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.
hat tip Sbarro Chica
still drawing monsters (a career-killer for any serious artist but you can't make me stop). I think the OptiDisc gif was rooted in these little circles that litter every piece of paper I come in contact with.
Update: A color version:
Am enjoying my solo conversation over in the Rhizome comments, where I put up this second installment in reply to Michael Connor's What's Postinternet Got to do with Net Art?
In the present post, Michael Connor makes a distinction between a Web 1.0 artist as modernist, idealistically seeking the innate language of the web, and post-Web 1.0 as post-modernist "interpreters, transcribers, narrators, curators, and architects." And somehow the increasing commercial sophistication of the web factors into this.
I didn't attend the first (2006) Net Aesthetics 2.0 panel but I was a panelist on the second (2008) version, along with Petra Cortright, Jennifer and Kevin McCoy, Tim Whidden and Damon Zucconi. ( https://vimeo.com/2183669 ) We were talking about surf clubs and at that point "Web 2.0" wasn't synonymous with Facebook but possibly Blogger and Myspace, which hadn't quite become the perfected advertising funnels social media is now.
Artist blogs were still a bit outside the commercial hurly burly. You weren't as indicted and implicated in the system on a Word Press blog then as you are with a Facebook page now. So there was a relative innocence to the discussion. I would say there was an equal mix of interest in making original content on and for the Web with stepping-outside-the-web-and-looking-askance at it.
I showed my "OptiDisc" GIF and using screenshots, demonstrated how it had been hotlinked on scores of other people's pages (Myspace, Livejournal, YouTube, etc), with the linkers not having any idea of its source other than that it was a "cool graphic." A kind of Calvino-esque invisible city of hotlinkers. I also showed a post from the Double Happiness blog of "rival snack squads," consisting of two very similar collections of multi-racial, mixed-gender, all-young-people cartoon characters used to personify Wise potato chips and the AMC movie chain (without actually being aware of each other). So we had 1.0, post 1.0, and commercialism all balled up in the same presentation. It seemed more innocent and hopeful, though in comparison to later essays admonishing artists to find their places in the "like economy."
Yet at the same time, that 2008 panel coincided with "Internet Week" and a commenter accused the older panelists of aiming their pitches at the entrepreneurs and venture capitalists in the audience. There were a few. One of them, I think, complimented me on "monetizing" the hotlinking of others by making fine art prints of their thefts, thus profiting from the pirates. I was somewhat dumbstruck, having not considered that aspect at all. (I was just thinking, how can I make the best display of this idea, I swear.)
The point of this reminiscence is to blur the lines of 1.0, post-1.0, and the commercial, which I think artists do, stepping all over curators' and historians' fine distinctions. So there.
Keyword: post-panels internet
GIF by Rene Abythe re-enacts the recent "Paddles down" cyber-auction where my OptiDisc GIF was "bought in" by a consortium of private investors and will now be viewable only on approved institutions' "art computers." A mobile device (above) was used in the bidding, employing a complicated algorithm developed in a recent Rhizome "Seven on Seven" symposium.
This is all nonsense, of course, pertaining to the ongoing obsession of new media types with $$$, and the uneasy marriage of start-up culture with the anti-capitalist avant garde. Have an art idea? Don't starve like Van Gogh -- get backers and monetize it! No backer likes your work? Crowdfund it! The crowd hates your work? Then maybe you aren't really an artist!
Some of my animated GIF work was discussed in the German magazine Springerin.
Franz Thalmair wrote, in part (English translation):
Animated GIFs treat every single frame as a level within one and the same image. When producing animated GIFs, a display time is defined for each image, with one frame either entirely replacing the next or being superimposed upon it. The sequence is generally presented as an endless loop.
