The Carl & Marilynn Thoma Foundation opened the 3,500-square-foot space with exhibitions spanning the 18th to the 21st centuries.
Started as a way for digital and new media artists to circumvent the elitist infrastructure of art fairs, the Wrong hosts work online, for free. This year they’ve added a physical exhibition in Chicago.
I first met Claudia Hart in 1995, when she was living in Berlin and I had gone there to do research for a project.
While wandering across a quiet church square in a small Dutch village, I’m talking on the phone with a journalist from the New York Times.
Not long ago I wrote an article celebrating the work being done by cyberfeminist collective Deep Lab. After the piece was published, a writer, curator, and friend wrote to me to express concerns about the lack of women of color artists in the group.
Moving Image would be Emily Dickinson’s favorite art fair.
Sometimes art events bloom in the places you least expect it. Resonate, a new media and technology art festival in Belgrade, Serbia, hits its second outing in 2013, and along with a new website and fresh ventures, it’s looking to be a consistently powerful presence. I interviewed creative director Filip Visnjic about what he hopes to do with Resonate 2013.
Win an exhibition on the Vilcek Foundation’s digital art space and $5,000!
SANTA FE, New Mexico — Two weekends ago, I had the privilege of visiting and speaking at Currents, Santa Fe’s annual festival of new media art. Situated in the Railyard district, a growing gallery community that hosts SITE Santa Fe, Zane Bennett Contemporary and others, the majority of the festival takes place at El Museo Cultural, a large warehouse space focused on Hispanic art but also host to a number of city events.
When I walked into Team Gallery this week to see their current exhibition, Cory Arcangel vs. Pierre Bismuth my gut reaction was annoyance. The exhibition presents three works by each artist. Though Arcangel’s rise to fame has come somewhat immediately and unexpectedly, as a kind of young hip digital concept artist Pierre Bismuth’s 20-year career is equally concerned with technology and media. The result is seamless and startling to an admittedly backwards curmudgeon like me.
The most commanding visual in Manfred Mohr: 1964- 2011, Réflexions sur une esthétique programmée at Bitforms gallery in New York isn’t one of the German digital art pioneer’s own pieces. Rather, it’s the scroll-size wall panel from Mohr’s solo show at the Musée d’Art Moderne de la Ville de Paris in 1971.
This week’s edition of Required Reading comes a little later than usual, but aren’t all good things worth the wait? We’ll be back to our morning publishing schedule next Sunday. Enjoy the linkage.