)
+ 21 minutes
+ edition of 150
+ $20 (post paid)
The DVD contains video documentation of our favorite intros
from:
Avantgarde, Crackforce Omega, Eagle Soft Inc., Fairlight,
Genesis Project, Legend, Nato, Rowdy American Distributors,
Teesside Cracking Service, Triad, West Coast Crackers

We are selling this DVD as a tribute to the intro scene.
The price covers our costs of production.
Order information at HTTP://RHIZOME.ORG/RSG
Video clips and other information at HTTP://RHIZOME.ORG/LLAS

VIDEO GAME CULTURE HAS LONG RELIED ON "CRACKERS,"
THE FEARLESS GEEKS WHO REMOVE A GAME'S COPY
PROTECTION THROUGH BRUTE FORCE. CRACKERS OFTEN
LEAVE BEHIND MODIFIED START-UP SCREENS AS
EVIDENCE OF THEIR TRADE. THIS SPECIAL CRACKER
GRAFFITI BOTH DOCUMENTS THE INTRUSION AND
PROVIDES A PLATFORM TO SHOWCASE THE CRACKER'S
SKILLS.

"LOW LEVEL ALL-STARS" SHOWCASES THE BEST CRACKER
TAGS SELECTED FROM OVER 1000 GAMES AVAILABLE FOR
THE COMMODORE 64 COMPUTER. ALL CRACKER TAGS
HAVE BEEN RE-CRACKED BY BEIGE AND RSG AND
EXTRACTED AS STAND-ALONE COMMODORE ANIMA-
TIONS. YOU MAY WATCH A VIDEO CLIP DOCUMENTING
EACH PIECE, OR VIEW STILL IMAGES. ROMS WILL BE
AVAILABLE SOON FROM THIS SITE. ALL DOCUMENTATION
WAS MADE DIRECTLY FROM THE C64 WITH NO COMPUTER
EMULATION.
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*General Idea of Group Material*

Doing Their Own Thing, Making Art Together
By HOLLAND COTTER
NYTimes, Jan. 19, 2003
http://www.nytimes.com/2003/01/19/arts/design/19COTT.html?todaysheadlines

To many Americans, the world feels more threatened and
threatening today than at any time since the 1960's. Terrorism,
nuclear proliferation, the prospect of war on Iraq and ever
tightening security measures at home have sent a hum of
tension through daily life.

In the 1960's, comparable tension, excruciatingly amplified,
produced a big response: the spread of a counterculture, one
that began with political protest movements and became an
alternative way of life. Among other things, it delivered a
sustained, collective "no" to certain values (imperialism,
moralism, technological destruction), and a collective "yes"
to others: peace, liberation, a return-to-childhood innocence.

The collective itself, as a social unit, was an important element
in the 60's utopian equation. Whatever form the concept took -
the commune, the band, the cult - its implications of shared
resources, dynamic interchange and egos put on hold made it a
model for change.

Even the art world, built on a foundation of hierarchies and
exclusions, produced its own versions. Activist groups like the
Artworkers Coalition and the Black Emergency Cultural Coalition
made concerted attempts to pry open institutional doors and let
in a multicultural world. Simultaneously, nonmilitant movements
like the Dada-inspired Fluxus produced an ephemeral, give-
away, anyone-can-do-it art that amounted to a kind of passive
resistance to the existing market economy. Both approaches -
one forceful, one gentle - changed the way art was thought
about, and the way it looked.

The collective impulse has never died out in American art; and
now it is surfacing again, for the most part outside New York. In
cities like Milwaukee, Providence, R. I., St. Louis and
Philadelphia, as well as several in Canada, an old countercultural
model, often much changed, is being revived, in some cases by
artists barely out of their teens.

Many of the new art collectives are virtual: they reside on the
Internet, that intrinsically collective medium. They are fluid in
size, and members may not even know the identity of other
members. The kinds of art they produce vary widely, but when it
is political it tends to be actively so. To much of the art world,
these collectives barely exist. Their work is difficult to market;
it's available to everyone free; traditional criteria of judgment,
the kind that make critics so comfortable with, say, painting,
don't apply.

