Ceci Moss
Since 2005
Works in Oakland, California United States of America

Ceci Moss is the Assistant Curator of Visual Arts at Yerba Buena Center for the Arts in San Francisco and an Adjunct Professor at San Francisco Art Institute. She is responsible for coordinating several exhibitions (both solo and group shows) each year, special projects, public art commissions, and public programs for YBCA. Highlights include solo exhibitions by Jacqueline Kiyomi Gordon, Lucy Raven, Nate Boyce, Shana Moulton, and Brenna Murphy, a large scale public art installation by Kota Ezawa in YBCA’s sculpture court, and YBCA’s signature triennial Bay Area Now 7 co-curated with Betti-Sue Hertz. She also co-curated with Astria Suparak the exhibit Alien She that examines the lasting influence of the punk feminist movement Riot Grrrl on contemporary artists, and toured to five venues nationwide.

She has a MA and PhD in Comparative Literature from New York University, and a BA in History and Sociology from U.C. Berkeley. Her academic research addresses contemporary internet-based art practice and network culture. Her PhD dissertation "Expanded Internet Art and the Informational Milieu" examines the expansion of internet art beyond the screen in the 2000’s, especially towards sculpture and installation, as a product of what theorist Tiziana Terranova called an “informational milieu.” Combining art history and media theory through the analysis of case studies that range from internet art and social media in the 2000’s to Jean-François Lyotard’s groundbreaking new media exhibition at the Centre Pompidou in 1985 Les Immatériaux, her dissertation asks how the widespread technological capture of information affects cultural production, specifically contemporary art, and the kind of critical response it necessitates.

Her writing has appeared in Rhizome, Art in America, ArtAsiaPacific, Artforum, The Wire, Performa Magazine, New Media & Society and various art catalogs. Prior to her position at YBCA, she was the Senior Editor of the art and technology non-profit arts organization Rhizome, Special Projects Coordinator for the New Museum/Rhizome and an Adjunct Instructor at New York University in the Department of Comparative Literature. From 2000-2014, she programmed a radio show dedicated to experimental music, Radio Heart, on the independent radio stations KALX, East Village Radio and Radio Valencia.


  <p><img alt="idclogo2.gif" src="http://www.turbulence.org/blog/images/idclogo2.gif" width="65" height="28" border="0" style="float: left; margin: 0px 5px 5px 0px";><h4>Presentational rather than Representational</h4><p></p>

In our cultural landscape of blogs, webcams, profiles, live journals, and videosharing sites, the intimate lives of everyday people are on parade for all to see. One could say that a new culture of erotic exposure and display is on the ascendance, fueled by the impulse to reveal the self, and streamlined by DIY media technologies. In many ways this culture would seem to be less a representational than a presentational one, where we are compelled to solicit the attention of others, act for unseen eyes, and develop new forms of connective intensity -- as if this were somehow the very condition of our continued existence, the marker of our worth.

Within this new culture of self-exposure, one could say that the dream of panoptic power has vanished, or reversed course. Does the drive to willingly display the self constitute a surrender to the controlling gaze, or simply a shift in the dynamic of the game? For within these presentational environments, performance and role-playing reign supreme, and new forms of subjectivity and identity emerge.

  <p>These new cultures of self-display challenge us to rethink foundational concepts in film and media theory and, consequently, to rethink the very conditions of our approach. For clearly these cultures are not necessarily those of mastery and visual pleasure. They do not resolve easily to questions of perception, power, and language. They are cultures of showing as much as those of watching. Instead of a reliance on questions of spectatorship, representation, and scopic power, we are challenged to foreground issues of performance, affect, and display. </p>

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announcing the launch of vague terrain 07: sample culture

Greg Smith:

announcing the launch of vague terrain 07: sample culture The latest edition of the Toronto based digital arts quarterly vagueterrain.net is now live. The issue, vague terrain 07: sample culture is a provocative exploration of contemporary sampling of sound, image and information. This body of work examines the remix as a critical practice while addressing broader issues of ownership and intellectual property.

Vague terrain 07: sample culture contains work from: brad collard, christian marc schmidt, defasten, des cailloux et du carbone, [dNASAb], eduardo navas, eskaei, freida abtan, jakob thiesen, jennifer a. machiorlatti, jeremy rotsztain, noah pred, ortiz, rebekah farrugia, and an interview with ezekiel honig conducted by evan saskin.

For more information please see http://www.vagueterrain.net


Terror Tactics at apexart

Films Screening: Tue 26, Wed 27 and Thurs 28 12 to 5 pm (see schedule)

Panel Discussion: Thursday, June 28, 8 pm

Olga Kopenkina, independent curator and art critic, discusses issues related to paranoia with artists Mark Boswell, Jim Finn and artist, writer and Professor of Politics at the University of Paris, Anton Koslov.

The program analyzes paranoid sensibilities as presented in contemporary film and video. Paranoia is investigated in two of its phenomena: in the classical tradition of American popular culture, more specifically pulp fiction and film noir, and in the US domestic and foreign politics of suspicion, such as the Patriot Act. Terror Tactics explores the condition that gave rise to what has been called "a paranoid culture." Indeed, "visionary" cultural paranoia, expressed in the total fear of abusive violations of privacy, meets reality. As the advertising for the film Enemy of The State suggested, "it's not paranoia if they are really after you."

The films, by Mark Boswell, Jordan Crandall, Jim Finn, Jenny Perlin, Martha Rosler and Speculative Archive, are concerned with how the visual arts, influenced by the "political unconscious" of mass culture, are able to investigate culture and its relationship to politics, wealth, power, desire and autonomy. The films show how conspiracy theories, which trace their history from the '60s, may resonate in the moral climate in today's society facing world terrorism, increased public demand for security and suspicion of foreign enemies and agents. The films also project the models of constructing the narrative of today's existence using tactics similar to those employed by military and media industries.

Terror Tactics is curated by Olga Kopenkina.


DESTROY ALL MONSTERS - 'Original Detroit Noize'

Destroy All Monsters (sometimes rendered DAM) was an Ann Arbor, Michigan musical group formed by Mike Kelley, Jim Shaw, Niagara and Cary Loren. in 1973.

Their music touched on elements of punk rock, noise, psychedelic, heavy metal music and noise rock with a heavy dose of performance art. Their name has sometimes thought to have came from a Godzilla movie, but it could also have come from a comic book with the same title. They described their music as "anti-rock."