The visual language of animated GIFs, which Olia Lialina and Dragan Espenschied describe as "digital folklore" or "demotic Web" arises out of a bewildering mixture of "online-amateur culture, digital DIY electronics, dirtstyle, typo-nihilism, memes, teapots, penis enlargements." Take a look at OptiDisc and Double Double Centrifuge, two of the numerous works by Tom Moody circulated on the Web, and the function of animated GIFs in an artistic context becomes clearer. OptiDisc is made up of 18 individual frames and depicts ten red ellipses arranged concentrically; the animation makes them turn blue, with the colour moving from the inside to the outside and back to the centre again, whilst the spaces between them become filled with black in a counterpoised – and equally pulsating – movement. In contrast, the animated GIFs in Double Double Centrifuge are made up of only eight individual images, but here we find two double centrifuges arranged parallel to each other, and creating a moiré effect with a range of grey tones and various surface textures as they rotate on their own axis. The type of phenomena we usually find annoying when surfing – a permanently flickering background image, a rotating globe when a commercial firm wants to depict its global network, or body parts that grow and shrink to promote an advertising promise of two more centimetres – are presented by Tom Moody as contemplative elements and associated with the work on framing to be found in experimental film, the psychological framework of Op-Art or scientific visualisation methods – in other words, with the visual language of Modernism.
Numerous art practices today repeatedly confront viewers with the conditions of their own perception, in a fashion comparable to the non-linear movement of a loop. One of the aspects responsible for this is repetition, which also enters into play in animated GIFs through their presentation as an endless loop, and provides a vector to articulate political demands. This persistence in an endless loop and interruption of the quotidian chain of perception arising from patterns of repetition is, as Diedrich Diederichsen notes, "not a disappointing process because it leads back to its own beginning. It is the same thing, experienced at least twice by me. It is objectively the same and hence it is a possibility to observe the changes in my experiencing subjectivity, to have a second-order experience of change" – and hence to distance oneself from the normative classification criteria of everyday life.
PDF of the German version (very happy with this design -- screenshots of the PDF are above)
Artists explain and preserve the human experience through myth, translating internal visions into external interpretations, in order to make sense of physical and psychological worlds. Through a collective agency supported by pervasive connectivity, the creation, purpose, and evolution of myth transfers back into the hands of the global village, reclaimed from centuries of appropriation. Eventually, a sentience emerged, and myths took on a new form—-rather than being explicative, they have become alternative. Advances in technology have rendered natural phenomena mere novelty, seemingly explaining all but the existential meaning and complexity of the human mind. Jung suggests that the collective unconscious is a conditioned state, that archetypes are finite and the same mythologies will reiterate ceaselessly. However, storytellers are no longer interested in interpretation, and instead aim to materialize and explore meta-realities. The communal space of the Internet has developed into a proverbial campfire where we sit, glassy-eyed, transfixed by the glow, waiting for revelations.
What's the state of the modern myth? How do myths proliferate, what do we use to represent them, and what's the cultural value of storytelling? #FUTUREMYTH presents digital artists engaged in contemporary myth-making who are using the gallery as a way to navigate, define, and discuss the current landscape of mythology and its relevance in our technologically dependent lives.
text appropriated from 319 Scholes press release.
