Several years ago, forward thinking Sony/BMG created a new form of music by creating CDs with computer viruses and hidden contracts. This is a cover, by a women's chorus, of Sony's best song, End User License Agreement.
I wanted to alert you to a number of events happening this month, organized in conjunction with the exhibition "Free," now on view at the New Museum. Be sure to read the Free blog for updates and information about the show.
An evening with W.A.G.E. (Working Artists and the Greater Economy)
Thursday, December 9th, 7pm
New Museum Theater
Free to New Museum Members, $8 General Public
In conversation with April Britski, Executive Director of CARFAC (Canadian Artists’ Representation/Le Front des Artistes Canadiens) and curator Lauren Cornell, representatives from W.A.G.E. will discuss practical aspects of the exhibition budget of Free and themes regarding the compensation of exhibiting artists at institutions in the U.S. and Canada.
Saturday, December 11th, 3pm
New Museum Theater
Free to New Museum Members, $8 General Public
Founded in 2009, Kickstarter is the largest funding platform for creative projects in the world. Every month, tens of thousands of people pledge millions of dollars to projects from the worlds of music, film, art, technology, design, food, publishing and other creative fields. Kickstarter is a new form of patronage and commerce: creators offer products and experiences that are unique to each project, and keep 100% ownership and control over their work. What underlies Kickstarter’s straightforward premise is a powerful alternate model of funding for the arts: one that enables creators, of all stripes, to realize their projects without the support of the grants, galleries, or the larger art world apparatus. It also raises certain fundamental questions: such as, does art lose its mystique if it is financing is laid bare? How do artworks exist outside the parameters of the art world? Is art, in 2010, at home in mass culture? For this panel, Kickstarter ...
VOICE: Vocal Aesthetics in Digital Arts and Media, a new anthology edited by Norie Neumark, Ross Gibson and Theo Van Leeuwen from MIT Press, takes stock of the voice’s various transformations in the arts in the wake of the technological innovations of the digital age, and the ways in which artists anticipated these changes. One might expect musings on Barthes, man vs. machine, hauntology, linguistics or body politics, and those are all here; but there is also a refreshing and suitably wide-ranging cross-section of pop cultural examples and namechecks (Wolfman Jack, Portishead, Winnie the Pooh, BioShock, Meshuggah). Beyond its interdisciplinary parameters, the more theory-oriented papers are counterbalanced by an experimental essay (Theresa M. Senft’s “Four Rooms”, which juxtaposes phone sex, cancer care tapes, a voice recognition program, and Alvin Lucier’s “I Am Sitting in a Room”), a poem (Mark Amerika’s “Professor VJ’s Big Blog Mashup”), and a meditation (Michael Taussig’s “Humming”). The multiplicity of forms and inclusion of writerly as well as scholarly voices create an appropriately reflexive resonance.
- Make a contribution of $300 to Rhizome’s Community Campaign this week and we will send you Chan’s SADE FOR FONTS SAKE (2010), a CD rom containing 21 truetype fonts and a limited edition signed print that demonstrates the font. And you’ll receive it in time for the holidays!
Expanded Artwork Information: For nearly ten years, Paul Chan has been exploring the aesthetic, interactive, and philosophical potentials of computer fonts. As a complement to Sade for Sade’s Sake, his monumental digital projection inspired by the work of novelist and philosopher, Marquis de Sade, Chan has created a set of 21 truetype fonts that transform the act of typing into a generative Sadean performance. Unlike conventional fonts like Arial or Comic Sans, Chan’s fonts are comprised of phrases and sentence fragments rather than letters and other alphanumeric characters, so that what is typed on the keyboard is not what shows up on the screen, or what is printed on paper. Each font holds a unique set of idioms that expresses a different sexual voice when typed. The special limited edition print demonstrates the range of the fonts.
- We really hope you enjoy our programs as much as we love making them happen for you -- but we can’t do it alone! We rely on the generosity of our community to provide a significant portion of our budget, so please support Rhizome and renew your membership today and be sure to check out the rest of our the artworks and editions available during our Campaign by the ...
With the insertion of artist edition kitsch into the second-hand store industry I attempt an analysis of commodity flow and second-hand bric-a-brac capitalism and simultaneously generate critique of art object value (the thrift store is momentarily converted into venue for the avant-garde and the second-hand shopper inadvertently becomes collector of fine art).
120 ceramic E.T. figures were slipcast over a 10-month period from a single plaster mold purchased from a second-hand store in 2009. Once glazed and serialized The E.T.s were then circulated through donation to area thrift stores where they were priced, shelved and sold to the public.
Images above from the exhibition "CONTACT" at XL Gallery. For more on Art Business Consulting and their practice, read "Corporate Culture: An Introduction to Art Business Consulting" by Brian Droitcour.
As we type and edit our attention jumps from paragraph to paragraph and from program to program, leaving a trail of disconnected phrases and commands. Much of what we type is deleted before the final product is saved, but the data have not dissapeared. Sic is the record kept by a keylogger installed on my computer. Since the keylogger records every key pressed, the data contain information best kept private, but the range of information is so great and cluttered with such noise it remains impenetrable. Sic is ongoing and chronological—it is a strict, linear record of non-linear processes. From a step back, the many colored key-commands and black phrases of text illustrate an abstract and personal topography of thoughts and actions. The illusion of Sic is that everything is displayed, but the reality is that without the final products of the labor to compare, the record will always be incomplete, and will remain pieces whose sum is less than the sum of the whole.