Seven on Seven is an annual conference hosted by Rhizome and the New Museum that pairs seven artists together with seven technologists to collaborate on projects created in a 24-hour period. The event’s second outing was last Saturday, May 14. The first question that came to my mind while attending the event was — what exactly is a technologist? Through the presentation speeches and Q+A sessions that showed off the series of thought-provoking collaborative artworks, I began to get an inkling of what the word might mean, and what its implications could be. But at a time when new media artists are technological innovators and software developers are artistic creators, where do we draw the line?
Prospect 2011 continues at the Museum of Contemporary Art San Diego until July 10, 2011
Seven weeks ago, Hyperallergic began collecting Mail Art for our Mail Art Bulletin. Now, we are super excited to announce a new leg of our Mail Art project!
In tandem with Northside Open Studios, Hyperallergic will be curating a Mail Artshow from June 16-19.
This past Friday May 13th marked Williamsburg 2:ND Fridays, a night of gallery openings and exhibition unveilings. I trekked around the neighborhood from the far north Causey Contemporary all the way down to Like the Spice gallery and checked out the shows. Here are my findings, in photo format.
At around 11:30 PM EST, the AP reported that detained Chinese artist Ai Weiwei was allowed a family visit with his wife Lu Qing at an undisclosed location. The artist is reportedly in good health.
It’s only natural that some mail art should focus on the envelope as its an integral part of what “mail art” is. So, today we’re posting a collection of envelopes we’ve received for the Mail Art Bulletin.
Can’t figure out how to fill up your culture diet this weekend? We’ve got your back, with Williamsburg Gallery Night going down tonight and Man Bartlett’s 140 hour-long Berlin performance streaming all weekend, plus Su Friedrich’s MICROSCOPE Gallery opening and the Seven on Seven art-tech collaborative event on Saturday.
As part of the Festival of Ideas For the New City anchored by the New Museum, a group of major artists have sprinkled the Bowery with murals. In collaboration with the Art Production Fund, painters including Mary Heilmann, Richard Prince and Jacqueline Humphries created murals for the roll-down metal gates of restaurant supply stores on the historic street. The trick is that these murals are only visible at night, after the stores close. Over the course of one evening’s sunset, I went on a scouting mission to photograph the works in their native habitat. Click through for the photo essay.
Here’s something you probably didn’t know. Since at least the Reagan era, still cameras have not been allowed to photograph the US President giving televised speeches at the White House. Now, the White House says things wil change, but what the future arrangement will be for still photographers is not yet clear.
Obama laid a wreath at the base of the former World Trade Towers right after Osama had been buried at sea. And, as if on cue the utopian “Festival of Ideas For the New City” launched, vowing to “harness the power of the creative community to imagine the future city and explore the ideas destined to shape it.” Starchitects, visionaries, the homeless, mayors, artists, foodies, freegans, the playskool crowd, beggars, actors, bakers, and 100 plus organizations bulwarked by the combined might of the New Museum, The Architectural League, The Bowery Poetry Club, C-Lab, Columbia University Center for Architecture, Cooper Union, The Drawing Center, NYU Wagner, Storefront for Art and Architecture, and the Swiss Institute looked around their own post-recession backyards to tackle sustainability and revitalization, declaring “yes we can.” And for four days, they did.
When director Victor Ruano was a teenager, he wanted to make a movie that could reflect in time, sound and images what that still painting said to him. In his mind, it stood as a description of certain aspects of his society and the country of El Salvador. He would dare to say, that in a sense El Cadáver Exquisito is that painting at 24 frames per second. This image is superimposed onto a billboard in the beginning of the film and serves as a kind of table of contents of what is to come. It stands as a form of dialogue in time, between generations, and through conflicts.
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