Lindsay Howard
Since 2010
Works in Brooklyn, New York United States of America

Artist Profile: Heather Phillipson

The latest in a series of interviews with artists who have a significant body of work that makes use of or responds to network culture and digital technologies.

Heather Phillipson, immediately and for a short time balloons weapons too-tight clothing worries of all kinds (2014). Image courtesy the artist and Bunker259.

When I saw your recent solo exhibition, immediately and for a short time balloons weapons too-tight clothing worries of all kinds, at Bunker259, I curled up in an inflatable birthing pool to watch a video suspended from an engine hoist. The video depicted a series of domestic, public, and online spaces, with a voiceover from you. At one point, you leaned over the camera and appeared to give me a facial. I broke down in laughter because it suddenly became clear that I had become a participant. When you show Zero-Point Garbage Matte, you use a similar strategy: the viewer climbs up a ladder and looks down on the monitor to view the video, a position that is reflected in its content. Which idea comes first, the video or the physical participation of the viewer?

The video usually precedes its final sculptural form, but not always. With the video suite I'm working on at the moment, for example, I have a really clear idea of what will be going on around it. Regardless, I produce multiple "versions" of each installation, so the video ends up inhabiting quite different physical structures at different times. It's like a built-in contrariness mechanism—the capacity to change the context, and therefore the work, and my mind. But, in general, the one constant is how the viewer is con/figured in relation to the video. So, with immediately and for a short time balloons weapons too-tight clothing worries of all kinds, as you mention, the viewer is recumbent with the video overhead. The video deploys regular POV shots alongside dispassionate observations, and mixes interior monologue with direct address, so there are these shifting perspectives. You're the eye/I of the camera, or its eye is turned on you…positions get conflated. For me, the physical relationship between body and screen is crucial to this formulation, although the rationale might only be revealed sporadically. It's a bastardised literary device, that semblance of inhabitation and activation—one minute you're in first person then second person or third person, then slapped back into first.

Artist Profile: Michael Manning

Animated GIF via

LH: For as long as I've been familiar with your work—starting on in 2010—you've been incredibly prolific. Back then, you were creating and sharing abstract animated GIFs. I remember you would post hundreds of variations on a single shape. I see that kind of preoccupation, or obsession, come up again and again in your work, with the Phone Arts series, the Microsoft Store Paintings, and most recently, the Sheryl Crow Pandora Paintings. These expansive projects create a sense of repetition, ultimately a smooth rhythm, which appears to be so continuous as to not have a beginning or an end. Can you describe the process for coming up with these projects? How do you distinguish the individual pieces?

MM: I don't like to take any single piece too seriously, I want to work on something without the pressure of it being perfect. I think people discount producing a lot of work because they connect it to feed culture like it's more important to produce massive amounts of content for tumblr or instagram or w/e but that's not really what I'm trying to do. I think it's more interesting to like shit out a bunch of work in a natural way whether it's through a rhythm that you just stumble upon or if you see a jpeg on dump and you're like "loloolllollll pssssssh what in the even fuck ommmmmg" so you have to like rework it 50 times because you're obsessed with it, and then step back after you make this massive body of work and say to yourself "what is all that about dude?", than if you try and distill an idea into one perfect piece you've over thought to death. When you try and make a piece fit a preconceived concept it feels like graphic design, you have the message and the content you're just trying to solve how to effectively communicate that through the work and I don't want to work like that.

Discussions (3) Opportunities (3) Events (13) Jobs (0)

Language as a Service: A Roundtable Discussion

Wed Mar 18, 2015 09:30 - Wed Mar 18, 2015

San Francisco, California
United States of America

Please join us for a panel exploring the relationship between the cryptic rhetoric of innovation culture and experimental media art, featuring Morehshin Allahyari, artist, activist, and educator; Melissa Broder, Director of Media and Special Projects, NewHive; and Ceci Moss, Assistant Curator of Visual Arts, Yerba Buena Center for the Arts, in conversation with Nicholas O’Brien.

Riffing on the concept of “software as a service”, the panelists will consider the ways in which startups and contemporary business culture has infiltrated and influenced cultural production. As a way of trying to understand the proliferation of terms like “disruption”, “innovation”, and “entrepreneurship” within the arts, this conversation will examine how media art can adopt the language of venture capital and Silicon Valley to build powerful metaphors and poetic gestures.

Wednesday March 18th, 6:30pm PST


The event will be livestreamed here:


New coworking space at 319 Scholes

Mon Dec 01, 2014 12:00

Brooklyn, New York
United States of America

Join us on Saturday September 21, 2013 from 2:00pm-4:00pm for an open house!

319 Scholes new coworking space provides a collaborative work environment with unique amenities for members of the art and tech communities. We offer high-speed internet, free equipment rentals, laser cutting, 3d printing, and space for meetings or special projects. Oh, and did we mention members get 24 hour access? There’s that, too.

