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STUFF: Ten Things Sally McKay Owns and Loves

by Sally McKay on April 17, 2013
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Are you having trouble understanding artists through their art? Understand them through their STUFF instead.

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Woodstock Digital Media Festival Launches This Weekend: An Interview with Organizers Marcin Ramocki and Joe McKay

by Paddy Johnson on June 14, 2011
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This weekend tech art nerds will flood Woodstock for the first Digital Media Festival of its kind. Themed, “Out of Place” — a nod to the unlikely union of local landscape and tech– some of the country’s top art professionals converge to discuss and exhibit an array of new media projects specific to the festival. I’m talking, Christiane Paul, the Director of the Media Studies Graduate Programs and Associate Professor of Media Studies at The New School, NY, and Adjunct Curator of New Media Arts at the Whitney Museum of American Art, Magdalena Sawon and Tamas Banovich, owners of the well-known Chelsea Gallery, Postmasters, and Jeremiah Johnson/Nullsleep to name just a few. Also the artist collective eTeam and VTDigger.org journalist Anne Galloway. I talked with two of the project’s organizers, Marcin Ramock and Joe McKay about the festival this week in the hopes of giving readers and travelers a better idea of what’s in store. (Those interested in attending can purchase their tickets online.) The interview after the jump.
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The Affect of Animated GIFs (Tom Moody, Petra Cortright, Lorna Mills)

by Sally McKay on July 16, 2018
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Since the early 1990s, artists have chosen the internet as a medium, an environment and a
forum. While some internet artists also maintain a gallery practice, the conditions and
conventions that inform meaning in online art remain in many ways distinct from those of
the off-line artworld. Internet art — inherently ephemeral and infinitely reproducible —
eludes commodification and largely operates independently of the art market.1 In the
online environment where acts of creative self-expression are the norm, the boundaries
between artists and not-artists that confer status and hierarchy in the gallery and museum
system are largely immaterial. Even among niche groups of online practitioners who self-
identify as artists, the culture of internet art regards the agency of the viewer on a par
with that of the artist. In most cases, viewers are also producers. Many online artists, such
as myself, operate through the medium of the blog format, which allows for a hybrid
practice blending art production with art criticism, cross-promotion and dialogue.

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Andrew James Paterson on Publishing Decades of Wisdom and Criticism Today

by RM Vaughan on July 26, 2017
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Every city should have an Andrew James Paterson. Pity we cannot clone him.

Since the late 70s, Toronto-based Paterson has produced a mountain’s worth of material in a mountain range long list of disciplines: from seminal New Wave music to Super 8 films, neo-noir novels to ground-breaking critical texts blending art writing and fiction (aka ficto-criticism), diaristic video pieces and digitally sourced art to performed lectures to concrete poems to performance poetry to theatre works. And that’s the short list.

He is arguably one of the most influential figures in Canadian art alive today, and I do not make such statements readily nor lightly. A Toronto without him is unimaginable.

And now, there is even more proof. Collection/Correction, an anthology of Paterson’s critical writings, concrete poems, and film scripts provides a kind of Paterson 101 to new readers and confirms what the rest of us already know – Paterson is an agile and beautifully free thinker, and has always been way ahead of his time. What the hell took this book so long to arrive?

I reached Paterson by email and asked him to “have fun with my questions”. You get what you ask for.

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