September 30, 2004

weird.word

BlessMe.jpg

I dunno either, but I spotted it in front of Odessa dinner the other day. Give it a ring and see if you can figure out where/what/how etc..

Posted by thickeye at 08:41 PM | TrackBack

September 29, 2004

art.franchise

I know a lot of gallery hopping area's (chinatown, Bergemont Station, Chelsea, etc.,) are a little like going to the mall sometimes but now that shit is really going to get all Orange Julius on your ass. Britart/eyestorm -"the worlds leading retailer of signed limited edition contemporary art & photograpy"- already has 5 gallery's (4 in the UK, one in NYC) but they are trying to get even bigger via the medium that has grown everything from fast food to house cleaning services - The Franchise.No, I am not kidding!
From the prospectus:

"Owning and managing your own gallery will be rewarding in every sense. You will be running a 'lifestyle' business that will develop both commercial and social contacts for you, as well as having the potential to generate a high level of income for the right franchisees"

I guess it is elitist to dismiss this out of hand, but, well I guess I am an elitist. What ever happened to the idea of just finding some people with talent and helping them to sell their stuff to people who enjoy being around art? I know, I know, it is _much_ more complicated than that, but I can not imagine a franchise helping in the ways that it is... though the prospectus does go on to point out that buying large sets of prints for the whole system will lower per unit costs so...

Not that I am a huge fan but I would love to hear what Dave Hickey thinks of all this....

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September 28, 2004

hot.notes

Predictably the new school did not grace the (recently built) auditorium with wireless access durring the Hot Enough Panel, so instead of the on the go dealio I was going offer here are my scribbled half notes from last nights presentations. Each artist/group ran down the projects they engaged in during the RNC and Jonah Perentti then asked a question or two of each.

Overall it was informative however there seemed to be little time spent on the meta-questions in the realm of political change inscribed within the realm of technological tools. There was much more of a "gee-wiz" vibe than a true theory heavy look at the means-of-resistance. This could have been due to the fact that there seemed to be a subtle rift between those looking for more radical change (nT, Natalie Jeremijenko, Tad Hirsch (for the Institute of Applied Autonomy) and those that were working in a more standard "free speech" left/Democrat hegemonic protest standpoint (Yury Gitman, Joshua Kinberg). Jonah seemed to try and draw out this rift in his closing questions however the lack of time/energy in the room seemed to stint that shift.

Anyway, here are the summaries (and my impressions) of each presentation.

neuroTransmitter who used their com_muni_port project ( (a low wattage radio station in a back-pack) to create a roving "sonic mob" that toured sites of media consolidation. This project was in keeping with much of nT's work in the past, which often deals with issues of site-specificity by reworking physical into ephemeral space. Described as an exercise in demarcating and reworking the differences between ether space and urban space. I found this project salient in the manner which it multiplies voice through the reclaiming of public radio waves. Further the idea of subverting the notion of protest limits by protesting in the air is a nice way to counter the physical intimidation tactics of authorities. Inherently nomadic in nature, and using relatively lo-tech means this project was not only protest but art commenting on the nature of protest - truly civic poetry in the manner of Dante.

Yury Gitman presented his magic bike which I am sure you have all seen. I have never been that impressed with this project outside of its technologic interest. Artistically I find it lacking in any depth. That being said, Yury presented an outline of the history of the bike in activism which was a good starting off point for the role of transportation ideologies in political change. He also attempted to create a postulate of "open" v. "closed" wireless networks, placing WiFi in the former and cell networks in the latter. Ummmm, while from an engineering stand-point wireless protocols may be much more open than those of cell-phones the data networks which supply the pipeline to wireless access points are anything but. These networks are part and parcel of the very same hegemony which potential users of a technology such as the Magic Bike may be working in opposition to. Not to get all theory-head but it seems that using a technology that is in fact controlled at its base source by that which is being opposed, while wily, is too easily controlled by the existing power-structure which can then use that control as a means of enforcing its own rules. In other words, while playing on a team opposite the telcom giants you are essentially playing on their court, with their rules, and their ball. This criticism is not meant to pick on Yury alone (or specifically), this can equally be applied to several of the projects presented, it just slipped in all zen like here.

