the infinite sculpture garden without the boundaries torn and ripped into the vacuum of emptiness (2010) - Petra Cortright
Gene McHugh, Rhizome's former Editorial Fellow and a periodic contributor to the site, received the Creative Capital | Andy Warhol Foundation Arts’ Writers Grant earlier this year and has used these funds to begin the "Post Internet" blog. His project aims to build a space to reflect on "...art responding to an existential condition that may also be described as 'Post Internet'-when the Internet is less a novelty and more a banality. Perhaps this is closer to what Guthrie Lonergan described as 'Internet Aware'-a term that I’m sure I will be thinking through here sooner or later." The blog is essentially a bare-bones workspace for his loose, often train-of-thought musings on contemporary internet-based art, and covers everything from Google's Parisian Love ad to Seth Price.
So, The Rhizome Team is getting together for our weekly staff meeting around 3ish tomorrow. (Our staff meetings are catered by the fine folks at Le Cirque and sometimes start fifteen minutes late to allow the wine to breathe and the caviar to chill) One of the things on the agenda tomorrow is to decide which of the fabulous favicons that you have created to pick as the winner of the FAVICONTEST. This means you have around 24 hours left to contribute your own design for our new favicon. Even if you don't have the urge to submit your own creation you should definitely take a look at what folks have been able to come up with so far. Thanks again to everyone that has submitted, and keep em coming!
PSYCHE, we are lucky to have 3 banana flavored laffy taffys to split
2010, Francesco Bonami and Gary Carrion-Murayari’s Whitney Biennial, is essentially a Whitney Biennial calibrated for the times: small at 55 artists and altogether humble. This humility, and the fact that one needn’t contend with an overwrought curatorial concept, allows viewers a more cogent experience than past, sprawling, thesis-driven Biennials could offer. Several works, rooms and motifs make good impressions. Not many are impressive enough to make an indelible impact—but a few are. Judging by the past couple decades, the task of this biennial of American art seems insurmountable, and there is no urgency to fault this edition for hitting the target and missing the bulls-eye. While the levelness here is exciting as an indicator of a playing field for post-boom artistic production, the devil’s advocate wonders, perhaps unfairly, if there isn’t something ultimately more exciting about a splashy Biennial that fails stupendously.
In the absence of an overarching conceit, why not start with a premise that did precede itself a bit: the third floor as a dedicated space for film and video. Considering the continued expansion of film and video practices throughout the art world, the idea seemed gimmicky at best—easily the curators could fill a floor, but why ghettoize? Then, come February 25, visitors stepping off the elevator and onto floor three were greeted by a tapestry by Pae White, freezing a frame of interlaced wisps of smoke in a vast expanse of fabric. Mercifully this is not a plain LCD screen (as it turns out, the floor showcases a variety of mediums), but as a piece that meditates on materiality, medium and time, it serves as an excellent banner to welcome visitors to the area of the exhibition that is most concentrated on media. The projects therein attending to these matters soar.
Testament is a series of collective self-portraits made up of fragments from online video diaries, or “vlogs”. The project consisted of a series of chapters, each of which focuses on a collectively told vignette, story, proclamation, or meditation on topics such as identity, the economy, illness, politics, the war, or work. Testament explores the formal and conceptual consequences of online video viewing and sharing, while analyzing contemporary expressions of self, and the stories we are currently telling online about our lives and our circumstances. Clips are edited and sequenced like streams and patterns of self-revelation and narrative that flow and dissipate over space and time. As in a Greek chorus, a choir, or a musical symphony, individuals echo, respond to, contradict, add refrains, iterations, and variations, join in, and complete solo narrations. The series reflects on the peculiar blend of intimacy and anonymity, of simultaneous connectivity and isolation that characterizes online social relations.
The Women's Audio Archive began as a series of recordings, taped by Lewandowska after leaving her home country in 1984, grown out of an interest in language as a site of cultural displacement. These recordings document public events, seminars, talks, conferences, and private conversations as valuable records of a particular time in discourse, beginning around 1983 until 1990. Lewandowska denotes this period of time as one dominated by academics and artists close to October magazine and by feminist gatherings, including the participating of Judy Chicago, Mary Kelly, Barbara Kruger, Yvonne Rainer, Jo Spences, Nancy Spero, Jane Weinstock, etc. In a variety of settings and institutions, as well as in private, the recordings also document talks by artists and academics such as Benjamin Buchloh, Victor Burgin, John Cage, Allan Kaprow, Tom Lawson, Les Levine, Peter Wollen, etc.
The act of sound recording began as a way to address the possibilities, as an artist and in everyday life, within a new, unfamiliar environment - through observation in gathering knowledge and participation in developing relationships. Having been educated and raised in a totalitarian state and under a Communist regime, the artist maintains a sensitivity to the power of representation, to the original and manipulation of images, thereby influencing her perception of how history is constructed, who keeps the documents, and who has access to public broadcast. Moreover, the emphasis on sound, away from the image, is a conscious decision by the artist to undermine the primacy of visuality.
In establishing the Women's Audio Archive, Lewandowska seeks to create a collection and a site that would act as a meeting point where the recording conversations would participate in developing a history of women in the media-visual tradition that by its ephemeral nature can easily be forgotten. The Archive, with its attention to sound ...