Archive for the ‘general’ Category
This is the official blog invitation linking to the tweet that links to the facebook invite for my show opening tonight at Honey Ramka. Please join me as we create conditions of artificial scarcity for the workmanlike PNG (and a GIF). (Plus, the installation looks good.)
Honey Ramka is an exhibition space in Bushwick, Brooklyn @ 56 Bogart Street (1st floor). Tonight's opening is 6-9 pm. Otherwise the gallery is open 1-6pm, Fridays, Saturdays, and Sundays (and by appointment).
Some notes on current/future art activities:
--A solo show in the project space at Honey Ramka gallery in Brooklyn (opening Nov 20 -- press release coming soon). It's called "Original PNGs" and it's all digital-based work. Am printing out 40 drawings from my Computers Club Drawing Society page, as well as some of the new work on the Linux PC I'm been posting. Also an animated GIF, that will be displayed on an Amazon Fire tablet (purchased on Ebay -- kind of a joke but it actually looks pretty good, display-wise). The reason for doing prints isn't merely "to create artificial scarcity" (as the new media folk love to say about galleries) -- viewing 40 drawings in a wall-sized grid has a certain impact you don't get scrolling through them online. I hope you can come see it.
--A one-month digital residency at Gazell.io, scheduled for March 2016. The residency series is a new project for the London gallery Gazelli Art House, and currently features the work of Laura Brothers. Other slated artists include Philip Colbert, Hyo Myoung Kim, Giovanna Olmos, Federico Solmi, Ben Tricklebank, Anthony Antonellis and Kari Altmann. I expect I'll be doing work similar to what's on my blog, at whatever state of evolution that's at in four months.
--In December I'll be giving a talk to a group at Bard on digital painting. More details when I have them, but it wlll be loosely based on these notes for an imaginary panel.
--My artwork in The Wrong will be up for the next few months The Wrong is the second installment of a digital Biennale; the first was administered in Sao Paolo and I assume this one is, too. A group of curators are invited by the Biennale, who in turn invite artists. I have work in Utopia Internet Dystopia, curated by Valentina Fois.
Some of these tunes date back as far as 2009 but all were remixed to bring them up to "Bandcamp standard" (i.e., loud). New parts were written and tracks that sounded sluggish got timestretched to 83.333% of their original length. Lots of modular synth, breakbeats, and vintage beatbox sounds in these. Have fun.
Your support in the form of buying the LPs or songs is very encouraging, but all the material can be streamed.
[embedded player removed]
Click for jumbo graphic showing many odious features of Windows 10. [via] Can't vouch for the accuracy of all this but the marginal notes to the company happytalk amuse.
Microsoft isn't even pretending anymore that you have ultimate control over the PC you bought; it's essentially a little outpost or embassy of their company that sits in your home, gathering data and funneling it back to their HQ in Washington state.
Some of these spyware features are even being added to Windows 7 and 8 computers, under the guise of necessary security updates. PCMasterRace, a Reddit for gamers who favor PCs over consoles (because you have more say about how your programs are managed, updated, etc -- ha!) has a cheat sheet for how to remove "telemetry" from a Windows 7 or 8 PC (hat tip rene).
Microsoft apparently isn't embarrassed by the heavy handed tactics that are losing the "nerd" constituency. They just want to imitate Apple (closed environment, surveillance for your own good, treating users like simpletons) but are doing it with less finesse than the "computer for creatives" does.
If you are ready to make the switch to Linux but are concerned about "driver issues" for your hardware, [PLUG] ThinkPenguin sells Linux-loaded desktops and laptops that work with standard mice, keyboards, monitors, printers (HP, though, not Epson), and Wacom tablets. The sound cards and graphics cards on ThinkPenguin gear also come Linux-enabled. The Mint operating system somewhat resembles Windows XP; Thunderbird, Firefox and VLC come pre-installed in the OS (where they work better than on Windows).
Art F City reports that e-flux and deviantart.com lost their joint bid for .art, the so-called generic top level domain created by ICANN, the internet naming cartel.
ICANN's plan to offer specialized "not-coms" has been criticized as unnecessary at best and a protection racket at worst.
It cost $185,000 just to apply for a domain. E-flux, an art-listing-with-theory service run by artist Anton Vidokle, promised to make administration of .art broad-minded and fair if it won, but Rhizome writer Orit Gat noted that “wield[ing] a kind of centralized power ... seems incongruous not only with the egalitarian politics advanced through e-flux’s editorial, but also with the concept of the Internet as a shared resource.” [link added -tm]
The winner of the domain, UK Creative Arts Limited, plans to use it for:
the creation of an online community for artists, owners and keepers of works of art, commercial art organisations (such as galleries and auction and trading houses), not-for-profit organisations (such as museums, foundations, professional associations), supporting businesses (such as insurance, appraisal, transport) and customers and members of the general public interested in art.
That sounds kind of familiar. Going back in time, here is how e-Flux described itself when it launched in the 1990s:
The e-flux mailing list is made free for readers by a set fee paid by museums and other institutions of art to publish their press releases and other communiqués via e-flux. All information disseminated is permanently archived for reference and research. While its network is limited to public art centers and museums, e-flux offers similar platforms to commercial galleries through its art-agenda subsidiary, and to art schools and art academies through art&education, which e-flux jointly administers together with Artforum International.
