But is it, really?
An ambitious exhibition at the International Center of Photography examines the relationship between new media and the offline world.
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.
I see Bailey’s face most places now because I signed up for the You Museum — the “world’s first and only personalized museum that’s with you wherever you go.”
SANTA FE — This is a city best known for a gallery circuit saturated with Southwestern and traditional American Indian art; it may be less apparent that there is a dynamic contemporary art scene emerging in this bucolic desert town.
The internet is a visual space, where virality comes most frequently to media rich in images, whether videos, animated GIFs or simple memes. Connecting these new forms of media with all the classic ways that human beings have told visual stories is a powerful way to reanimate them, sometimes literally, for the digital age.
In late October 2012, three feet of water crashed through Eyebeam, a technology and new media non-profit located in a vast warehouse space on 26th Street in Chelsea. The ground floor location proved catastrophic as the flood poured over from the Hudson: Eyebeam sustained damage to just about every part of its operation, from studio space and galleries to the institution’s all-important archive, stored on vulnerable media formats like hard drives and storage cassettes.
Bruce Sterling might be the most influential art writer you’ve never heard of. The sci-fi novelist and cultural commentator is extremely active in the world of new media and creative coding, writing about artists who work with technology as a medium. A new video interview, part of artist James George and documentarian Jonathan Minard’s CLOUDS documentary, shows Sterling explaining why he’s so passionate about code-based work.
Cyberfest, the first and only yearly festival of international media art in Russia, was founded in 2007 by artists and curators Anna Frants and Marina Koldobskaya. Since that time they have brought hundreds of international media artists to St. Petersburg, and in the process raising its international profile.
The damage from Sandy’s flooding took Chelsea galleries by surprise. The swelling water knocked artworks from walls and poured into basement storage areas, where art spaces and artists alike often store the work that’s not on display. Zach Feuer Gallery’s sloped space meant that water washed directly toward fragile work. Printed Matter encountered a similar issue, with soaked stock going to waste on the sidewalk. But it wasn’t only physical property that was damaged in the hurricane.
Art Fag City associate editor Will Brand responded to my review of curator Lindsay Howard’s Speed Show Awareness of Everything on Facebook, and the conversation quickly turned to the intricacies and etiquette involved in exhibiting internet art.
Entering Japanese artist/composer Ryoji Ikeda’s new installation “the transfinite,” which is currently showing at the Park Avenue Armory, feels like sitting inside of a computer.