Category: Digital

Calendar. 09.04.13.

Carla Gannis and Justin Petropoulos, Legend, at Transfer Gallery
Regardless the Object Described Minutely, 2013. From <legend> </legend> an exhibition by Carla Gannis and Justin Petropoulos, at Transfer Gallery. Opens Saturday at 7pm, in East Williamsburg. (Image courtesy of the artists.)

Calendar. 01.02.13.


Model of PDP-1 (Programmed Data Processor-1) computer on which a playable simulation of Spacewar! will be presented as part of the exhibition Spacewar! Video Games Blast Off, at the Museum of the Moving Image. Through March 3, in Astoria. (Patrick Alvarado/Museum of the Moving Image.)

Find me over at Studio 360.

Hey Y’all:

I’m over at Studio 360 talking about GIFs — such as Alex da Corte’s piece, above — and the Moving the Still show in Miami…

Check it!

xox,
C.

P.S. I’d given a shout out to Paddy Johnson’s GIF show at Denison University, but it didn’t get in. But if you’re into all things GIFfy in the world of art, knowing about that exhibit is a MUST. Also, see Born in 1987 at the London Photographer’s Gallery, which is currently on view.

Miscellany. 07.11.11.


All times and seasons at once, a screengrab from Google Satellite of a piece of the Rockies in Colorado.

Every Time At Once
Since I’m all about Google Maps these days: I found the above image while doing a bit of research for a book project I’m working on. It’s a screengrab of an area in the San Juan National Forest, north of Durango, Colo. The area was clearly photographed over different periods, creating this wild juxtaposition of seasons and times. The whole thing reminded me of Joanne McNeil’s essay, Overfutured, in which she discusses the way in which the internet can appear to scramble our sense of chronology.

Art and Social Media
Paddy Johnson and Hrag Vartanian have a debate going on about the merits — or lack thereof — of recent art incorporating social media. I’m with Hrag on the fact that Paddy’s initial critique in L Magazine could have been a bit more nuanced, that there’s a difference between art that is made for a social media platform and art that merely utilizes social media as part of a larger concept. That said, I’m with Paddy on the fact that a lot of projects that have been presented have been less than compelling.

WTF is Twitter Art? (Graphic borrowed from Hyperallergic, with credit to Twittable Art)

To be fair, I have not participated in many of these (because, well, they’re just not very compelling), so it’s difficult to judge. But I did become involved with was Man Bartlett’s #24hEcho at PPOW last year — in which he read aloud Tweets sent to him over a 24-hour period. Certainly, if you just look at the Twitter piece of it, it is pretty banal. But there was something gripping about hearing my words echoed back at me over the internet in real time. It was like being in the car with my little sister, when she would repeat every last thing I said — an intriguing/annoying one-sided non-dialogue that was slightly unnerving. (For the record: I sent him Journey lyrics.)

Paddy has a more thought-out follow-up at Art Fag City. Particularly insightful are the comments about our “like”-happy culture. Definitely worth reading…

Update: Hyperallergic responds to the response. In terms of our “like”-happy culture, I agree, this is not just the province of social media (as Jim Poniewozik writes, in reference to TV). But when social media applications are built around nothing but “like” and “plus” and “favorite” — these types of somewhat fawning judgments are encouraged.

Random Linkage

Nostalgia for the Net.

Last night, I attended a highly interesting panel at Hyperallergic HQ in Brooklyn called “Nostalgia for the Net” — in which an interesting crew of folks (including Joanne McNeil, of the always awesome Tomorrow Museum) reminisced about the early days of the internet, when connecting to one another digitally involved acronyms such as Telnet and BBS. At one point, the discussion drifted to Steve Lambert’s recent discovery of the movie Space Jam‘s website — in its pristine 1996 state. And it reminded me that, recently, while doing research for an upcoming story in ARTnews, I came across the Whitney Museum’s website for a 2001 digital art exhibit called Bitstreams. It has retained its early millennium layout — complete with reference to Netscape. Old school!

Find the site here. Or by clicking the image above.

Over at Gallerina: The Art of Online Dating.

Artist R. Luke DuBois takes frequently-used words from online dating profiles and lays them over maps. Zombie, apparently, is popular in my neighborhood. Find out which NYC neighborhoods Booger, PMS and Ganja appear in (along with data related to other U.S. cities and states). My Q&A with DuBois is now up at WNYC.