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Dream Job Alert: Rhizome Curators

by Michael Anthony Farley on August 16, 2016

Rhizome is hiring! There’s a full-time position as a Software Curator, saving hard-to-preserve digital artworks, and an entry-level job for an Assistant Curator of Net Art. So cool.

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Why Rhizome’s $600,000 Mellon Grant is a Big Deal for Digital Preservation

by Rea McNamara on January 5, 2016

New York-based new media non-profit Rhizome announced yesterday it was awarded a two-year $600,000 grant by the Andrew W. Mellon Foundation to build Webrecorder, a tool that allows users to archive the internet’s “dynamic content”.

It’s a big deal—the largest grant the organization has received in its 20-year history, and a signalling of the importance for institutions to steer the development of tech tools.

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Wednesday Links: Rhizome Subject of Tom Moody’s Ire

by Paddy Johnson Michael Anthony Farley Rea McNamara on November 4, 2015

Screen shot of Liam Gillick and Nate Silver’s “Either We Inspire or We Expire” (2012), a web-based work that’s part of their “First Look: New Work Online” monthly series currently running as the splash page for the new Rhizome.

Rhizome has relaunched its website. It looks like art. Plus side to this: it’s their mission to support art. Down side: navigation is hard to get used to. We haven’t had a chance to really dig into the site, but Tom Moody has expressed some discontent with changes on the site. Some of these complaints appear to have been worked out already. Comment threads, for example, look fine now, whereas they did not last night. Searching the artbase still proves to be an issue, though. [Tom Moody]
Christie’s, Sotheby’s and Phillips are locked in an insane competition to woo estates ahead of this month’s auctions. Sotheby’s offered to take a “mere” $1 million commission on a collection that includes a Van Gogh valued at $50 million. Others are offering exorbitant guarantees, such as $40 million to the seller of a Warhol Marilyn. It seems as if they might’ve just screwed themselves in an attempt to screw each other. [The Wall Street Journal]
But maybe the auction houses have good reason to be confident: yesterday Sotheby’s sold Carl Kahler’s 1891 painting “My Wife’s Lovers” (the famous cat lady painting) for $826,000, more than double its $300,000 estimate. [artnet News]
So, this is insane: 30% of artists’ studios in London are projected to disappear in the next five years. This probably explains why a proposal from Assemble, the Turner Prize-nominated architecture collective, to convert a south London car park into artist studios is gaining support. The proposal would convert the park into 800 “ultra-affordable” studios, charging £150 per month for rent. Unfortunately, you’d only have the space for five years—the park is slated to be demolished by then. [The Art Newspaper]
Vancouver is widely known as one of the most “Asian” cities outside of Asia, where half of its residents are of Asian descent. So it makes sense then that the Vancouver Art Gallery would create a new seven-member advisory “Asian Art Council” to help them increase their engagement with Asian art. And VAG isn’t alone—other institutions like UBC’s Museum of Anthropology are going in the same direction, with Asian-themed exhibitions planned in the new year. [Vancouver Sun]
19 year old Instagram model Essena O’Neill has quit the social media site after becoming disenchanted with it. She became obsessed with likes and obsessively staged poses. The Washington Post notes that artist Ben Grosser came to the same conclusion after building a plug-in called Facebook Demetricator. The tool removes the “likes” from all Facebook posts. Grosser posted the user results in 2014 following two years of study: people felt less stressed and performative using Facebook without seeing their likes or friend counts. They also felt less compelled to use the service at all. [Washington Post]
Yes, this really did happen: last weekend, a fight broke out in Innisfil, Ontario, leaving a man dressed as the Tin Man with injuries sustained by his friend, the Scarecrow. The police report then concluded that the “the Scarecrow didn’t have the brains to stick around, and ran away with the Cowardly Lion.” On top of that, witnesses included Dorothy and Glinda the Good Witch. [National Post]
Art Handler Magazine has launched a support page. Become a donor. [Art Handler]
Art collective Chim↑Pom on opening a new gallery in what sounds like an amazing Tokyo neighborhood (their neighbors are anarchists and experimental fashion designers) as well as their exhibition Don’t Follow the Wind. The show was installed in the radioactive Fukushima evacuation zone and is accessible to viewers only via a “non-visitor center”. [Blouin Artinfo]
Good news: Toronto’s Power Plant is renewing its emerging curators programme for another two years thanks to additional funding from its funder the RBC Foundation. [Power Plant]

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Rhizome Names Its New Executive Director, Pratt Upload Names Its Keynote

by Paddy Johnson on October 1, 2015

New York based New Media non-profit Rhizome.org announced this Tuesday that they have appointed Zachary Kaplan as their new executive director. That same day Pratt Digital Arts also named Lorna Mills as the keynote speaker for its digital media conference, Pratt Upload.

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An Incomplete History: Looking Back at Rhizome’s Professional Surfer

by Paddy Johnson on September 4, 2015

In 2006, Rhizome’s “Professional Surfer” felt like an important show. Surfing informed the practice of most artists I knew, and seemingly countless artist run blogs existed for the sole purpose of collecting weird shit. This included material like an animated GIF of a flag made in ASCII, MS Paint software instructions, and the largest camera lens you’ve ever seen. It was fun to watch and those with a knack for finding the obscure and truly bizarre were followed religiously.

The online exhibition describes itself as a show that “considers web browsing, aka ‘surfing’ as an art form.” Practically speaking, that meant presenting six websites by artists including Olia Lialina’s Pages in the Middle of Nowhere, Travis Hallenbeck’s Cosmic Disciple, Joel Holmberg’s Chillshesh, John Michael Boling’s 53o’s, and the group blogs Supercentral and Nasty Nets. Each present, combine or recontextualize found material from the web.

Nearly ten years later, we’re still remixing, blogging and collaging material, only we’ve moved to different platforms. Which begs the question: Given the relevance of “Professional Surfer” to today’s online culture, does it hold up as an exhibition and a historical document?

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The Terror and Thrill of Potential at Rhizome’s Seven on Seven

by Paddy Johnson on May 6, 2015

A report on Rhizome’s Seven on Seven conference. More ambitious than ever. Results still a total gamble. Amazing.

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Play With History, Help Rhizome Bring Back Chop Suey

by Corinna Kirsch on December 3, 2014

It’s hard to play the CD-Rom games of our youth. Even some of the most well-known ones have suffered the fate of many commercial releases: here for a season, then gone the next. Wanting them back—it’s not just a matter of needing some keyboard nostalgia; it’s about historicizing gaming.

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Rhizome Making a Killing on Paddle8

by Paddy Johnson and Matthew Leifheit on May 13, 2014

Anyone else notice that Rhizome’s four-piece Paddle8 auction has already raised over $35,000? The auction supports their Seven on Seven Conference, for which they seem to have so shortage of support. That’s in no small part due to Petra Cortright’s “krakow_1.psd”, a digital painting on aluminum estimated at $3,500. The top bid for that painting is currently at $17,500 after 29 bids. The auction still has two days left.

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Why Rhizome’s $600,000 Mellon Grant is a Big Deal for Digital Preservation

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