You’ve seen this GIF—now go straight to “Expanding Labyrinth,” Brenna Murphy’s 2012 Rhizome Commissions proposal. This is just one hypnotic slice of her larger project where she created over 50 websites focused on meditative and talismanic imagery; you can visit each of those sites (meditation rooms, if you like) on the commissions page.
Can we expect a future where digital art hangs on the walls of everyone’s homes? Electric Objects, the startup that’s creating a home-computer display system for Internet-based art, called EO1 has been wildly successful. So far they raised a whopping $787,612 on Kickstarter for these digital art screens—their original goal was $25,000. And now, adding to the start up’s momentum, they’re launching a “Net Artist in Residence” program with the New York Public Library (NYPL).
Because there’s no art news today: This year, the cops reign in the open-air drug market at the Gathering of the Juggalos, just a little bit. [Village Voice]
Rhizome is giving away money to artists (again)! If you apply for a $500 Internet Art Microgrant, all you need to do is submit a 150-word proposal and a sketch, even a doodle, of your project. [Rhizome]
Rhizome continues its series of artist interviews, this time featuring Genevieve Belleveau. These are extensive. [Rhizome]
Will daily newspaper publishing soon be relegated only to giants like New York Times? David Boardman, ex-executive editor of the Seattle Times, hopes so. He thinks newspapers should publish only once a week, making for “superb, in-depth, last-all-week Sunday (or better yet, Saturday) paper, a publication so big and rich and engaging that readers will devour it piece by piece over many days, and pay a good price for that pleasure.” People should make magazines. [Slog]
Peter Burr‘s black and white lenticular prints—showcased as GIFs above—would have made an good inclusion in Cory and Jamie Arcangel’s “Infinite Fill Show” at Foxy Production back in 2004. That show was inspired by the 1984 Mac software application with varied 16-bit monochrome patterning that could be picked and dropped into areas of the screen to denote color and depth. That show, which was assembled through an open call had only two requirements; the work should be black and white, and have a repeating pattern. Over 80 artists submitted work including Sterling Ruby (his work currently on view at Hauser & Wirth), Katherine Grayson ( Kathy Grayson of The Hole?), and Dragan Espenschied (now at Rhizome as their conservator).
Burr’s series uses fill patterns common in early-nineties computer graphics programs to create his GIFs. These works don’t feel particularly dated, though, perhaps due to the use of 3D modeling. They’re fresh and given the black and white palette, oddly without much somberness.
How do you preserve a piece which was made for a defunct social media network? How do you restore a broken twenty-year-old artwork that you’ve never seen before? I ask Rhizome’s new digital archivist Dragan Espenschied how he does his job, and he tells me why he loves it.
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.
Art Club 2000′s “Untitled (Conran’s I)”, 8×10”, C-print,1992-93. (Image courtesy of http://www.betweenbridges.net)
Somebody thinks collectors buy Gap (or should want to buy Gap). [Gallerist]
Karen Rosenberg is really excited about the fact that the Met’s rooftop garden just got a new Dan Graham pavillion– which, as far as we can tell, is an S-shaped piece of glass flanked by two hedges. Comparisons are drawn to the Gothic Temple at Stowe. Even the catalogue is “small but excellent”. We gotta see this. [The New York Times]
Worst curatorial idea ever? The Rijksmuseum recently invited an “intervention” by the authors of “Art is Therapy”, by writer/TV presenter Alain de Botton, and art historian/philosopher John Armstrong. As Adrian Searle describes it, the result is giant yellow post-it notes telling you how to feel next to the work of Vermeer, Rembrandt, and Jan Steen. [Guardian]
Gavin Brown has a new website. It’s even harder to navigate than their tumblr was. [Gavinbrown.bz]
China’s “museum boom” has churned out 4,000 museums. Or, at least, large impressive museum buildings; “…setting up quality exhibition programs and finding an audience is dealt with later.” [CNN]
If you got accepted to Cooper Union this year and turned it down, @freecooperunion wants to know about it. [twitter]
Great discussion on Paddy Johnson’s Facebook page on the celebrity art phenomenon. [Facebook]
The nitty gritty from Jayne Johnson, an associate director at Lehmann Maupin, on how to prepare for the Frieze art fair. [Artnet]
Kyle Chayka, once a wee art blogger, has been covering technology all over the web lately, even with a recent cover story for Newsweek. In his latest, he writes for the Guardian about a Minority Report-like program called Creepshield, facial recognition software which identifies sex offenders on online dating sites. [Guardian]
Oliana Lialina’s “Notes on Being a Net Artist” harkens back to the Guerilla Girls’ “The Advantages of Being a Woman Artist”. [Rhizome]
We’re not the only ones who are tired of museums and galleries putting the bottom line before the art. Henry Stewart reminds us that Ai Weiwei still stands for something to some people, and putting his work on refrigerator magnets does not help. [The L Magazine]