zu täuschen den Schutzhund at PPOW and REFERENCE Art Gallery

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For my exhibition I would like to present to viewers artworks that can be interminably downloaded and displayed concomitantly in several areas. Berlin based artist collective AIDS-3D will present a framed print titled Berserker, a computer generated portrait of an alien, which will be accompanied with a flash drive containing a file for the actual print. New York artist Ben Schumacher will showcase seven 3D models of iPhones all found off of Google’s 3D Warehouse and displayed on IKEA shelves. Artist Victor Vaughn, from Baltimore, will present a series of prints detailing his family’s history of internationally outsourcing for horse breeding. All of these works at the PPOW will be available for free download off the Internet for public access and simultaneously all pieces will be exhibited at REFERENCE Art Gallery in Richmond, Virginia. All works address concurrent issues of originality, distance, and reproduction - a theme attended to with the actual exhibition itself.

-- FROM THE DESCRIPTION OF "zu täuschen den Schutzhund" CURATED BY JAMES SHAEFFER

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AIDS-3D, Berserker, 2010
[DOWNLOAD]

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Ben Schumacher, 13of 579 iPhones, 2009
[DOWNLOAD]

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Victor Vaughn, Horse & Handler, 2009
[DOWNLOAD]

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Untitled, Untitled, Untitled, Untitled, Untitled (2009) - Xavier Barrade

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The Star Wars Kid (2010) - Comenius Roethlisberger & Admir Jahic

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Drawings of YouTube video "Star Wars Kid," exhibited here at the Invisible Heroes booth at SCOPE Art Fair Basel. From the series "Without You Baby There Ain't No Us".

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Portal (1984) - Daniel Ackerman

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Art in Your Pocket 2

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In the summer of 2009, I wrote an article here at Rhizome about the burgeoning activities of media artists creating new works or updating versions of their older interactive screen-based projects for Apple's iPhone and iTouch mobile devices. As the article made its way throughout the blogosphere, comments surfaced ranging from criticism of the "closed world of Apple's App Store and iPhone devices" to a championing of the availability of inexpensive multi-touch technology now available to artists who had been waiting for a platform that could adequately display and allow for the type of interaction their projects demanded. A year after the article came out, the draw of these devices and their potentially expansive audience has become even more irresistible to artists enough so that several more "apps" have surfaced. The following article catalogs several new iPhone works which have emerged over the past year, works that are pioneering the next generation of portable media art.

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Have a Hangover (2008) - Gretchen Bennett

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From a series of pencil drawings of Nirvana videos found on YouTube. For more from this series, go here.

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Knowledge Work(s): In Search of a Spreadsheet Aesthetics

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I sympathize with the protagonist of a cartoon claiming to have transferred x amount of megabytes, physically exhausted after a day of downloading. The simple act of moving information from one place to another today constitutes a significant cultural act in and of itself. I think it's fair to say that most of us spend hours each day shifting content into different containers. Some of us call this writing.

- Kenneth Goldsmith, 2004

While Kenneth Goldsmith's wry statement about knowledge jockeying is directly discussing the plight of the contemporary author, his comments are useful for thinking about other disciplines. In editing this quote, the word "writing" could easily be replaced by any number of verbs (programming, composing, painting, storyboarding, etc.) as we undoubtedly inhabit an era where creative transposition rather than raw creativity can be enough to drive a project. The ctrl-c clipboard, the layer palette in photo editing software and the flash memory of a microcontroller are all examples of spaces that serve as staging grounds for storytelling and crafting aesthetic experiences — these are interstitial zones where art gestates. Goldsmith clearly doesn't approach the creative process with reverence, and his blasé attitude is an excellent springboard into reading contemporary artistic production in relation to knowledge work. An important question: How might we appropriate this daily activity of "shifting content between containers" as a site (rather than a means) of artistic production? This article will consider the aesthetics of the spreadsheet, and act as the first installment of a series that will engage projects that explore the documents, software, interior architecture and politics of the contemporary workplace.

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Night Scene (1975) - Lillian Schwartz

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computer generated etching

Via the compArt Database of Early Computer Art

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Untitled drawing (1978) - Stephen Bell

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Data generated using Ranstak program and "helix" shapes
Plotted on newsprint with cyan, magenta, and yellow edding 1380 brush-pens. 9" x 9".


Via the compArt Database of Early Computer Art

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untitled (sine curve 2) (1969) - Charles Csuri

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black and white plotter drawing

Via the compArt Database of Early Computer Art

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