various modifications of OptiDisc GIF with Seacrestcheadle
2015 Honey Ramka, New York, NY (Project Space)
2008 Telic Arts Exchange, Los Angeles, CA
2007 artMovingProjects, New York, NY (Project Space)
2006 artMovingProjects, New York
1999 UP & CO, New York
1998 Derek Eller Gallery, New York
1993 Gray Matters, Dallas, TX
1992 W. A. Graham Gallery, Houston, TX
1990 Neuhoff Galleries, Dallas
2006 And/Or Gallery, Dallas, Texas (with Saskia Jorda)
2002 homeroom, Munich, Germany (with Gregor Passens)
Online residency, Gazelli Art House/Gazell.io, London, UK, March 2016
"The Wrong - New Digital Art Biennale," Utopia Internet Dystopia Pavilion curated by Valentina Fois, Maitino, Spain/online, 2015
"Control Panel," Honey Ramka, Brooklyn, NY, 2015
"Transnumeriques Awards 2015 @ Videoformes Festival," Clermont Ferrand, France, 2015
twohundredfiftysix colors, video screening, Union Docs Center for Documentary Arts, Brooklyn, NY, 2014
"The Limited Collection," La Scatola Gallery, London/Berlin, and Tumblr, 2014
"The Wrong - New Digital Art Biennale," Chambers Pavilion curated by Sara Ludy, Maitino, Spain/online, 2013
"Reuse Aloud," Basic.fm and NewBridge Project Space, Newcastle upon Tyne, UK 2013
"Speculative Sound Performance with Disquiet Junto," Apex Art, New York, NY 2012
"Speed Show: Never Gonna GIF You Up," Central Internet Cafe, Grafton Street, Dublin, Ireland, 2012
"10000 Pixels," Art Micro Patronage (online exhibition), 2012
"Telefone Sem Fio: Word-Things of Augusto de Campos Revisited," Elizabeth Foundation for the Arts, New York, NY, 2011
"Street Show: The Things Between Us," USB Dead Drop, 540 W 21st St., New York, NY, 2011
"Graphics Interchange Format," Mulberry Gallery, Denison University, Granville, OH, 2011
"Glitch," CentralTrak, University of Texas at Dallas, 2011
"BYOB NY (Bring Your Own Beamer)," Spencer Brownstone Gallery, New York, NY, 2010
"Sanity Disobedience for a New Frontier," Camel Art Space, Brooklyn, NY, 2010
"Dump.fm - IRL," 319 Scholes, Brooklyn, 2010
"Made in Internet," ARTBOOM festival, Krakow, Poland, 2010
"Picturing the Studio," Sullivan Galleries, School of the Art Institute of Chicago, 2009
"The Last Dance," And/Or Gallery, Dallas, TX, 2009
Club Internet (online) at "IRL (In Real Life)," Capricious Space, Brooklyn, 2009
"The Web of Cokaygne; Candle and Bell" (video screening), The Nightingale, Chicago, IL, 2008
"ON_game," University of Texas at Dallas, Dallas, 2008
"The Program" (Dallas Video Festival), Dallas, 2008
"Bitmap: As Good As New," The Leonard Pearlstein Gallery, Drexel University, Philadelphia, PA, 2008
"Nasty as U Want to Be," New York Underground Film Festival, 2008
"Bitmap: As Good As New," vertexList Gallery, Brooklyn, NY, 2007
"Abstract Horror," Galapagos Art Space, Brooklyn, 2007
"Digital Political Time Lapse," Long Island University, Brooklyn, 2007
"Fresh NY," Threshold Artspace, Perth Concert Hall, Perth, Scotland, 2007
"Professional Surfer," Rhizome Time Shares, Rhizome.org at the New Museum, 2007
"Art and Place I: Place as Muse," Space 301, Mobile, AL
"Moments of Greatness," Chicago Underground Film Festival
"Mods and Rockers," York Quay Centre (Case Studies), Harbourfront Centre, Toronto
"The GIF Show," Rx Gallery, San Francisco CA
(aka the O Show), curated by MatCh-Art, SICA, Long Branch, NJ, 2005, and Ramapo College, Mahwah, NJ, 2006