Other, even newer collectives, while computer-savvy, are studio
-based and are starting to gain attention. They are housed in
apartments, storefronts, art schools and minivans. Their
members - who often support themselves with day jobs as
designers, programmers, teachers or temps - are identified by
a group name, like rock bands. And their art is often a multi-
tasking mix of painting, sculpture, printmaking, design, digital
art, video, zine production and musical performances.

In general, the collaborative arrangements are superrelaxed. A
few groups, like Temporary Services in Chicago, have a Fluxus-
like conceptual agenda: an aesthetic of sharing sites, ideas and
objects with outsiders that extends the collaboration beyond the
group itself. Others, like Slanguage in Los Angeles, have
established self-sustaining, artist-run workshops and exhibition
spaces. Still other groups are formed, at least initially, as more
or less closed social circles of friends getting together with
friends and brothers and sisters, to make art, a description that
fits, for example, the Royal Art Lodge from Winnipeg, Manitoba,
whose work is on view at the Drawing Center in SoHo.

Most of these young artists (many in their 20's) would probably
ot identify themselves as political, never mind use the word
counterculture, with its uncool, mind-settish, even institutional
ring. They just do what they do. But what they do, or rather the
ay they do it, outside the centralized, market-determining power
structures of the mainstream art world, could turn out to have
political consequences for the way art develops.

Forcefield, a collective founded in 1997 in Providence, where it
is part of the art-school and music scene, has already made a
splash in New York with a fantastic appearance in last year's
Whitney Biennial. For the occasion, the group assembled dozens
of Op Art-patterned knit costumes - form-fitting, face-
concealing, topped by bright vinyl wigs - of the kind they wear
in their maniacally edited films, which are like tribal rites
crossed with fashion shows. They supplemented the installation
with a deafening noise-band soundtrack and a pulsating
abstract video piece, both of which they produced.

The results, hilarious and slightly scary, brought all kinds of
associations to mind: Rudi Gernreich, Sesame Street, Jack
Smith, cheesy sci-fi, 60's psychedelia and church rummage
ales. This was a zany art made out of seriously worked things
and materials, as became evident when a selection of Forcefield
material was exhibited at Daniel Reich, a gallery that operates
out of a Chelsea studio apartment and has been instrumental in
introducing collectives to New York.

Forcefield's vividly low-tech approach to art-making has
inspired other, newer East Coast collectives. The members of
one, called Paper Rad, individually make photocopied cartoon
zines, combining a grade-school doodle style with wise-cracking
New Age quest narratives. They also combine their styles in
animated Web-based Gumby music videos that are like tripped-
out children's television.

Another group, Dearraindrop, has four artists, the youngest of
whom is 18. Erudite about history, they acknowledge the
influence of past collectives like Chicago's Hairy Who from the
1960's and Destroy All Monsters from the 1970's. At the same
time, they prefer a casual just-friends designation for them-
selves. Their collaborations - which include exquisite collages
of cartoons, product labels and texts - are often executed long
distance: one member is in high school in Virginia; others live in
Providence. Their group name is as recycled as their materials.
Two of the artists discovered it written on a scrap of paper as
they were foraging through neighborhood trash while on LSD.

Dearraindrop's idiot-savant-type aesthetic becomes even more
complex in the work of Milhaus, a Milwaukee collective that
claims the modernist Bauhaus merging of function and art as one
of its ideals. The group is largely the creation of Scott and Tyson
Reeder, painters, designers and brothers who, like the artist Jim
Drain of Forcefield, also have solo careers. Both brothers lived
for a while in Los Angeles, but found the formalized, competitive
atmosphere of the art scene dispiriting and returned to
Milwaukee.

There, with a filmmaker, they produced a smart, slacker Web
elevision show (www.zerotv.com) and turned their attention in
nondigital directions. For a show in Chicago, they built bunk
beds and lived in the gallery, turning it into a video theater one
night, a dance club the next. For the opening, they held an all-
night drawing party and invited gallerygoers. For the closing,
they turned the bunk beds into a raft and floated down the
Chicago River, like Generation-whatever Huck Finns.

The self-scheduled workshop, as raucous as a band rehearsal or
as sedate as a quilting bee, is the basic form of several
collectives. The members of the Royal Art Lodge meet in weekly,
collaborative drawing sessions. Slanguage, begun last summer
by Mario Ybarra Jr. and Juan Capistran, M.F.A. graduates from
the University of California at Irvine, uses half of its space in
Wilmington, a working-class city near Los Angeles, for
experimenting with media and ideas, the other half for public
performances and exhibitions, which may also be works in
progress.

