Back in December we asked members of the thingist mailing list to suggest names for the new thing.platform. Here are the results:
(The winner was Postmistress Magda Sawon with post.thing.net and she's still waiting for her prize.)
?ru.thing.net
[x].thing.net
404.thing.net
a.thing.net
a6v92oq.thing.net
abstract.thing.net
ambient.thing.net
ante.thing.net
any.thing.net
are_those_your_real_teeth.thing.net
NET ART DEAD!
Mark Tribe has called it in the press release for inSite_05:
Although artists continue to work online in ever greater numbers, net art as a movement is now over. But to say that the net is just another medium along with video, painting, installation, etc. would be misleading. The net is both a medium and a platform, a set of tools for art-making and a distribution channel for reaching people. The net can still enable artists to reach a global audience without the assistance of art world institutions. Equally important, it can enable artists to reach audiences that never set foot in a gallery, museum or performance space. M.T. (* title from ‘Tijuana for Dummies’ by Hiperboreal)"
Slub will do a live-coding performance at Curating, Immateriality, Systems: A conference on curating digital media. Tate Modern, London, 4 June 2005
Nina Katchadourian at Sara Meltzer Gallery presents The Genealogy of the Supermarket and Other New Works and while the main piece was impressive and funny in the end it did little more than cue up The Clash in my mental iPod. Rather than being "lost in the supermarket" Katchadourian takes the American fascination with geneology to its consumerist limit by making a family tree out of familiar and not so familiar brands. Good idea nicely articulated (I now know the familial relationship between Aunt Jemima and Mr. Clean) but she left me feeling, as a one-liner, it could have been done more economically.
From the website:
KURATOR.ORG investigates new ideas around curating in the context of 'immateriality' and 'network systems'. It asks: If the assumption is made that traditional curating follows a centralised network model, then what is the position of the curator within a distributed network model?
The project is a recognition of the fact that art and culture in general is increasingly dealing with communication and information systems. It examines curatorial practice that takes into account the transformative nature of digital objects and systems, as well as production processes that are dynamic, collaborative and distributed. The idea of the 'system' is particularly important in this context in that it not only refers to the physical site of curatorial production, the computer and the network, but also to the technical and conceptual properties of what constitutes the curatorial object and the 'operating system' of art.
The New York Public Library recently sold an icon of American landscape painting, Kindred Spirits (1849) by Asher B. Durand, to Wal-Mart
Two recent posts to nettime on the general theme of landscape/nature vs technology/machines:
Landscape Painting of the Information Age or Romanticism in Media Art by Armin Medosch
more on the nature/machines debate by Andreas Broeckmann
Blogging and the Arts 2
Sponsored by Rhizome.org at the New Museum
May 16, 2005
There's a lot of art bloggers and they all seem to be related to each other, which is the point of a blog I guess. I knew two of the panelists -- Liza Sabater and Joy Garnett -- so it was a matter of being brought up-to-date on what they were up to, which I could have done by reading their blogs, but it was good to see them in the flesh. Joy recounted the famous "joywar," where she first understand just how powerful syndication and group participation can be when it is focused on a common goal. But then etoy already proved that quite a while ago with "toywar" and, well, so did ACT UP before that. Liza is forging ahead as blog-diva-in-chief and while there is a cultural slant to her work I'm not sure where there is a specific place for art. In any case, she's getting quite a lot accomplished on the political front with a new "Daily Kos" just for New Yorkers: The Daily Gotham.
Matthew Collings reviews the new history of art since 1900 by Hal Foster, Rosalind Krauss, Yve-Alain Bois and Benjamin Buchloh: Art Since 1900: Modernism, Antimodernism, Postmodernism for the Guardian.
