The 666th photo taken on various digital cameras.
A unique take on the form of a traveling exhibition, For a Brief Time Only... takes the exhibition to you -- yes, you. The instructions are simple -- visit this site, email Mylinh Trieu Nguyen and David Horvitz of ASDF your address, and then they will send 24 image files by 24 artists to a photo developer near you. You can then pick up the prints from this location, and display them wherever, whenever and however you want. One caveat though -- as the title indicates, these images can only be obtained for a limited period, from November 6 to December 4 to be exact, so hop to it!
Moscow artist Olga Chernysheva seeks out moments of awkwardness and discomfort that arise when reality falls short of the imagination. Whether working with oils or watercolors, analog photography or digital video, Chernysheva uses a plain, unaffected style, deliberately constructing her compositions to be as inconspicuous as she is when fixing her voyeuristic gaze. Tonight at 7:00 p.m. she will present a screening of video works at the Museum of Modern Art. Rhizome Curatorial Fellow Brian Droitcour met with Chernysheva in her Moscow studio.
There's a park in the north of Moscow called VVTs, or All-Russia Exhibition Center, but Muscovites persist in referring to it by its old name, VDNKh, the Exhibition of the People's Economic Achievements. Neither name is a good fit. The old one sounds clumsy and communist. The new one seems too ambitious, since most commercial fairs prefer newer, centrally located facilities to VDNKh's whimsical and ill-equipped pavilions, which were built in the 1930s to showcase products of the Soviet republics or economic sectors whose names they still bear. Today most of them are improvised stores, with plastic banners stretched over marble and gilded facades to advertise the inexpensive goods for sale inside, such as furniture, seeds, radio parts, and honey. As a metaphor for the collision between a Soviet "bright future" and the present's imperfections, VDNKH seems almost too pat to exist. But this juxtaposition is alive in the experience of the thousands of shoppers and strollers who congregate there every day.
Olga Chernysheva usually looks for material in her neighborhood, and at the VDNKh, just a few kilometers north along a major Moscow thoroughfare, which has provided her with inspiration on many occasions ...
This Google "steet view" van image by Joe McKay is created entirely from reflections of the van in store windows in San Francisco.
It's no secret that the Rhizome staff loves animated gifs. The best to roll through our feed readers are often reblogged to our front page, and in 2005 we presented The GIF Show, an exhibition of 12 artists using animated gifs to make new work. When we heard about the upcoming "Graphics Interchange Format" exhibition, we knew we had to share the news. Curated by Laurel Ptak, keeper of the popular I Heart Photograph blog, the show at emerging Brooklyn art space Bond Street Gallery features 67 animated gifs made by 26 artists, including Rhizome's own staff writer Tyler Coburn, Petra Cortright, C. Coy, Ilia Ovechkin, M. River, Trevor Shimizu, Jo-ey Tang, Anne De Vries, and Damon Zucconi. Some of the artists are among the net's gif stars and others made their first gifs for the show--they were all commissioned on three days' notice by Ptak and are being sold in unlimited editions (accompanied by a personalized note from the artist) for $20, instigating "gif shop" puns across the net art blogosphere. The curator promises a show that will demonstrate the diversity of what this beloved file format has come to prove capable of since its inception by CompuServe in 1987. Nonetheless, as a show nestled within a group show of group photo shows, called "Young Curators, New Ideas," the artists were encouraged to use photographic media and the resultant works are poised to trigger references to the history of lens-based practices and proto-filmic experimental cell animation. Either that or they will just flicker their way into your hearts as they clearly have ours. - Marisa Olson
Image: M. River, Safarirafas, 2008
Initially, Elliott Malkin's new work, Graffiti for Butterflies, reads like a science fair project. One can just see the riveting subtitle, "Directing monarch butterflies to urban food sources along migratory routes in North America" taped-up in bold letters across the top of a trifold sign affixed with statistical charts and photographic evidence. In truth, this mostly internet-based project is a perfect spoof of the recent spate of R&D art experiments that saturate the web, performing rather than practicing science, even as it provides us with a series of informative links and nice photos of caterpillars and butterflies thriving in the wilds of midtown Manhattan. Malkin's big idea was to spraypaint printed decals of milkweed flowers (the food source of choice for Monarchs) with aerosol sunblock that reflects UV light, thus making it stand out to those creatures with "butterfly vision." The images are then to be placed remarkably close to the real thing they represent, in order to broadcast the signal (Malkin's got the techie language down pat) to the migratory creatures that they have arrived at a way station. He likens it to "the equivalent of a fast-food sign on a highway, advertising rest stops." A demo video, in simulated "butterfly vision," illustrates the process of creating these nouveau golden arches. It would be ironic if hordes of monarchs took the bait, as the same type of mimicry the artist invokes is a natural defense strategy often used by other species of butterflies hoping to masquerade as the poison creatures. So far, Malkin's only tested one "prototype," but it did manage to attract a butterfly who even colonized the potted milkweed with her own caterpillar eggs. Ultimately, he confesses to being more interested in distributing the idea than tagging the entire city himself. This ...
From the artist's statement: 4,007 photographic images (one for each ten Kilometers of the earth's circumference) were sourced from photo sharing websites. The images, largely holiday snaps, were cropped to exclude any geographical, architectural or other reference points and the resulting images re-scaled (so that the horizon ran directly through the center of the frame) before being ordered on a time-line according to color. With the images being sourced from unknown locations across the globe, the work aims to document an imaginary line, which ultimately describes the curvature of the earth.