Even though, like most people, I use Twitter publicly, I still often get the feeling that my tweets exist in a kind of social media bubble — that they’re shielded from the rest of the world, read only by the people whose feeds they happen to pop up in. That is, of course, just the imaginary feeling of comfort that social media inspires, and the reason it works so well. In truth, everything I tweet is a public statement.
Still, it’s hard to locate those tweets in the proverbial “real life,” in the world outside of the internet. This is precisely what photographers Nate Larson and Marni Shindelman have done in their Geolocation series, which uses publicly available GPS metadata attached to tweets to approximate their location. Larson and Shindelman then photograph the sites and reproduce the tweets below the prints, offering up combinations that are alternately hilarious, heartbreaking, mysterious, and inspiring.
I’m not sure the Geolocation pictures reveal any deep human truths, nor do they say too much about their respective Twitter users; but their most important function may be to remind us that those users are people (minus the bots, of course). James Holland wrote an essay for Hyperallergic a few weeks ago about the shifting concept of social exchange and the question of how our human, flesh-and-blood selves fit into the new picture. “That is therefore the heart of what social media signifies,” he wrote, “an unspoken challenge to sift the material effects of a seemingly immaterial medium.” Larson and Shindelman’s photos seem to be a nod in that direction — a way of locating ephemeral tweets in concrete and trees, pinning them down in city- and landscapes and in the process, grounding them in a graspable reality.
Designed by artist Christine Egaña Navin, the items will be offered by Project Art Distribution at this weekend’s NADA Flea Market.
The French painter felt he had to rise to the challenge of one question above all things else: What exactly is it to be a modern artist?
Philipsz’s haunting sound and video artworks serve as a poignant witness to the lives and artistry of victims of the Holocaust.
The artist’s site-specific museum exhibition Three Parallels glows with choreographed colored light.
Join the New-York Historical Society on February 10 for a virtual conversation about our changing relationship to the natural world with Julie Decker, John Grade, and LaMont Hamilton.
In an open letter, European institutional leaders defend Manuel Borja-Villel, who has faced right-wing attacks for his progressive programming.
A new study posits that rising smog levels in 19th-century London and Paris likely played a role in blurring the lines of realism.
In Seongmin Ahn’s paintings, it is not our past we are looking at but our possible future.
Born in Shiraz, Sokhanvari fled Iran as a child a year before the Revolution and has devoted her artistic practice to the country she left behind.
Presented by Northwestern’s Block Museum and McCormick School of Engineering, this new exhibition seeks empathy at the boundaries of life. On view in Evanston, Illinois.
Stephen L. Starkman’s moving book about his encounter with mortality leaves a place for perseverance and hope.
“We clearly f-ed this one up,” said a Metropolitan Transit Authority rep, adding that the error in the artist’s last name is being fixed.