Such exhibition spaces, which have neither academic nor
commercial support, are becoming ever more important. Not
only do they offer places for types of work uncongenial to an
increasingly conservative art establishment; they also provide
a forum for the work of students being churned out of art schools
every year in numbers the commercial gallery system cannot
begin to absorb.

Slanguage is by no means alone in its thinking. In Philadelphia,
an older, larger and by now semiprofessionalized collective
called Space 1026 has renovated an old downtown jewelry store
to include not only studios, a computer lab and a skate ramp, but
also a street-level gallery and an artist-run shop. Similarly, a
Manhattan group called Alife runs a store at 178 Ludlow Street,
on the Lower East Side, to promote and sell work by young
artists, using a corporate paradigm of exchange and distribution.
(An installation of Alife products is on view at Deitch Projects in
SoHo through Feb. 15.)

Some collectives blend art and lifestyle in more personal ways.
The 13 members of Flux Factory, which recently showed at the
Queens Museum, live together in a loft in Long Island City, in
Queens. The members of Instant Coffee in Toronto use much of
their collective energy to organize large-scale artistic and social
events that bring artists, writers and musicians together in
combinations rarely encountered elsewhere.

Instant Coffee functions on a principle of service-work -
generosity as an art medium - an ethic that is also an
aesthetic. So, in a more focused way, does Temporary Services.
Members of both groups collaborate with other artists, organize
projects that insert ephemeral work into public spaces or bring
otherwise invisible art into public view.

For one project, Temporary Services helped place artists' books
surreptitiously in public library collections. For another, they
used existing curbside newspaper vending machines to distribute
art objects. As part of a group show this spring at the
Massachusetts Museum of Contemporary Art, in North Adams,
Mass., they will present drawings by a federal prisoner named
Angelo of ingenious mechanical devices created by his fellow
inmates.

The group's play with conventional ideas of aesthetic value is
shared, to some degree, by Beige, a young collective that takes
obsolete computer technology as its medium. It is probably best
known for its hacked versions of dumpster-salvaged Nintendo
games, which they broke open and manipulated to create new
images. As Beige Records, they have released a 12-inch vinyl
disk of sound samples of video games from the 1980's.

In its geek-positive way, the Beige artists deliver subversive
messages. They undercut the notion of technological progress
and demonstrate ways in which popular forms and aesthetics can
be taken out of the control of the corporate game industry. And
they hint at the power inherent even in cheap technology and
low-level expertise, which are by now ubiquitous and are
sufficient to infiltrate a database or make a bomb.

As if to confirm a crypto-activist agenda, Beige recently
collaborated on a DVD with the Radical Software Group, an
Internet-based collective that is stretching the definitions of art,
politics and collectivity itself. Consisting of an ever-changing
group of international programmers and artists, the group claims
that its main goal is not to make art but to provide software for
artists. But one of their programs, titled Carnivore, which turns
individual computers into F.B.I-style data surveillance tools, is
conceptually sharp, visually compelling and completely attuned
to the political moment.

As innovative as it is, Radical Software Group belongs to a whole
alternative universe of activist artists' collectives that exists
partly or entirely in the public realm called cyberspace. Other
groups include RTMark, Critical Art Ensemble, Ultra-Red,
Reclaim the Streets, Electronic Disturbance Theater (also called
Electronic Civil Disobedience), Institute for Applied Autonomy
and the Center for Land Use Interpretation. The list is long and
varied and will surely continue grow in direct proportion to
increased government monitoring of the Internet.

Such Net-centric collectives are electronic descendants of
earlier American groups that cohered and dissolved from the
1960's through the 1990's: PAD/D (Political Art Documentation
and Distribution), Colab, Group Material, Guerrilla Girls,
REPOhistory, Act Up and General Idea, which originated in
Canada, to name but a few. The full history of this phenomenon
has yet to be written, though a few art historians - Alan Moore,
Gregory Sholette and Blake Stimson - have books in the works.