"23 Reasons to Spare New York," Ocularis at Galapagos Art Space, Brooklyn, NY, 2005
"Fuzzy Logic," Futuresonic 2005 festival, Manchester, UK, 2005
ART@><*WORK, curated by Tali Hinkis & Elana Langer, 520 8th Ave., Suite 1602, New York, 2005
"Sunday Afternoon," online exhibit curated by MatCh-Art, 2004
"The Infinite Fill Show," Foxy Production, New York, 2004
“Robot Landscapes,” Case Studies gallery at Harbourfront Centre, Toronto (music for Sally McKay video installation), 2004
"The Freight Elevator Project 2," D.U.M.B.O. (Brooklyn), New York, 2002
"Are 'Friends' Electric?" online exhibition (unofficial) at nerve.com, 2002
"Ink Jet," Aldrich Museum of Contemporary Art, Ridgefield, CT, 2000-2001
"Byte Size," homeroom, Munich, Germany, 2000
"Cyber Drawings," Cristinerose Gallery, New York, 2000
"Skin Tight," The Work Space, New York
"Size Matters (400 Artists)," GAle GAtes et al., Brooklyn, New York [related: NeoImages]
"Optopussy," Angstrom Gallery, Dallas
"Digital Sites," Numark Gallery, Washington, DC
"Ultra Buzz," JCCC, Overland Park, KS
"Post-hypnotic," Illinois State University, University Galleries, Normal, IL (traveled to: The McKinney Avenue Contemporary [The MAC], Dallas, TX; The Contemporary Arts Center, Cincinnati, OH; The Atlanta College of Art Gallery, Atlanta, GA; The Chicago Cultural Center, Chicago, IL; SECCA, Winston-Salem, NC; The Tweed Museum, University of Minnesota, Duluth, MN; Philharmonic Center for the Arts, Naples, FL; Massachusetts College of Art, Boston, MA) (catalog)
Group Show, Ericsson CyberLab, New York, NY
"Static," Eugene Binder, New York, NY (catalog)
Group Show, Derek Eller Gallery
"Op at UP," UP & CO., New York, NY
"Brite Magic," Islip Art Museum, Islip, NY
"Post-Pop, Post-Pictures," Smart Museum of Art, University of Chicago, Chicago, IL (1997) (catalog)
"Dots and Lines," Eighth Floor Gallery, New York, NY (1996)
"Fascination," The Lobby Gallery at 31 W. 52nd , New York, NY (1996)
"Faith in Doubt," University at Buffalo Art Gallery/Research Center in Art + Culture, Buffalo, NY (catalog)
"Tad Griffin, Tom Moody, John Pomara, David Szafranski," Parts One and Two, Eugene Binder Gallery, Dallas, TX (catalog)
"Forging Ahead," Center for Research in Contemporary Art, University of Texas at Arlington (catalog)
"The Return of the Cadavre Exquis," The Drawing Center, New York, NY (1993)
"The Next Best Show," Gray Matters, Dallas, TX (1992)
Inaugural Group Show, Gray Matters, Dallas, TX (1991)
"Me, Myself, & I," Allen Street Gallery, Dallas, TX (1990) (catalog)
"The TV Show," Dallas Museum of Art (1989)
"Metz/Pomara/Moody," The Gallery at 3004 McKinney, Dallas (1989)
TFAA's "Texas Annual 1986," juried by Walter Hopps, Laguna Gloria Art Museum, Austin, TX (Juror's Choice Award and Touring Citation)
500X Gallery, Dallas, TX (with Dennis Scharnberg and Matt Miller) (1986)
Brazos Gallery, Richland College, Dallas, TX (with David Baker and John Snygg) (1985)
500X Gallery, Dallas, TX (with Dennis Scharnberg and P. M. Summer) (1985)
"Polygamy," an artist's book in Abaton Book Company's 5&10c compendium, is in the collection of the Museum of Modern Art, NY
Various private collections in New York, Belgium, Maryland, and Texas
Cornell, Lauren and Halter, Ed, Mass Effect (Cambridge, MA: MIT Press, 2015), pp. 124, 144-5, 285, etc.
