GIF appeal hashed out

After much shouting and name-calling (mostly with me on the receiving end, sorry to say), Will Brand has revised this statement:

The preference for GIF as a medium, it seems to me, has nothing to do whatsoever with its compression algorithms, a teensy bit to do with the retro appeal of a limited color palette, and a whole lot to do with the fact that - as the very existence of your remix culture indicates - it's so easily interchanged.

He now understands that many artists prefer GIFs for their funky compression algorithms (what John Michael Boling called "the elegance in an appropriately used dither"), the minimal, de stijl-like appeal of a limited color palette (whether or not it is retro), and somewhere further down the list, ease of remixing (since, after all, the first attempts at "art" GIFs existed long before a SocMed "remix culture").

It was rough, but I finally got him to publicly agree with me.

Update, July 2011:
This is an ironic post. I don't think I would ever say that someone "publicly agrees with me"--it has a bit too much of a "smell the glove" ring to it. Nor does WB actually agree with me--he still maintains that interchange trumps graphics in the GIF acronym. Was just inverting his words out of annoyance with the linked-to post.

people on catwalk look at hoarder's collection


It's actually an artwork, One of Each, 1993, by Karsten Bott, as seen on Vvork. This work came to NY (PS1) in the '90s in a show called "Deep Storage." At the time of the exhibit the concept of "hoarders" wasn't in common parlance but the show featured pieces such as Warhol's time capsules (unsealed somewhat prematurely), racks of library catalog file cards, On Kawara date records in ledgers, and other obsession-compulsion-as-art projects.

I couldn't name anything in Bott's collection of crap today but I remember a lot of it was old, faded and depressing. "Deep Storage" was fairly convincing about the tragedy of making, preserving, and warehousing "stuff" as an inherent flaw in gallery-style art since Duchamp. How long are you going to pay for your storage unit of found objects? There is an invisible economy in the art world based on delusion and hope, where everything eventually ends up either in permanent storage in a museum or back in the landfill.