- Oh, dear. Artist Sarah Lucas’s “Au Naturel” was chosen for Dlisted’s caption contest. Don’t worry: you, too, still have time to submit your own snarky caption about the mattress. [Dlisted]
- It seems like those $90 Suicide Girls prints are sold out on the SG website. We were too late! [Suicide Girls]
- But you can always see one of the Suicide Girls prints in person at Postmasters’ new exhibition, #wcw (@Womencrushwednesday). [Postmasters]
- Nominate your favorite net-artist for the second annual Prix Net Art, with the winner receiving a $10,000 grant. Your favorite net artists already know how much you care, but hugs do not pay the bills. [Rhizome]
- In Tampa, the tenth-known violent death of a transgender person to occur this year. No. [Political Animal]
- Book-lovers, you may want to prepare yourself before clicking on this link. People are “defiling” vintage books in the name of stencil-art. [Town and Country Living]
- A.I.R. Gallery launches their annual studio visit lottery. $15 bucks per ticket, or a pair of them for $20. The list of visitors this year is impressive: Martha Wilson, Mira Schor, Kat Griefen, Lesley Heller, Judith Brodsky, and Paddy Johnson, among others. [A.I.R Gallery]
- The history of cybernetics and management techniques, with a focus on Chile. The country tried out cybernetics as a means of economic control in the 1970s, but then the U.S. came in and led a coup against the country, thereby ending the cybernetic-management experiments. [AVANT]
- On why the Marvel cinematic universe lacks the X-Men and Spider-Man, who are very much a part of Marvel comics. [A.V. Club]
- Verisart, a new art-and-tech start-up, seeks to catalogue every new work of art and record it with blockchain technology. [Bloomberg]
- China Through the Looking Glass is on track to become the most popular exhibition at the Met ever. So far, the exhibition has been seen by 500,000 and is on view through Labor Day. The Alexander McQueen show remains the most attended, attracting 661,509 in its 15-week run. [ARTnews]
- The EXPO CHICAGO art fair announces its 2015 fair programming, which will include talks on the state of design criticism, global biennials, and the Chicago Imagists. [EXPO CHICAGO]
Here at AFC, we have a new tradition: the NSFW GIF of the Hump Day. We outlined this new policy and its logic in our inaugural inappropriate weekly GIF post last Wednesday. Obviously, that link is also NSFW, unless you happen to work in an office as awesome as ours.
Basically, we’re going to keep posting GIFs that some people might find offensive.
This week, we’ve been
recovering from our Artscape hangovers finishing up our Artscape coverage. Of all the freaky shit we saw in Baltimore, one piece in the show Gilding the Lily at the artist-run space Area 405 stopped us in our tracks. It’s an epic, seamlessly-looping 20 minute 3D animation from Jonathan Monaghan titled Escape Pod.
This magical journey follows a golden stag with a baroque anus from birth to the moment he conceives himself (?) by pooping out a cyborg penis to inseminate …something. That something is a giant set of testicles attached to an equally baroque, flying mansion with a minimalist Scandinavian penthouse. The cycle begins again with the baby stag exploring a world of stunning landscapes and duty-free shops that look like the Miami airport.
We were so enthralled by the experience, we asked Monaghan to send us some GIF samples from the feature (which is a masterpiece) as a souvenir.
Those of you brave enough to taste the visual feast that is Escape Pod can do so…
…after the jump.
When art mingles with tech, there can be a rush to mass-market artsy/techy products; in the early days of new tech, those products can sound terribly goofy, and they often aim at self-improvement. Take, for example, from 1969, artist Thomas Tadlock’s “Archetron,” a color synthesizer that turned black-and-white signals on a TV into colorful psychedelic imagery. It ended up being sold as a “prophecy, meditation, and healing machine” at a new age center in New York. That product never really caught on; and we tend to remember Tadlock more for his art contribution than a commercial one.
When I first met Forrest Nash he was wearing khakis. It was June 2009 in Venice, four months before Hyperallergic declared Khaki pant wearers amongst the most powerless—at least in the Lower East Side. I liked Nash immediately. He was smart, had a great eye, and was almost completely lacking in pretension. His knowledge of art was encyclopedic and at that point he’d only been running his blog Contemporary Art Daily for a year.
