Olson has served as Editor & Curator at Rhizome, the inaugural curator at Zero1, and Associate Director at SF Camerawork. She's contributed to many major journals & books and this year Cocom Press published Arte Postinternet, a Spanish translation of her texts on Postinternet Art, a movement she framed in 2006. In 2015 LINK Editions will publish a retrospective anthology of over a decade of her writings on contemporary art which have helped establish a vocabulary for the criticism of new media. Meanwhile, she has also curated programs at the Guggenheim, New Museum, SFMOMA, White Columns, Artists Space, and Bitforms Gallery. She has served on Advisory Boards for Ars Electronica, Transmediale, ISEA, the International Academy of Digital Arts & Sciences, Creative Capital, the Getty Foundation, the Rockefeller Foundation, the Kennedy Center, and the Tribeca Film Festival.
Olson studied Fine Art at Goldsmiths, History of Consciousness at UC Santa Cruz, and Rhetoric & Film Studies at UC Berkeley. She has recently been a visiting artist at Yale, SAIC, Oberlin, and VCU; a Visiting Critic at Brown; and Visiting Faculty at Bard College's Milton Avery Graduate School of the Arts and Ox-Bow. She previously taught at NYU's Tisch School of the Arts' new media graduate program (ITP) and was Assistant Professor of New Media at SUNY-Purchase's School of Film & Media Studies. She was recently an Artist-in-Residence at Eyebeam & is currently Visiting Critic at RISD.
An exhibition at Philadelphia's Basekamp, entitled "What's Mine Is Yours" speculates loosely about the origin of the eponymous phrase, asking if it a Jewish proverb or a socialist ideal, while also working to answer the bigger question of why on earth artists would want to collaborate -- with each other or their audiences. While the art market encourages single authors, hierarchy, and conceptual or physical territorialism, in "What's Mine Is Yours" curator Sara Reisman has encouraged artists to share their feelings about.... sharing. The results are intriguingly as politically charged as they are mystical. Take, for example, Star Systems, a video work in which Bjorn Kjelltoft and Shana Moulton merged their identities. While Rey Akdogan's list of the pros and cons of collaborating could be read as a manifesto, tongue-in-cheek, or fair warning, the Mercury Twins' nebulous Cloud City invites the public to cluster like instant cloud formations. The show opens today and also includes radio-performance work by Kabir Carter and a real-time public networking project by vydavy sindikat. - Marisa Olson
Image: Bjorn Kjelltoft and Shana Moulton, Broken Meatballs with Infinity, 2007 (Video Still)
Long before flash mobs, liveblogging, and file-sharing were part of the vernacular, artists were creating social sculptures and elaborate systems for public collaboration. The upcoming SFMOMA exhibition, "The Art of Participation: 1950 to Now" takes a sweeping look at work that addresses co-authorship, exchange, and rapidity--all themes we associate with life in a digital society, but which the show traces back within a post-war art historical context. Organized by the museum's new media curator, Rudolf Frieling, the show includes works ranging from groundbreaking projects by Vito Acconci, John Baldessari, John Cage, Felix Gonzalez-Torres, Dan Graham, Hans Haacke, Lynn Hershman, Yoko Ono, Nam June Paik, and Andy Warhol, to contemporary work by Jonah Brucker-Cohen, Janet Cardiff, Minerva Cuevas, Antoni Muntadas, the Raqs Media Collective, Warren Sack, and Erwin Wurm. The show also casts a glance at the ways in which the title's theme has evolved with communicative media. Take, for instance, the old-fashioned gesture of audience participation. Tom Marioni's legendary public project The Act of Drinking Beer With Friends Is the Highest Form of Art offers an intoxicating stance on the act, while MTAA's Automatic for the People: ( ) allows you to vote on the theme, props, and even subtitle of a performance they'll publicly enact at the museum on November 7th. If you can't make it to San Francisco to see the show and participate live, you can, of course, get in on the act with the online works. Because, really, the show's nothing without you. - Marisa Olson
Image: Lygia Clark, Diálogo:
