In the anthology film Omniboat: A Fast Boat Fantasia, 15 directors follow one speedboat on a series of fantastical adventures.
At first, Jillian Mayer’s image, in which she meticulously measured the contours of her face, had the effect of an advertisement.
Every autumn in New York, leaves fall, grass turns brittle, and people are reminded of death.
CHICAGO — A flat description of Miami-based artist Jillian Mayer’s work— such as you might find in wall texts or press releases — reads like it’s culled from the syllabus of an Interactive Arts & Media graduate class.
MONTRÉAL — In the 24/7 news cycle of BuzzFeed, the Huffington Post, and every other “content producer” on the internet, there is a fine line between news and entertainment.
WASHINGTON, D.C. — If there’s any single image that provides an instant philosophical précis to Locally Sourced, up through March 15 at the American University Museum at the Katzen Arts Center, it’s “Ronald.”
It’s hard now to go more than a couple months without stumbling across another exhibition showing “artists [who] question the boundary between art and technology.” It’s enough to make you never give another crap about the boundary between art and technology. But I’m not sure the artists involved in such shows really do either — at least not the ones in Coded After Lovelace.
CHICAGO — “You are the future, and you get love by video,” chants artist Jillian Mayer in “I Am Your Grandma,” a simple, catchy, one-minute video in which the artist ponders the idea that she will be a grandmother and her grandkids will find this video on YouTube.
CHICAGO — When I was but a wee young twin, a powerful psychic told me that I should keep a dream journal. I never forgot that moment, because it came to me in a dream during a wonderful evening of REM-induced magic. That psychic reappeared to me one day in the form of the tumblr blog tag #psychic moment. And that’s when I knew the Internet was haunting me.