Next up was Joshua Kinberg. I will assume that most of you know the story of his preemptive arrest and his performative bike. I dig on this project but there was not really much to add in this presentation. None-the-less I love this projects performative aspects, and the ability for anyone with web access to take part in the performance. This distributive aspect - the notion of working through others - makes a layered aspect to that which is performative tasty and diggable (yea, intellectual, I know).

Tad Hirsch presented on behalf of the The Institute of Applied Autonomy specificly talking about the implementation of TxtMob at the RNC. Tad was - as always - informative, talkative and fairly interested in the meta-questions of his project. Of note was his comment in regards to a question (from Jonah if I remember correctly) about the possibility of the police also being able to join lists and receive the same messages that protesters were. He seemed to think that this is a positive thing in that it personalizes the protestors to the police and shows that they are not crazy anarchists. At the same time he noted that with the amount of traffic that was going back and forth across the network during the protests that it would be virtually impossible for a central command station to track movements by checking in on the public messages. While I used this service during the RNC and found it totally helpful, I was disappointed that the fact that some service providers blocked messages sent by the service (apparently due to anti SMS spam filters). This goes back to my questions/concerns in regards to Magic Bike or any and all of these projects which rely upon hegemonicly controlled way-points.

The ever-brilliant Natalie Jeremijenko presented several projects that I had not seen/heard about which were deployed at the RNC. The first up was the Anti-Terror Hotline - a means for audibly documenting "anti-terror" arrests. The person under arrest is supposed to call the line and then just let the phone record what goes down. Those recordings are then placed on the web for listening and annotation. The second project Natalie threw down was a headcount documentation work in progress that is part of some larger projects she is working on with graduate students. The project uses a video camera suspended from a balloon- the video is then analyzed to count frame by frame and then aggregated and count algorithms originally used for counting cells in scientific environments are then used to create an accurate crowd count. These crowd counts can be used to counter the under-counting by authorities at protests and the like. The idea behind both of these projects (and I would argue her artistic project in general) is shifting the standards of evidence, or rather raising them. She is exploring the questions of where power comes from and how that power is tied up in questions of fact and truth as she calls it "information politics". This exploration of epistemology/knowledge politics is timely and, more than any of the other projects (save perhaps nT), is dealing with issues that are related just as much to current art world practice as they are to technological practice. I think it is about time someone rocked out a nice museum show of her work, as tracking it there seems to be some great salient notions that both use and fly above the technological questions/efforts employed.

Posted by thickeye at 12:26 PM | TrackBack

September 27, 2004

hot.enough

So sorry for my shadow like exsistance, I have been quite earnstly doing stuff to get JFK elected. It feels dirty and shameful, like working in advertising. Perhaps the event below will cleanse me... it should do the same for you.

HOT ENOUGH? ART, ACTIVISM AND WIRELESS TECHNOLOGY DURING THE REPUBLICAN NATIONAL CONVENTION

Monday, September 27, 6:00 p.m. today
Admission is $8. (students FREE)

The New School
Teresa Lang Center
55 West 13th Street

The 2004 Republican National Convention gave rise to a wave of artistic projects employing wireless technology to reach unprecedented masses, to politicize the urban environment, and to achieve unparalleled levels of immediacy. Panelists include: Yury Gitman (The Magic Bike); Natalie Jeremijenko, The Bureau of Inverse Technology, and ontrees.org; Joshua Kinberg (Bikes Against Bush); neuroTransmitter and others.

Posted by thickeye at 03:19 PM | TrackBack

September 21, 2004

DiVA

I am not sure as to the reputation of these folks [Frere Independent], however an art fair dedicated to Video and New Media art is relativly exciting. Contrary to many people I actually like art fairs but then again I also enjoy all-you-can-eat buffets in Vegas, Selah.

I would love to group together with 8-10 artists and self curate a space of our and friends new media/video work, however I have a feeling the costs of something like this would be prohibitive. In any case, pass the info along, if nothing else it will be an intresting event to go scope out.