As our cities get bigger, our buildings grow taller, but our farms and gardens shrink. Trendy clothing stores and greenwashed corporate slogans are working double time to convince us that green is the new black, but what are our real strategies for building and staying green? A group exhibition at San Francisco's Yerba Buena Center for the Arts, entitled "The Gatherers" addresses this question by presenting projects that merge art and activism to address urban environments. This includes work by Fallen Fruit, Amy Franceschini with Wilson Diaz, The National Bitter Melon Council, Oda Projesi, Marjetica Potrc, Public Matters, Ted Purves and Susanne Cockrell, Rebar, roomservices, and Åsa Sonjasdotter--some of whom use parody to point out the absurdity of existing (non)strategies, while others take a more proactive approach. On a micro-level, LA-based collective Fallen Fruit maps the free fruit in their city's neighborhoods and encourages public consumption and awareness at "Public Jams" in which jam is made of these freebies. On a larger scale, Swedish artist Åsa Sonjasdotter created The Potato Perspective in order to use this root vegetable as a touchstone for tracking food trade, genetic modification, the political barriers to growing and eating healthy foods, and the future of sustenance in increasingly-colder climates. YBCA will also be hosting a series of public talks and workshops that address the themes of the show while inviting the audience to participate in the solutions presented. - Marisa Olson
Fallen Fruit, American Family, 2008, (Credit: Fallen Fruit)
For his solo show at London's Seventeen Gallery, Berlin-based Austrian artist Oliver Laric is showing three video projects that put a recursive spin on his previous work. The artist's 50 50 project, in which he seamlessly strung together fifty YouTube clips of strangers singing three songs by hip hop artist 50 Cent, has received praise around the internet and the art world for its remix of both 50's music and vernacular video culture. But now he's showing a recomprised version of the piece (50 50 2008, a remix of his own remix) by using all new clips. The mass availability of videos of people singing these three songs speaks both to the popular appeal of the music and of the act of performing for the home movie camera--thus deepening the initial resonance of Laric's project. For Touch My Body (Green Screen Version), the artist took the nerd-loving video for Mariah Carey's hit single and made a template for chroma-keyed remixes by YouTube users by digitally replacing the background images surrounding the starlet's body with a flat green backdrop. At Seventeen, Laric is showing not only his template video, but also the remixes that internet users (other net artists and general surfers alike) uploaded to the web. This decision emphasizes the project's dependence on the notion of fandom, which is both participatory and collaborative by nature. Laric's inviting template also susses out the often creative and productive nature of fan culture, particularly with regard to the internet, where appropriation and distribution tend to be fast and easy. Finally, his multi-channel work,
On October 29th, the new Temporäre Kunsthalle will open in Berlin, making the city even more of an international art mecca. Their inaugural exhibition features four ambitious multi-channel video installations by Berlin-based artist Candice Breitz. The show will open in two waves, beginning with her installations Working Class Hero (A Portrait of John Lennon), King (A Portrait of Michael Jackson) and Queen (A Portrait of Madonna). In each of these pieces, fans of the musicians have been invited to sing entire albums by Madonna, Michael Jackson, and John Lennon. With each performance shot in precisely the same way, the resulting headshots are presented in the round, a circle of voices aimed at each other, almost duking it out for the title of ultimate spectator, in front of a perpetual blue screen that marks the whole thing as a production. While Breitz is often celebrated for her witty and clever embrace of pop culture, there is a deeper current to her work which revolves around close scrutiny of the relationship between the formation of celebrity at the hands of mass media and the role of these machinations in the culture industry. In these ways, her often autobiographical parodies of pop figures are not so different from the real thing--afterall, it's the idea of Madonna that we see in the media, more than Madonna herself. If a circle of people singing Madge's hits can constitute a "portrait" of her, it's because her image is best reflected in the way that consumers drink-up her message. Then again, this creates a nice tension in the new work Breitz will premiere in the second half of the show. Him + Her is a two channel project employing several decades' worth of found footage from the films of Jack Nicholson and Meryl Streep ...