And what about American art now? It exists in a world where
much indeed has changed, not just since Sept. 11, 2001, but
since the end of the cold war. It is a dangerous place, in need
of radical change. Not that a return to the 60's is the answer.
Forget retro. Yes, it's reassuring and it sells, but contemporary
culture - including a lot of New York art at the moment - is
about what's reassuring and what sells, and it feels parochial,
small, out of touch.

Thus a counterculture. I have no idea what it will, or does, or
should look like. An eye-popping hacktivist Web site that
carries transformative information across the globe? A
collective of young artists having fun making books that only
they and their friends will see? Or something totally other.
But if contemporary art, marginal and minute as its influence is,
doesn't get it together to offer new models for a future some of
s still hope to have, chances are at this point nobody will, and
that's more than a shame.
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*Playing the Field*

The C5 Landscape Projects Field Mediation January 12th, 2003
Rhizome 1/9/03
http://rhizome.org/object.rhiz?13989

UTM
10 S 0589631
4145735

DMS
N 37 deg., 27' 24.1"
W 121 deg., 59' 33.5"

C5
http://www.c5corp.com/index.html
http://www.c5corp.com/projects/landscape/index.shtml

In 2001, C5 initiated a series of projects involving mapping,
navigation and search of the landscape using GIS (Global
Information Systems). The projects are designed to take place
over the next 3 years and are an extension of C5s research of
database visualization, networks and cooperative systems. The
Landscape Projects examine the changing conception of the
Landscape as we move from the aesthetics of representation to
those of database and interface.

On January 12th 2003, C5 conducts the first in a series of on-
site field mediations for presentation of research and theoretical
agendas informing the Landscape Projects.

Over the past decade the instrumentation necessary for creating
a detailed mapping of the earths surface from space has become
a reality. The USGS (United States Geological Survey) together
with NASA, the Jet Propulsion Laboratory and a host of
international governmental and non-governmental partners are
moving towards a complete indexing of the earths surface
destined to better than one meter of resolution. Location,
navigation, tracking, mapping and timing within the landscape
points to a re-conceptualization of the environment and our
interaction with it. Like the human genome, the scope and
implication this endeavor points to tremendous social, political
and economic considerations. Technology transfer from GIS
research activities incorporates new data products such as
those in environmental studies including strategic management
of resources and hazards and disaster analysis. New discourses
and disciplines have emerged around topics such as interactive
mapping and archeological geophysics. Combined with Spatial
Data Systems and GPS (Global Positioning System) postures an
entirely new relationship with the Landscape that takes form in
applications for simulation, surveillance, resource allocation and
management of cooperative networks. It is in this context that
the C5 Landscape Projects are conceived.

The first in the project series, Analogous Landscapes, was
exhibited at the 2002 II International Art Biennial-Buenos Aires
Museo Nacional de Bellas.

Joel Slayton, Brett Stalbaum, Geri Wittig, Steve Durie,
Jan Ekenberg, Jack Toolin, Lisa Jevbratt, Anne-Marie Schleiner,
Bruce Gardner
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*Southern Comfort*

Photographer Captures Towns Where Blacks Found Peace
By MATTHEW MIRAPAUL
NYTimes ARTS ONLINE, Jan 20, 2003
http://www.nytimes.com/2003/01/20/arts/design/20ARTS.html?pagewanted=all&position=top

In the photograph the church appears almost like an animal shot
with a tranquilizer dart. The structure sags, as if on sun-soaked
haunches, unable to move from the asphalt veldt. Were it not for
the presence of a white van in the foreground, the image might
have been captured by a Farm Security Administration photo-
grapher roaming the Deep South in the 1930's.

Appearances deceive. The photograph of Mount Moriah Primitive
Baptist Church was taken just last year. And although Elsmere,
the town in which the church stands, once bore the biscuits-and-
gravy name of Eighty Acres, it is in New Jersey and lies not
much farther south than Philadelphia. Yet one almost expects to
see cotton growing nearby.

The languid image is part of a revealing online exhibition, "Small
Towns, Black Lives," created by the New Jersey photographer
Wendel A. White. Over the past 13 years Mr. White has been
toting his camera through the state's southern reaches, docu-
menting the existence of a handful of small all-black commun-
ities that still survive there. In his back road travels, he has
also unearthed the rich African-American history of several
towns that are now largely populated by whites.