Contemporary Art Daily (CAD) is a curated website featuring extensive documentation of selected art exhibitions from around the world. There’s no one style the site gravitates towards, but the photographs on the site typically show art deliberately hung and arranged in interiors like gallery and museum spaces and include a range of installation and individual shots of the work.
Now updated 10 times a week and religiously followed by art professionals across the globe, the blog began with Nash in 2008, while he was still a student at The Contemporary Art Institute in Chicago. It has since grown. In addition to CAD site now includes Contemporary Art Venues, (a venue listing service) and Contemporary Art Quarterly (comprehensive documentation of an artist’s career). To make all this happen CAD now employs four full-timers including Nash. In 2012 the blog became a non-profit.
In short, a lot has happened over the past seven years, and a lot of his happened relatively recently.. Contemporary Art Quarterly was launched earlier this year and Nash moved from Chicago to California this summer. I wanted to get the full history on the site, so we sat down to talk.
As we mentioned in our events listings this week, Emilio Bianchic has a solo show Nailture opening at Postmasters tomorrow night from 6 p.m. to 8 p.m. The show is based around the premise that the internet is not the democratic platform it’s frequently hailed as. In reality, the net is controlled by governments and corporations, and remains inaccessible to billions of people. Bianchic proposes that a different brand of “digital” art is truly the medium of the masses: the manicure. Everyone has nails, and you don’t have to call yourself an artist to paint them.
In honor of this fucking awesome manifesto, we’re bringing you nail-art GIFs clipped from the hands of Bianchic via his multi-page, multi-media web-based work LGBP (Little Gendered Body Parts). The piece includes various GIFs, videos, and social media interactions with nail artists around the world. It is awesome.
I was tipped off to this work by this tweet from NewHive (a popular net art publishing platform) which has a nice little preview of the artwork’s first page. Check out the whole experience (with music!) here.
— NewHive (@NewHive) May 14, 2015
1300 W. Mount Royal Ave.
Sondheim Semi-Finalist Exhibition
What’s on view: 54 Semi-finalists for the Sondheim Prize held inside several MICA Galleries. Lots of sculpture, lots of photographs, and a few paintings that made the short list for the Sondheim Prize, an annual open call juried exhibition for baltimore-area artists. (This includes artists living in cities like Washington.) There’s no theme, and no attempt to forge one. All the galleries were crammed with work.
Michael Anthony Farley: Really, I think everyone has the same complaint every year: there is just too much stuff! No matter what strategies are employed, the show just always feels overhung and uneven.
Paddy Johnson: Honestly, I think you’re being overly-generous to this show. It was terrible.
Find out why after the jump.
by Paddy Johnson Michael Anthony Farley Corinna Kirsch on July 21, 2015 · Events
This GIF from Giselle Zatonyl is labelled Womb Stretch. So why, you might be asking, does it look like the opening credits of Sliders or Doctor Who? Or the wormhole from Star Trek: Deep Space Nine? “Hyperspace” from Star Wars? Visualizations of the internet in bad 1990s movies about hackers?
Well, one time in grad school, I tried to use all of those trippy special effects as an example of an abstraction that is collectively understood— as if at some point in the 20th Century, humanity decided that we will represent an unknowable journey as a swirly blue tunnel of light. While I was struggling to verbalize that, a professor cut me off and explained: “It’s a birth canal.”
Is this what tiny future-people see as they’re being squeezed out from the dark, mushy comfort of the womb to the cold, dry brightness of the cruel outside world? Perhaps we all have a distant memory of sliding through a translucent, mysterious corridor—one that registers as a faint blue glow to developing, sensitive tiny eyes. Maybe that first, terrifyingly new journey from the familiar has been ingrained in us all, so that we later understand it as “time-space anomaly” or “parallel world” or “what the internet looks like.” Is the final frontier visualized as a faint memory of birth that’s shared by humanity? Not me. I was a C-section. It will always be a Stargate to me.