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]
Hello readers: today, Paddy Johnson has launched her new biweekly column at Artnet News. Those of you who read her regularly at The L Magazine can now find her essays and reviews at news.artnet.com.
Artist Andrew Benson has launched an amazing new tumblr for his wolf and unicorn GIFs. A warning though. This site is occasionally marked by Watership Down levels of gore. [Wolf + Unicorn]
What happens to conceptual art online? Artist Brad Troemel has a few answers, off and online. I reviewed Brad Troemel’s exhibition at Zach Feuer. The verdict? Thumbs down. [artnet]
It’s never too early in the morning to start thinking about wine. I’m taking wine classes (but the Bordeaux is going to break my bank)! [The New York Times]
Elmgreen & Dragsets famous sculpture Prada Marfa in Texas has been hit by a vandal calling himself the ‘TOMS. [The Internet]
We’re big fans of Rhizome’s community campaign, which on March 19th will feature a 24 hour telethon over google hangouts. Artist and famed Rhizome commentor Tom Moody tells us Rhizome invited him to read aloud his comments at 12 pm EST for an hour. We’re looking forward to reliving the Holy Fire thread! Summary here. Donate in bitcoin here. [Rhizome]
#WithSyria: Hands Across America for twitter? [#WithSyria]
Bitcoin may not replace dollars as soon as we thought (according to people who write about money). A study by Goldman voices its doubts about the stability of a currency that’s not backed by any standard other than comparison with other currencies. Says professor Eric Posner, whom Goldman interviewed: “The people who maintain the Bitcoin network can change the money supply through a majoritarian process. And that means that the supply of bitcoin is a function of what the majority of these people think at any given time.” [Business Insider]
The new TEFAF art market report is out, and according to Alexander Forbes’ summary on artnet news, it spells good news for the continued health of physical and online galleries. Fairs, he says, have lost a little steam as exhibitor costs are becoming too expensive. [Artnet News]
After a foggy morning the sun has come out. That’s great news for our friends at Flux Factory who are making the last preparations for their benefit tonight. We can’t wait to see them there, and we hope to see you too!
Edward Burtynsky’s Watermark has been awarded $100,000, the Toronto Film Critic Association’s top prize. [BlouinArtInfo]
A delicious quote from Louise Blouin, the founder of BlouinArtInfo, who claims the sudden axing of roughly 25 freelancers and failure to pay outstanding bills has to do with the company’s massive growth. “The company is not having money problems. The company is a company that is growing and has restructured the editorial to up the editorial, according to new management, and that’s it. And we have our business that is really growing.” It goes on. Later she tells us that her company has upwards of 3,000 products, and offers the rationale of a crack addict to explain how she came to that number. [Gallerist]
Thieves have stolen the world’s smallest waterlily. [Circa]
The National Endowment for the Arts has avoided major cuts this year with the new appropriations bill. They’re slated to receive $146.02 million, only a hair less than 2013’s allocation of $146.26 million. [Hyperallergic]
Speaking of the appropriations bill, the New York Times Editorial Board congratulates Congress for doing their job, while penning some joyfully snarky jabs at Republican victories within the bill. My favorite comes after complaining about coal companies that will be allowed to continue dumping toxic waste into streams: “Also included is the ridiculous provision that prevents enforcement of new light-bulb standards, a triumph for those who consider incandescent lights a symbol of freedom.” [The New York Times]
The last several years have been bizarrely good for the email-epistolary novel. [Rhizome]