This is a business model, and 17 years later it's still a business (apparently doing well enough to scrape together $185,000). Despite having "flux" in the name, what's being offered is the stability of a permanent archive. Which is a kind of power. To support e-Flux in its bid for .art, you would have to assume that (i) it would have no editorial/curatorial/gatekeeping stance in running the domain, which is impossible unless every registration is granted, or (ii) that its criteria for granting domain rights agreed with your notion of good or acceptable art. e-Flux supports many worthwhile projects (including an OptiDisc) and they'll continue to be able to do so without the added authority of deciding who has "art" appended to their names. People might actually care to have this designation, since e-Flux has spent years building a rep as a place for theory, whereas ".art" as administered by something called UK Creative Arts Limited will be seen, at least initially, as another private commercial fiefdom (i.e., of little consequence to left intellectuals). Art F City attempts to demonize the winner as the puppet of a "Russian Venture Capitalist" -- possibly a venture communist would be more acceptable?
It will be interesting to see if any cognizable editorial position emerges out of UK Creative Arts Limited's newfound "centralized power." None of this should be of any great concern since we're being told that serious art discourse has moved to Facebook.
Dorothy Howard, author of the latest pro-Facebook article on Rhizome, wrote this on her Facebook page:
Just published an essay where I use the example of Facebook Groups to argue that opting out of Facebook also involves a disavowal of crucial forms of vernacular culture and solidarity. Hi Facebook! I love you, despite it all..
In case you are missing the logic of this, it is:
Despite widely-circulated criticisms of Facebook as a privacy-blasting, government-spying, family-stalking, commercially-motivated attention-suckhole, significant numbers of naive souls continue to use it, thinking it's a place for democratic or even radical political or artistic organizing. We don't call them naive souls, we call them "the people," and as radicals ourselves we do not want to appear aloof from anything someone else perceives, rightly or wrongly, as democratic. So Howard urges not just a tolerant attitude towards Facebook stooges but becoming stooges ourselves by creating semi-ironic Facebook groups to discuss radical art and politics.
We can never be un-entitled enough. Help the people by helping Mark Zuckerberg -- he'll thank you for it.
Just a quick note that there is a panel discussion tomorrow (Sat, July 25) at 4 pm in connection with the "Control Panel" show at Honey Ramka gallery in Bushwick.
The moderator is Veronika Szkudlarek, who teaches digital painting at Ontario College of Art and Design. I and several other show participants will be on the panel, talking about the questions posed by Szkudlarek below. Please come! The location is: Honey Ramka, Brooklyn, 56 Bogart Street, 1st floor (across from the Morgan L stop).
The show, in part, generalizes your work as exhibiting a “machine aesthetic.” Do you see your artwork as (or is your practice) conversant with machines or mechanization?
Is your artwork in 'Control Panel' somehow in contrast with or in opposition to other kinds of work you make?
What are your thoughts on another artwork in the show?
If we think of Twitter as a Borg or hive mind, it would have to be described as self-lobotomizing. The 140-character limit and imperfect threading make it difficult to express complex thoughts or have rational discussions. Yet this diseased organism is increasingly harvested for sound bites by journalists.
Writers who express their thoughts well in long form sound like dolts in clipped twitter-speech. Critic Katha Pollitt, discussing who deserved to be on the 10 dollar bill, writes "Hamilton by far the better man," which sounds vaguely Cro-Magnon. (I forget what the rest of the 140 characters said, possibly "me no like Jackson.")
My point, difficult to shoehorn into a single tweet, is that what happens in the hive mind mainly makes sense in the context of the hive mind. To pluck out a single "neuron" often requires grabbing four or five surrounding neurons, and quoting this mess as a series of screenshots is an inelegant and ugly form of writing. Yet so many writers are being forced to do this to stay relevant.
A local park had a "Freedom & Fireworks Festival" on July 4. Many food trucks were allowed to park on the grass. Near the bandshell a portable LED sign announced in blinking capitals:
BAGS COOLERS SUBJECT TO POLICE SEARCH.
The Fourth Amendment to the US Constitution says that:
The right of the people to be secure in their persons, houses, papers, and effects, against unreasonable searches and seizures, shall not be violated, and no Warrants shall issue, but upon probable cause, supported by Oath or affirmation, and particularly describing the place to be searched, and the persons or things to be seized.
Missing is the part about cops being able to rifle through your cooler whenever they feel like it. The July 4th event should have been called "Police State & Fireworks Festival." So I celebrated freedom (the part that includes the Fourth Amendment) -- elsewhere.
I have some work in a show opening this Friday, at Honey Ramka gallery in Brooklyn. Here is the press announcement:
Honey Ramka is pleased to present Control Panel, an exhibition featuring work by James Clark, Linda Francis, Micah Ganske, Ben Garthus, Tom Moody, and Yael Rechter. Control Panel opens Friday, June 19th from 6-9pm, and runs through Sunday, August 2nd.
Formally diverse, Control Panel highlights works that channel a distinctive machine aesthetic, and are also iterations of various technological types, processes, and modes. Together, they stage the gallery as an anxious chamber quickened by patterns, programs, and other visual/aural tics, rhythms, and effects.
Also opening in the project space is Salman Toor: Drawings from 'The Electrician'. Illustrated by Toor and co-written by Toor and Alexandra Atiya, The Electrician is an in-progress graphic novel that, while steeped in the strangeness of the supernatural, highlights themes and social conflicts of contemporary Pakistani life. Following the life of one family, The Electrician explores the vulnerabilities of aesthetic minds within a corrupt tyranny. A sensitive register of lived experience, Toor’s drawings address the toll of anxiety and the need for fantasy in a collapsing world.
Honey Ramka is located at 56 Bogart Street (1st floor), in Bushwick, Brooklyn, NY. Hours are 1-6pm on Fri-Sun and by appointment.