DiVA - Digital and Video Art Fair
November 11 - 14, 2004

Deadline: October 1st, 2004

Embassy Suites Hotel
102 North End Avenue
New York, NY 10281

Frere Independent is launching DiVA. Dedicated to Digital and Video Art, Diva will take place at the Embassy Suites Hotel in Lower Manhattan in New York, from November 11 to 14, 2004. In this first edition, we are offering space for 39 exhibitors. Each exhibitor will be provided with a genuine suite for exhibition (2 rooms)! at the Embassy Suites. While one room must be dedicated to new media art, the other room may display work of the exhibitor's choice in more traditional media.

DiVA is aimed at galleries, art dealers and collectors who are interested in the market for these distinctive media.

The Fair will coincide with the contemporary art sales of all auction houses in New York. We are now making all effort to secure the attention of the collectors that are in town on the occasion as well as local buyers. This includes potential partnership with the houses, art magazines and artnet.com. By way of example, our full page ad is already running in the current issue of London based Contemporary magazine.

To apply as an exhibitor and for more information contact us or visit us at www.frereindependent.com. The application form may be downloaded on the first page of the website o! r sent to you via fax or email.

Advisors for DIVA include Sueo Mitsuma (Mizuma Art, Japan), Virgile de Voldere (Sling Shot Project, New York) and Wayne Ashley (LMCC, New York)

Contact below

DIVA Fair by Frere Independent
149 West 24th street #3A
New York NY 10011
Toll Free (800) 451 4307
Direct (646) 827 9205
Fax. (646) 827 9283
info@frereindependent.com
www.frereindependent.com

Posted by thickeye at 02:44 PM | TrackBack

September 17, 2004

Natalie.Jermijenko

Go see the super-duper amazing natalie.jeremijenko whom I wrote about earlier
*tonight*
Artist, Natalie Jeremijenko of UCSD
Friday, September 17
refreshments at 6pm
talk at 6:30pm
Japanese Room at ITP, 4th Floor of 721 Broadway

Update:Broken link fixed.
(NJ bio after the cut)

Natalie Jeremijenko, is a design engineer and technoartist. Recently she was named one of the top one hundred young innovators by the MIT Technology Review, her work was featured in the Tate Gallery Cream 2, and a large project was commissioned for the opening of the museum MASSMoCA (www.massmoca.org ). Her work includes digital, electromechanical, and interactive systems in addition to biotechnological work that have been included in the Rotterdam Film Festival (2000), the Guggenheim Museum, New York (1999), the Museum Moderne Kunst, Frankfurt, the LUX Gallery, London (1999), the Whitney Biennial '97, Documenta '97, Ars Electronic prix '96, presented at the Museum of Modern Art in New York. She was a 1999 Rockefeller fellow. She did graduate engineering studies at Stanford University in Mechanical Engineering, and at the University of Melbourne in the History and Philosophy of Science Department and her Ph.D. is in the Dept of Information Technology and Electrical Engineering, University of Queensland. As the director of the Engineering Design Studio at Yale University she is developing and implementing new courses in technological innovation. She is also affiliated with the Media Research Lab/Center for Advanced Technology in the Computer Science Dept., NYU, where she did postdoctoral studies. Other research positions include several years at Xerox PARC in the computer science lab, and the Advanced Computer Graphics Lab, RMIT. She has also been on faculty in digital media and computer art at the School Of Visual Art, New York and the San Francisco Art Institute. She is known to work for the Bureau of Inverse Technology.

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September 16, 2004

storm

From the last paragraph of this times article on preparations for the cat. 5 hurricane about to touch down in the bayous of southern Alabama and Louisiana

"On a local rock station, in contrast, one could hear the stormy lyrics of the AC/DC hit "Hell's Bells'': 'I'm a rolling thunder, a pouring rain, I'm comin' on like a hurricane. My lightning's flashing across the sky. You're only young but you're gonna die.'"

