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christiane paul

Finally, a Semi-Definitive Definition of Post-Internet Art

by Paddy Johnson on October 14, 2014
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Those in search of a definitive text on post-internet artmaking now have a source book to download. Curators Karen Archey and Robin Peckham have released Art Post-Internet, a catalogue to accompany their show Art Post-Internet at the Ullens Center for Contemporary Art, Beijing China. More than that, it’s full of primary source research and information about post-internet art from dozens of critics, curators and museum professionals. These include Christiane Paul, Ben Davis, Domenico Quaranta and myself to name a few. Each catalog receives its own unique unique download number, as well as a weather report for the day and place where it was downloaded.

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This Week’s Must See Events: This is What Liberation Feels Like™

by Paddy Johnson and Whitney Kimball on September 16, 2014
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If you thought the barrage of openings was over think again. We’re now into week three of opening season. And luckily there’s some good shows on the horizon. Those who are into military inspired Bauhaus drawings, will be pleased to learn that the Drawing Center opens an Alexander ‘Xanti’ Schawinsky this Thursday. Those who are into memes and digital aesthetics have a discussion at PRATT to attend this Friday with, among other star curators, Christiane Paul (The Whitney) and Boris Groys (everywhere). And finally, this Friday the ICA opens a multilingual opera by Alex de Corte and Jayson Musson we’re more than curious about. Musson will be playing his famed youtube persona Hennessy Youngman, so we can’t wait to see what he does with de Corte.

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This Week’s Must-See Art Events: Let’s Get Real

by Corinna Kirsch and Whitney Kimball on January 13, 2014
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If the economy has given us one gift in the emerging art world, it’s a lot of activities involving sweatbands and opportunities for cheap dates. This week is no different.

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This Week’s Must-See Art Events: Performa Alternatives

by The AFC Staff on November 4, 2013
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And there are so many.

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Book Review: Speculative Scenarios, or what will happen to digital art in the (near) future

by Corinna Kirsch on September 11, 2013
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“Curating digital artworks in physical spaces and online exhibitions is becoming more widespread, but such exhibitions mostly take place outside the world of traditional art.” This present-day dilemma posed by Independent Curator Annet Dekker forms the basis of Speculative Scenarios, or what will happen to digital art in the (near) future, a new publication that gathers responses on how to tackle digital art’s conflicted relationship to museums and more traditional, offline exhibition sites. The point is: Digital art is being shown, but museums aren’t playing a large enough role in its collection, exhibition, or conservation.

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Okay, So Who’s Gonna Run Rhizome?

by Will Brand on May 7, 2012
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C’mon, who’s it gonna be? Rhizome has posted a job listing to replace Lauren Cornell as Executive Director, but nobody seems to have any idea who could replace her. The applicant would need to be familiar with net art and new media, have curatorial and/or grant-writing experience, and have the ability to bring in cash money from donors and collectors. Who fits that profile? We have no idea.

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Panel Discussion Recap: Issues of Digital Media Art at the Woodstock Digital Media Festival

by Paddy Johnson on June 22, 2011
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What is new media? Most of the time I don’t want to spend any more energy than I have to thinking about the question; it has a “what is art?” flavor I don’t care for. There are exceptions to this, though, and last weekend proved to be one of them.

Tackled during the “Issues of Digital Media Art” session at The Woodstock Digital Media Festival Saturday morning, panel moderator and artist Joe McKay began by asking why we always have to ask what new media is. Beyond providing a basic distinction between digital art (a digital print or sculpture — object based work) and New Media (work that is created, stored and distributed with digital technologies),  the panelists addressed how the medium is defined in universities, by curators, and by artists (who often opt not to bother with the issue at all). Members also addressed the pull of technology to artists, a topic of conversation that led to Magda Sawon’s assertion that “we’re at this stage where the democratization of access to technology brings in a very different layer of artists who still could be called media artists, but for them it’s a natural tool.” For this new strata of artists, “It’s not a learned tool and discovered tool, it’s the available tool.”

Sawon was part of a panel consisting of herself and Tamas Banovich, owners of Postmasters art, Christiane Paul, curator of New Media at the Whitney Museum of American Art, and artists Marcin Ramocki and Mary Flanagan.

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