Mr. White's online photographs depict little-known aspects of
the nation's past: communities formed by blacks in the 19th and
early 20th centuries as havens from racism. Many of these
enclaves, where African-Americans could raise families and
build careers, were in New Jersey. For Mr. White there has been
some urgency to document these insular towns before they
change even further or disappear completely. "Even if they don't
physically go away, the nature of the communities is disappear-
ing," Mr. White said. "What we're seeing is the last bit of the
19th century."

On Saturday Mr. White, 46, put a newly expanded version of his
Web site online at http://www.blacktowns.org The timing
coincides with the opening of his photography exhibition, also
called "Small Towns, Black Lives," at the Noyes Museum of Art
in Oceanville, N.J. The exhibition runs through April 27.

In the museum's galleries of course the black-and-white images
are larger and more detailed than when viewed on a computer
screen. But it is on the Internet that Mr. White's project leaps to
life. He has augmented its 50 images with digital reproductions
of historical materials like a real estate map from 1872, and he
has bolstered the site with evocative audio and video clips and
360-degree panoramic photographs.

For instance, one video, filmed in 2000 during the rededication
ceremony for a Civil War veterans cemetery, shows black men in
Union uniforms marching through a town. The collision of past
and present is startling. Elsewhere a photographic portrait of the
storyteller Michelle Washington Wilson, sitting amid the ruins of
her childhood home, is accompanied by an amusing audio clip
that softens the sad scene. In a delighted voice, she recalls how
a Halloween visit to a mean neighbor's house quickly became a
disaster. Exit, pursued by a hog.

The panoramic photographs, which let a viewer make a complete
circular turn within an online image, are most effective in
conveying a sense of place. One taken in the former African-
American resort community of Morris Beach, N.J., focuses on a
desolate intersection where the only traffic is a lone chicken.

For Mr. White incorporating these multimedia elements into his
site was a natural step. He began to visit the towns in the late
80's. The residents would often share their stories and family
artifacts with him. Just as he was seeking ways to illuminate his
images with their mementos, the Web arrived. He created a site
for the Civil War cemetery in 1995, followed by an early version
of the Black Towns site in 1999.

Mr. White said he was unconcerned that he might be forsaking
his commitment to photography: "I didn't feel that I was going
into another discipline as I started to use different materials
and, in a sense, create a collage." It was the mix of information
that mattered, not the materials. "It's not that the photographs
are inadequate," he said. "It's that there were other things going
on."

But few photographers have embraced the Web to the extent
that Mr. White has. Many sites are devoted to documentary
photography, but they rarely amount to more than a slide show.
It's like going to the movies and finding the projectionist making
bunny silhouettes on the screen. With its mix of media, the new
Black Towns site is an impressionistic experience. Those seek-
ing an academic account of the black-settlement movement
should look elsewhere. Mr. White said: "I don't feel that I'm
writing history here. I encounter it, and I want to bring it into
what I'm doing as an artist.`

What Mr. White is doing as an artist is rooted in what Walker
Evans, Dorothea Lange and other Farm Security Administration
photographers were doing from 1935 to 1945: turning docu-
mentary photography into a fine art. And his starkly lighted
landscapes, building exteriors and workers remind one of those
taken in the rural South by those earlier photographers. The
Library of Congress has put those images online at
http://memory.loc.gov/ammem/fsowhome.html

Mr. White said the resemblance was not accidental. Emancipat-
ed slaves and black Civil War veterans flocked to southern New
Jersey precisely because its landscape and climate were similar
to their hometowns. He said, "As you drive through these towns,
you can't help feeling whether you're in a white community or a
black community that it's very Southern.`

Perhaps this Southern sensibility also explains the formal
elegance of Mr. White's work. His images are restrained rather
than theatrical. Charles Stainback, the director of the Tang
Museum at Skidmore College in Saratoga Springs, N.Y., who is
the curator of Mr. White's museum exhibition, said: "So much of
photojournalism today is about the dynamic, gritty, shocking
picture. These aren't that. He's taken the time to look at these
lives.`

For instance, for a recent portrait of Laura Aldridge, Mr. White
posed her in the middle of a church in Springtown, N.J. At first
glance the image appears ordinary. Eventually, though, it
becomes obvious that all the lines in the photograph are at odd
angles. In the center sits Ms. Aldridge, defiantly upright in a
world gone askew.