We offer three types of memberships: monthly desk share, monthly fabrication, or day rentals.

Monthly Desk Share – $350
● High Speed Wireless Internet
● Free Access to Media Equipment
● Limited Free Laser Cutting and 3D Printing
● Space Available for Meetings or Special Projects
● 24 Hour Access

Monthly Fabrication – $100
● 2 Hours of Laser Cutting
● 3 3D Prints, 6×6” size
● Knowledgeable Support Staff

Daily Work – $25
● Personal Desk Space for the Day
● High Speed Wireless Internet
● Space Available for Meetings

319 Scholes is located five short subway stops from Manhattan in Bushwick, Brooklyn. Just fifteen minutes from Union Square, Bushwick is a thriving, creative neighborhood with galleries, cafes and artist lofts, nestled amongst an otherwise industrial environment. Over the past ten years, Bushwick has developed a distinct personality shaped by its diverse residents and artistic community.

Contact: Jo-Anne Hyun, Gallery Manager –


Eyebeam Resurfaces: The Future of the Digital Archive

Thu Jan 10, 2013 17:00 - Thu Jan 10, 2013

New York, New York
United States of America

Eyebeam Resurfaces: The Future of the Digital Archive
Curated by Lindsay Howard and Jonathan Minard

Opening Reception and Screening: Thursday January 10, 7:00pm–9:00pm
Exhibition: January 8 – January 12, 2013

**$25.00 suggested donation for the opening reception and screening. All proceeds are 100% tax-deductible and proceeds will go toward the organization’s recovery efforts.**
To make a $25 donation:

On October 30, 2012, Hurricane Sandy hit New York City causing a record storm surge to sweep through Eyebeam, leaving behind three and a half feet of saltwater mixed with sewage and corrosives. In a single day, the flood claimed over $250,000 worth of AV equipment, books, and computers. Among the wreckage was Eyebeam’s archive of analog and digital media, chronicling the organization’s fifteen years of experimental art and technology. Through an emergency plea on social media, Eyebeam mobilized a team of digital media conservators and volunteers from the community to stabilize and preserve these artifacts.

Eyebeam Resurfaces: The Future of the Digital Archive is an examination of this community-led recovery effort, bringing together a lineup of lectures and workshops, a documentary film screening, and an exhibition of works salvaged from the collection.

After reviewing more than 1,500 recovered DVDs, VHS cassettes, Mini DVs, and digital storage media, curators Lindsay Howard and Jonathan Minard have selected the most unexpected, exciting, and rare materials from the archive to feature in a multi-channel exhibition. These selections include work by artists, programmers, and creative technologists, made during residencies and fellowships featuring documentation of the creative process, historical footage of artists and former staff members, as well as fragments of completed artworks. These works showcase a range of mediums, from net art to interactive performance works, from immersive installations to video game art and theory – collectively marking major touchstones in Eyebeam’s history.

The exhibition celebrates the organization’s incredible history and recovery effort, while engaging in a critical conversation about long-term strategies for digital preservation, institutional memory, and disaster preparedness.

Works by Eyebeam alumni such as Cory Arcangel, Alexander Galloway, John S. Johnson, Isaac Julian, Golan Levin & Zach Lieberman, LoVid, Mariko Mori, Shirin Neshat, and Tony Oursler will be screened throughout the week.

/////Opening Reception: Thursday, January 10, 7-9pm/////

Eyebeam will host a fundraising event for its archival digitization effort, set to start early 2013. Experts from AV Preserve will present lessons learned during the volunteer-led recovery of Eyebeam's media archive damaged during the flood.

The fundraiser will also feature an exclusive preview of Jonathan Minard’s Archive, a documentary film that examines humanity’s dependence on digital memory.

Press release:

For all inquiries, contact: Amna Siddiqui |


F.A.T GOLD: Five Years of Free Art & Technology

Mon Nov 05, 2012 18:00 - Sat Nov 17, 2012

New York, New York
United States of America

Release early, often and with rap music. This is Notorious R&D."

—F.A.T. Lab

Celebrating five years of thug life, pop culture, and R&D, the renegade art organization known as the Free Art & Technology Lab, or F.A.T. Lab, is going GOLD. F.A.T. GOLD, that is. From November 5–17, with the opening event on November 7 at 6pm, Eyebeam Art & Technology Center is presenting the acclaimed work of F.A.T. Lab. Organized by Lindsay Howard, Eyebeam Curatorial Fellow, the exhibition invites the public to experience and engage with the collective’s groundbreaking projects.

F.A.T. GOLD brings together an international group of twenty-five collaborators comprised of artists, hackers, engineers, musicians, and graffiti writers, many of whom have been involved with the organization as residents, fellows, or collaborators, for a week-long residency at Eyebeam. The influential group will be onsite daily during the week of November 5, participating in panels, hackathons, and collaborative pieces.