Juni, Johanna, "'Control Panel' at Honey Ramka Gallery," On-Verge, July 22, 2015
Hudson, Suzanne, Painting Now (New York: Thames & Hudson, 2015), pp. 110, 113
Johnson, Paddy, "GIF of the Day: Tom Moody," Art F City, October 24, 2014
Johnson, Paddy, "A Brief History of Animated GIF Art," artnet, Part One, August 2, 2014, and Part Two, August 15, 2014
Johnson, Paddy, "Will Galleries and Museums Ever Embrace Animated GIF Art?" artnet, April 11, 2014
Johnson, Paddy, "GIF of the Day: Sketch_J3," Art F City, March 31, 2014
Connor, Michael, "The Commenter: A Lament," Rhizome.org, March 19, 2014
Wentz, Zack (editor), "Works by: Tom Moody," New Dead Families, December 2013
Ekin, Annette, "The web’s abuzz with GIFS + the artists who make them," Studio 202, December 22, 2012 [archived]
Friedman, Zach, "Word-Things of Augusto De Campos Revisited," BOMBLOG, February 21, 2012
Thalmair, Franz, "Minikino im Selbst erfahrungsmodus Zur Rolle sogenannter 'animierter GIFs,'" Springerin, January-March 2012 [pdf] [English]
Hyperallergic Labs, "Tom Moody, 'OptiDisc,'" hyperallergic.tumblr.com, 2012
McHugh, Gene, Post Internet, 2011 (Brescia: Link Editions), pp. 208-214
Chayka, Kyle, "Turn On, Plug In, Walk Out: How 'Street Show' Transforms a Single USB Stick Into a Guerrilla Art Gallery, ARTINFO, July 27, 2011
Kaganskiy, Julia, "A Guide to Enjoying (And Making Your Own) GIF Art," The Creators Project, May 3, 2011
Johnson, Paddy, "Graphics Interchange Format At Denison University’s Mulberry Gallery" (curator's statement), Art F City, February 15, 2011
McHugh, Gene, "Tom Moody," Post-Internet, April 28, 2010
Mueller, Kurt, "Postscript: Art Writers Online" (interviews), Art Lies, Fall/Winter 2010, pp. 40-45
McKay, Sally, "The Affect of Animated GIFs (Tom Moody, Petra Cortright, Lorna Mills)," art&education, September 2010
Wikipedia: "Tom Moody (artist)"
Dockray, Sean, interview and booklet, Telic Arts Exchange, December 6, 2008
Fallon, Michael, "The New Dada," The Rake, July 10, 2008
Weidenbaum, Marc, "Simple Tom Moody Mp3," Disquiet, February 26, 2008
Weidenbaum, Marc, "Tom Moody's 8 Bit Mp3s (and Other Media)," Disquiet, November 26, 2007
Johnson, Paddy, "Blog for Sale," Art F City, May 23, 2007
Fabuš, Palo, "Tom Moody's BLOG," Furtherfield.org, April 7, 2007
Johnson, Paddy, "Video Game Culture Thrives in New Documentary," The Reeler, October 3
Harrison, Thomas B., "High Concept," Press-Register (Mobile, AL), September 3
Johnson, Paddy, "Geeks in the Gallery," Art F City, June 12-14, 2006 (part 1 / 2 / 3)
O'Brien, Titus, "And/Or Opens with Top Talents," Fort Worth Star Telegram, February 12
Fallon, Roberta, "Whol-y O's, heavy O's and Cheerios," Fallon & Rosof's artblog, January 28 (photos)
Hobbs, Jack, et al, "The Visual Experience," 2005 (Worcester, MA: Davis Publications), p. 15
Kraft, Jessica, "Feature: Art Blogosphere," Artkrush, December 14-27, 2005
"Art Joins the Party: Jessica Kraft on Entering the Blogosphere," Contemporary, Issue 73, 2005
Arcangel, Cory, "Interview with Tom Moody by Cory Arcangel," Rhizome.org at the New Museum, October 28, 2005
"Moody Paintbrush," Generator.x, October 20, 2005
Yassin, Aaron, "Not Just Flying Toasters" (interview), NY Arts, September/October 2005
Cornell, Lauren, "How to Succeed in the Arts (By Really Trying)," Net Art News (Rhizome.org at the New Museum), May 18, 2005
Rubinstein, Raphael, "Art in the Blogosphere," Art in America, January 2005 [scan] [text]
Omann, Marie, "Art Blogs: Why Such a Timid Emergence?" student paper, masters program in Design, Communication and Media, IT University of Copenhagen [PDF]
