Poetry has never been more of a hackneyed product — from tiresome MFA hybrid poems to stale derivations of pop/Net conceptualism to the New New New York School, always proclaiming that its linking of art, gay male cosmopolitanism, and poetics is “new.”
You’re digital! I’m digital! We’re all digital! No better way to stir the pot than to bring up the post-IRL condition that has us all confused: What does it mean that we spend so much time online? How are artists engaging technology? Everyone’s arguing, from the curmudgeonly Artforum-approved art historian Claire Bishop to curator Lauren Cornell and author Eleanor Heartney. Here’s what they’re saying.
There was a period when I didn’t know what, exactly a “selfie” was. It sounded like a euphemism for something. Now I know that it’s just a self-portrait — our medium of choice for Facebook and Instagram (RIP). Two recent phenomena, faked selfies and art critic Brian Droitcour’s #artselfies, take the format to the next level.
The New Museum’s “Free” exhibition is based on the freedom of cultural exchange that has followed the advent of the internet and digital technology. Following up on that emphasis on online activity, the exhibition’s catalogue is entirely digital as well, a website-hosted document that’s somewhere between an online PDF and an interactive vertical blog.
If you’re wondering why I’m reviewing a digital catalogue as a book, it’s because this is a book — it’s just online.