Web Site: Wendel A. White's Site: 'Small Towns, Black Lives'
http://www.blacktowns.org/
Web Site: The Library of Congress: 'Documenting America'
http://memory.loc.gov/ammem/fsowhome.html
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*Book Grist - 1*

A Constructed World: Publication Launch

ARTFAN: Audience as Artist
56-page full-colour publication
Designed by Rina Cheung, Pixelsurgeon

NEW YORK LAUNCH
Saturday 1 February 2003 5 - 7 pm
Printed Matter Inc.,
535 West 22nd Street
New York NY 10011, USA

The Serpentine Gallery is pleased to announce the launch of
Artfan: Audience as Artist. Artists Geoff Lowe and Jacqueline
Riva have been working together as A Constructed World (ACW)
since 1993, when they founded Artfan magazine. This special
edition is the product of their residency at the Serpentine
Gallery during the summer of 2002.

During the residency they made a number of interventions and
organised regular public gallery discussions which involved 17
speakers and a five-day long workshop which brought together
11 individuals aged between 16 and 74, this culminated in an
exhibition in the Sackler Centre of Arts Education at the
Serpentine Gallery.

Artfan includes transcripts of the gallery discussions,
documentation from the workshop and specially commissioned
artists' pages and texts.

Artfan is launched in collaboration with Walther Koenig books
Ltd. and Printed Matter in New York.

Press enquiries:
Annabel Friedlein Tel: 020 7298 1520 or [email protected]
Public Information: Tel: 020 7298 1515 or visit
http://www.serpentinegallery.org
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*Book Grist -2*

Tomorrow Now: Envisioning the Next Fifty Years
by Bruce Sterling
Random House; ; 1st edition (December 17, 2002)
ISBN: 0679463224
http://www.amazon.com/exec/obidos/ASIN/0679463224/qid42661323/sr=2-1/ref=sr_2_1/103-1387147-7923831

A conversation with Bruce Sterling
Bruce Sterling returns to Inkwell.vue for his annual state-of-
the-world discussion, which coincides this year with the
publication of his latest nonfiction work, Tomorrow Now. The
book is a consideration of the near-term 21st century future,
the next 50 years, framed by Shakespeare's "seven ages of
man," – the infant, the student, the lover, the soldier, the
justice, the pantaloon and "mere oblivion." Bruce's expansive
view of the edges of tomorrow's world covers genetic
engineering, ubiquitous computing, information networks,
postindustrial design, new world (dis)order, media, politics, etc.
Check out the discussion, led by Inkwell host Jon Lebkowsky,
for a stimulating exploration of the world today … and tomorrow.

archived here:
http://engaged.well.com/engaged/engaged.cgi?c=inkwell.vue&f=0&ta
[formerly at : http://www.well.com/conf/inkwell.vue/ ]
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*Open Call*

Eyebeam is pleased to announce an open call to apply for the
Spring 2003 cycle of its Artists in Residence Program, a
multidisciplinary initiative that supports the development,
creation and presentation of outstanding new works of art made
with digital tools. The AIR Program offers five-month residencies
to exceptional artists in three different areas: Education,
Emerging Fields and Moving Image. Residents receive a
stipend, access to cutting-edge tools, expert technical support
from Eyebeam staff, production help from apprentices, and the
option to participate in an annual group exhibition.

The wide-ranging annual AIR exhibitions mirror the inter-
disciplinary studio environment by presenting a constellation of
other events, including open studios, demonstrations of research
in progress, panel discussions, on-line projects, and multimedia
performances. The twelve artists who participated in the
program's '02 pilot year were featured in Beta Launch: Artist's
in Residence 2002: http://www.eyebeam.org/artists/air02.html

Applications are due February 10th. For more detail about the
different residency programs, deadlines, applications and
instructions, please refer to the information on Eyebeam web
site: http://www.eyebeam.org/artists/index.html
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*Classified*

Large artist studio/OFFICE (work only- 24/7) available for rent
in Tribeca - Artist Live/Work loft.
1000', open with three windows, plus separate office
$1000 per month. Available Feb 1st.
Please respond:
[email protected]

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NEWSgrist - where spin is art
http://newsgrist.net
free e-subscriptions:
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