Somehow, wrapped as I am in wrangling with issues of emotion (including tears/rage) in cultural criticism and the project of progressive theory and art in general, I can almost feel the wind.


ivan.184.6.jpg

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September 10, 2004

truth?

Michael Lynch argues here that "By abandoning notions like truth and objectivity, many of us in the academy have forgotten the political value of those concepts". In what is both an anti-bush and anti-PoMo screed Lynch seems to equate the fundamental shift towards an anti-absolutist, or relativist, stance in much of the humanities as a causality for the disengagement with the intellectual class from the nitty-gritty of political warfare.

(note this is not a close reading of his paper but my first impressions:)

His argument- well stated and (suspiciously) free of jargon-makes, at first glance, a strong argument for absolute truths in the political (and intellectual) arena. The fallacy is in the fact that I can find no authors that equate a lack of trust in absolute truths or binary world views who also does not point out the fundamental inequities that these same Truths have been used to establish and permit through the creation of hegemonic histories.

In other words, the work that has been done to show post-modern complexities has been done, primarily, in the service of creating a more just world.

The fact of the matter is that work which is being done to show the very in-flux nature of political and social life is also used to fight tyranny and unjust hegemony. Lynch is really just trying to show that he feels that these goals are too revolutionary for the type of moderate liberal (anti-revolutionary) worldview he supports.

Posted by thickeye at 01:20 AM | TrackBack

September 08, 2004

remember.september.tenth


postcard_edward.gif

LA lucks out once again. Transport Gallery has the first solo show of seminal punk rock photographer Edward Culver, showing work of his from the last 15 years including some large scale instillation/assemblage work that I was lucky enough to see at his studio a few years ago.

I first met Edward at a great downtown LA bar a few years ago that I used to get trashed in regularly (I had to drink enough to be able to work up the courage it took to walk the 4 blocks back to my house through crack dealers, crack heads, and hookers). I forget how we ended up talking but he happened to have some of his old picture books with him (I think he had just come back from a meeting with tashen people) and as he opened them up to be I was transported back in time to an era I was not old enough to have experienced. Just about every important LA based punk-rock and hardcore show from the mid-seventies to the mid-eighties was photographed by edward. From X to The Germs to Wasted Youth to Black Flag, edward was there - often moving on to do the covers of the bands recordings (which is how he makes his living now).

I was later able to visit (and help him move) his home and studio which was, in the most true sense of the term, a life-scaled art work. American flags draped over distressed, human scale wooden dioramas, old punk records and a museums worth of ancient medical equipment (not to mention a beautiful pool table over which I spent several hours). Down to the identical suits he wears every day, Mr. Culver is the real deal.

His art is both alive and dead, artifacts and contemporaneous moments at the same time, yet these binary oppositions I spell out can do nothing to capture the wholeness of the experiences his work creates. While the use of the phrase "the political and the personal" reeks of cliche, now more than ever in our current political climate, Culver's work truly does bridge the gap in that pieces that at first seem explicitly one or the other, upon further viewing often transgress back and forth, creating an unsettling debased feeling. I like it.

The fact that Culver has not had major press/museum exposure is probably due to the fact that he really just makes things for himself and is loath to show, loan, give away anything. Good for him but bad for the art world, this show presents a unique opportunity for all those on the west coast, and if I get a check or two soon I may try and jet blue out for a weekend just to see it.

In any case, the show opens this friday at Transport Gallery (full disclosure, they show my stuff) and is up until october 23rd. I genuinely hope that this show gets the coverage that it deserves. To that end fucking go.

Full Press Release:

Transport Gallery Presents
"Remember September 10th"
An Exhibition of Photography and Assemblage by
Edward Colver
Opening Reception Saturday, September 11, 2004

Los Angeles, CA - "Remember September 10th" will offer viewers a rare
opportunity to see the photography and assemblage works of the enigmatic and
elusive Edward Colver. Known widely as the photographer whose works both
documented and created the look of the original southern California punk
scene (1978-1983), Colver sets the stage in this show to hit viewers square
in the eye with the inimitable brand of social commentary, biting humor and
conceptual play that have defined his 25+ year career as an artist.
Transport Gallery in downtown LA is pleased to present this special exhibit,
which will run from Saturday, September 11, 2004 to Saturday, October 23,
2004. The opening night reception runs from 7:00pm - 11:00pm.