Vassallo, Christina, "Infinite Exhibition" (catalog excerpt), Digital & Video Art Fair: A Tribute to Bruce Nauman, New York, 2005 [PDF]
"Art Blogs Beyond Photography, and One Path Away From the Darkroom," Coincidences, March 12, 2004
Hicks, Cinque, "Give It Away, You'll Still Have It," Bare and Bitter Sleep (blog), 2004
Schmerler, Sarah, "Cyber Drawings," Art on Paper, May/June 2000
Hawkins, Margaret, "Exhibit Shows Why Op Was On Top," Chicago Sun-Times, May 5, 2000
Thea, C., et al, "Mob Rule," NY Arts, March 2000
Viveros-Faune, C., "Computer World," New York Press, February 2000
Gardner, Nina-Marie, "Tom Moody: The Art of Approaching the Babe," netsetgoods.com
McCabe, Bret, "Con/texts," The Met (Dallas), September 29
Rees, Christina, "Cool Your Eyes," Dallas Observer, June 24
Protzman, Ferdinand, "The Big Pixel," Washington Post, May 13
Drumming, Neil, "Digital Sites," Washington City Paper, April 23
Thorson, Alice, "High Art," Kansas City Star, February 28
Trafton, Robin, "Ultra-Buzz: Guaranteed Dazzle," Review (Kansas City), March issue
Porges, Tim, "A Demolition Derby of Art," The Octopus (Bloomington, IL), January 15
Johnson, Ken, "Tom Moody and David Clarkson," New York Times, April 10, 1998
Kino, Carol, "Op 'til you drop," Time Out New York, June 25, 1998
Camper, Fred, "Aiming Low," Chicago Reader, September 12, 1997
Hawkins, Margaret, "Gen X Artists Flaunt Their Indifference," Chicago Sun-Times, September 5, 1997
Colpitt, Frances, "Going Against the Grain," Art in America, April 1995
Odom, Michael, "On View: Dallas," New Art Examiner, January 1995
Huntington, Richard, "Something funny happens to contemporary art," Buffalo News, November 22
Isola, Marina, "Small Differences," The Met (Dallas), October 6
Odom, Michael, review, New Art Examiner, Summer issue
Tyson, Janet, "Excellent Offerings in Dallas," Fort Worth Star Telegram, April 6
Kutner, Janet, "Four Different Languages," Dallas Morning News, March 19
Mitchell, Charles Dee, "Casting Doubt," Dallas Morning News, March 13
Kutner, Janet, "Making the Case for Abstract Art," Dallas Morning News (Guide), March 4
Emenhiser, Karen, review, Art Papers, March/April
Mitchell, Charles Dee, "Portrait of the Artist as a Nerd," Dallas Morning News, March 1
Tyson, Janet, "Dallas Dishes Up a Smorgasbord," Fort Worth Star Telegram, March 7
Emenhiser, Karen, "Rude Mannerisms," Dallas Observer, February 25
Goldman, Saundra. Review, Art Papers, March/April 1992
Emenhiser, Karen, review, Detour, December 1991
Roberts, Tre, review, Art Papers, May/June 1989
Mitchell, Charles Dee, "A Gallery of One's Own," Dallas Observer, March 9, 1989
Roberts, Tre, review, Art Papers, March/April 1989
McCombie, Mel, "Emotional Times Surface in Art," Austin American Statesman, Nov. 27, 1986
Compton, J.R., review, Artscene (Houston), Spring 1986
Kutner, Janet, review, Dallas Morning News, January 17, 1985
School of Visual Arts, New York (Summer) 1978
Corcoran School of Art, Washington, DC 1977-78
BA, English Literature and Studio Art, University of Virginia, Charlottesville, VA 1977
See curriculum vitae of critical writing, exhibitions curated, lectures, and other activities.
Am loving this extremely lo-fi rendition of the OptiDisc gif
more of kim's work can be found for reasonable rates in the unicomart Etsy store
see also unicorngirl's craft blog of death
Kim's work is reminding me of Bill Davenport's 1990s knitting and cross-stitch.
Mostly I know her as a great aggregator (here I am, using Nicholas O'Brien's term after saying we didn't need it) from dump and tumblr.