The exhibition will feature significant works from 2007 to the present, including new projects to be launched on opening night. Showcasing a comprehensive and critical selection of the group’s diverse output, the exhibition includes video, software, net art, installation, and performance. F.A.T. Lab members will also be working and hacking on new cutting-edge projects to be added to the exhibition on the fly.

F.A.T. Lab members are Mike Baca, Aram Bartholl, Magnus Eriksson, Michael Frumin, Geraldine Juárez, KATSU, Tobias Leingruber, Greg Leuch, Golan Levin, Zach Lieberman, LM4K, Kyle McDonald, Jonah Peretti, Christopher “moot” Poole, James Powderly, Evan Roth, Borna Sammak, Randy Sarafan, Becky Stern, Chris Sugrue, Addie Wagenknecht, Theo Watson, Jamie Wilkinson, Bennett Williamson, and Hennessy Youngman.

For those unable to physically attend, F.A.T. Public Access will stream live from Eyebeam throughout the week. Tune into for the live stream, program guide, and announcements as they become available.

Tuesday, November 6

Online: IRC Night with F.A.T. Lab


Wednesday, November 7

Opening Reception, Dress Code: GOLD


Thursday, November 8

Lunch with F.A.T. Lab


Panel: featuring Jonah Peretti, Christopher "moot" Poole, and Jamie Wilkinson, moderated by curator Lindsay Howard


Friday, November 9

Panel: Rights, Rogues, and Refugees, featuring Jace Clayton, Magnus Eriksson, Joe Karaganis, moderated by Larisa Mann


Saturday November 10

F.A.T. GOLD Farewell Party


Ongoing from November 5-November 10

F.A.T. Public Access, produced by Jamie Wilkinson and Bennett Williamson

“YOUR ART!!” on Eyebeam’s Dead Drop, organized by Aram Bartholl

Sunday November 17

The exhibition closes.

RSVP on Facebook
F.A.T. GOLD exhibition webpage:
F.A.T. Lab website:
Eyebeam Art + Technology Center website:


Collect the WWWorld: The Artist as Archivist in the Internet Age

Thu Oct 18, 2012 19:00 - Mon Nov 05, 2012

Brooklyn, New York
United States of America

Collect the WWWorld: The Artist as Archivist in the Internet Age is an attempt to show how art responds to the information society. The last decade has witnessed an incredible growth in the production and distribution of images and cultural contents. The availability of inexpensive production tools has seen an exponential rise in amateur creativity, while the Internet provides a new distribution platform for this kind of production, which previously remained private. The show investigates the impact of this process on art practices and on the role of the artist, who more and more evolves into a filter, a collector, an archivist, a post-producer of already existent cultural material.

Furthermore, Collect the WWWorld sets out to demonstrate how the Internet generation is implementing and developing a practice started in the Sixties by Conceptual Art, and further developed in subsequent decades in the forms of Appropriation Art and postproduction: the practice of exploring, collecting, archiving, manipulating and reusing huge amounts of cultural material produced by popular culture and advertising.

Collect the WWWorld is a show first produced by the Link Center for the Arts of the Information Age and already presented, in different versions, at Spazio Contemporanea, Brescia (Italy) in September 2011 and at the House of Electronic Arts Basel (Switzerland) in March 2012. The presentation at 319 Scholes will feature a number of new artists and works in a brand-new arrangement. The show relies on an ongoing research project that can be followed online at

The show will also include a reading area with the catalogue of the show, other books by Link Editions, artist books, texts, and catalogues that provided inspiration for the show. The exhibition will serve as the launch for Ryan Trecartin’s Ryan’s Web 1.0, a new e-book that features his W Magazine set as well as documentation of the research that went into the piece, which will be free for download in PDF format.

Participating artists include: Alterazioni Video (I), Kari Altmann (US), Gazira Babeli (I), Kevin Bewersdorf (US), Aleksandra Domanovic (D), Constant Dullaart (NL), Elisa Giardina Papa (I), Travis Hallenbeck (US), Jason Huff (US), Jodi (NL), Oliver Laric (D), Olia Lialina & Dragan Espenschied (D), Eva and Franco Mattes (I), Jon Rafman (US), Ryder Ripps (US), Evan Roth (US), Ryan Trecartin (US), Brad Troemel (US), Penelope Umbrico (US), and Clement Valla (US).

Domenico Quaranta (1978, Brescia, Italy) is an art critic and curator. He is a regular contributor to Flash Art and Artpulse. He is the editor (with M. Bittanti) of the book GameScenes: Art in the Age of Videogames (2006) and the author of Media, New Media, Postmedia (2010) and In Your Computer (2011). He has curated various exhibitions, including Holy Fire: Art of the Digital Age (Bruxelles 2008, with Y. Bernard), Playlist (Gijon 2009 and Bruxelles 2010) and Collect the WWWorld (Brescia 2011 and Basel 2012). He is a co-founder of the Link Center for the Arts of the Information Age.