This is the first solo gallery show in over 10 years for Colver, who is
known as THE Southern California punk rock/hardcore photographer,
participating in and documenting the explosive 1978-1983 scene in and around
LA. By those in the know, he is widely credited with forging the image of
hardcore as we know it. His photography has appeared on upwards of 400
albums, including Black Flag, Circle Jerks, TSOL, Bad Religion, Wasted
Youth, Social Distortion, Christian Death, Red Hot Chili Peppers, Ice Cube
and REM. He has contributed to approximately 10 books including "American
Hardcore", "Hardcore California," volumes on REM, Dead Kennedys, X and DOA,
and innumerable periodicals.

(continues below)

"He was visible at every punk show within a seventy-mile radius from
downtown LA to Riverside County, photographing six and seven nights a week.
He was trusted, so his photographs were a part of what was going on rather
than being the images of an outsider merely observing" - Cynthia Murphy in
Photographers Forum.

Colver is currently editing a 4-volume box set featuring a 25-year
retrospective of his career. It will offer a span of images from his
assemblage works, his early punk years, and other music and celebrity
photography including photos of luminaries such as Dr. Timothy Leary, Andy
Warhol, Tom Waits, and Nick Cave.

Transport Gallery is a new gallery in Downtown Los Angeles whose primary
focus is the exposureof challenging contemporary art by regional and international artists in all
disciplines. Gallery hours are Thursday through Saturday 12:00noon - 5:00pm
and by appointment. Please call 213-623-4099 or visit
www.transportgallery.com for gallery information. Transport Gallery is
located at 1308 Factory Place, Los Angeles, CA 90013 (just East of Alameda
and one block North of 6th Street).

# # #

For more information or to interview Edward Colver please contact Lynn Hasty
at Green Galactic at 323-466-5141 or lynn@greengalactic.com.

Posted by thickeye at 05:15 PM | TrackBack

September 05, 2004

pictures.are.the.new.blogs

It seems like the true underground dirty design style hipster drunks have discovered the blog form, substituting over wraught and/or snarky verbiage with sexy drunken photographs of friends, lovers and other celebrants.

Now it is not that photoblogs are at all a _new_thing. Blue Jake and (my personal fav) Slower take beautiful pictures and they have been putting them up forever (and I am sure there were others around long before them but this is not a fucking history lesson.

The sites I am talking about ascribe to a slightly more lecherious, drunken, dirty, and generally less yuppiefied (though no less monied) aesthetic. I love the pictures on three in particular (which I delve into more specificly below) for my own personal reasons but I am trying to grasp for some sort of theory type strand for them to latch onto. I feel intuitivly that they rely on a newfound exploration of the 'curitorial culture' we reside in.

In anycase, most of them have great pictures of pretty girls and boys

This girl Amy has her interweb of radness. I found her shit through a friendster and instantly became addicted last winter. It seemed as though she was at all the same parties as me... and taking pictures. Her world seems to straddle art/drinking downtown and she even makes some fun photo essays. She has not updated in a while but it is worth checking back in on every once-and-a-while.

The spawn of her loins was the photo blog of her 'intern' patrick who is a skate photographer, or so it seems. I don't know the cat personally but we seem to end up in a lot of the same places and his pictures are fab (as are the captions). His world is Epicly Laterd.

There is a slightly more keen looking one; Polaroid Scene by this LA kid cobra who seems to spend a lot of time out this way. I am loathe to place him in here as he has some terrible pictures of me up there, but, well who the fuck cares.

I am not sure there is any sifnificance to these last three sights, they are simply a more direct version of old school photo-albums that I have of drunken high-school nights or the party photos section of numerious magazines...

Just there specific hipsterific focus is... I dunno, you tell me.

Posted by thickeye at 05:56 PM | TrackBack