Chris Timms, Francoise Gamma, Kareem Lotfy, Manuel Fernandez
Flusser recognized the movement toward a “society of image producers and image collectors” that would “no longer be found in any place or time but in imagined surfaces, in surfaces that absorb geography and history.” The historical consciousness cultivated by the birth of writing four thousand years ago—and deliberately summoned by the tablet computer—would be replaced by “the consciousness of a pure information society.” The current incarnation of this vision seems rather grotesque; smartphones offer immediate access to a wealth of images that hardly ever reveal anything beyond the role of mediation in an economy defined by constant circulation. And we are only at a primitive stage in our swiping and sharing.
I feel pretty good about the piece. I like thinking about the person who aggressively tore this ad off the wall. Who are they? Perhaps they too fancy themselves an artist? Or maybe they are a die hard Android user mad at Apple. Or maybe they were just bored on the platform and wanted something to tug at. I also enjoy the tactile discrepancy between the delicate nature of touch on an iPad (or all technological objects for that matter) and the type of touch that goes into ripping a poster down from a subway wall. This tension is something I think of often, as I find technology to offer the most free and fresh form of expression, yet I also miss making stuff with my hands to the point where I get pleasure out of washing dishes now.. i know.. its sick.
Can you make it real? Can you make it more than real?
Is net art real?
The only criteria for being a net artist is drinking monster energy and having a Tumblr – now that’s trill.
I hate writing press releases. I tried to get several other people to write this press release for me, but oh well.
There are two types of press releases that artists write:
A. Ones the make sense to “everyone”
B. Ones that makes sense to no one (but the artist)
C. Ones that use the word “economies”
The last press release I wrote I got shit because I quoted Kippenberger, or people loved that I quoted Kippenberger and were like “OMG I Fucking LOVE THAT QUOTE! / Thanks for turning me on to that great Kippenberger Interview.” The truth is I’ve never even read that Kippenberger interview, so when people kept bringing it up to me I had no idea what they were even talking about. I read the quote in an essay titled “Painting Besides Itself” by David Joselitz, and I didn’t even read that essay either I just skimmed through because Gene McHugh brought it up in an essay he wrote about Paint FX on his blog Post Internet (RIP) (I read Gene’s essay though).
But if I really thought about it though I would say this trickle down filter + superficial awareness of something is in some ways the “essence” of my konceptual practice. I mean Paint FX was just a rip off of Poster Company, my 3M Scotchlite works were just an extension of Artie Vierkant’s Image Objects, and everyone and their mom has made art with, and about stock photography. And that’s why I love Instagram so much.
For this exhibition I kept changing my mind about what I wanted to do. Yesterday, after being in Copenhagen for a couple of days I finally figured out I’m going to make 28 paintings and show a video piece titled “America Online Made Me Hardcore”. I’m making 28 paintings because that’s how many 64” x 46” paintings I can make with one whole roll of 3M Scotchlite. Instead of making abstract paintings though, this time a company will be UV printing images onto the Scotchlite and then I’m going to screen print some drawings on top of that. I’m not going to tell you what the images are, other than that I promise there will be a Cheeto, but not a Dorito, Frito or burrito (and no I did not make those Tumblr’s or the ParkerItosTroll Twitter account). I think that when you see the paintings you’ll “get it”.
Truisms (March 16 - April 6)
Truisms is a solo exhibition that lays bare an elemental indulgence in technology. Through a series of painting and video work about the sincerity and simplicity of digital tools, Alexandra shares a personal look at the metaphors inherent in a networked life. (Livestream)
The first exhibition of Dave Miko & Tom Thayer at Eleven Rivington, titled “Baseless Legion of Architects Rent Asunder”, comprises six new video projections onto painted aluminum panels. The team of Dave Miko & Tom Thayer debuted their hybrid process at The Kitchen in 2011, titled “New World Pig”. Their practice consists of collaboratively worked animations that are projected onto paintings on aluminum.
Both artists also maintain respective solo careers – Miko was featured in Greater New York at MoMA PS1 in 2010 and Thayer was included in the 2012 Whitney Biennial. This new series presents a progression of their work towards more ambitious scale and pictorially experimental territory.
Using mutually culled imagery as a point of departure, Dave Miko & Tom Thayer develop their work through an ongoing visual dialogue. Motifs from Thayer’s heavily processed, vivid animations carry over onto—and sometimes derive from—the surfaces of Miko’s mixed media paintings. Their newest work revolves around the movement of various beings through physical space, oscillating between the external appearance of objects and an internal visual cogitation. Portal imagery (windows, doors, frames) fuse with faces and masks, architecture and nature as the figure travels from one type of space to the next. They use a breadth of painting materials aimed at blurring the boundary between projected and painted image. The colored light of the projected animation reacts differently to each specific surface, be it oil, chalk, enamel, fluorescent colors, spray paint, or raw metal.
The works are conceived and developed over months through a back-and-forth dialogue about changes in narrative structure and tone, fine-tuning the relationship between Miko’s unorthodox painting style and Thayer’s use of analog video effects. The result is a beautifully tenuous installation; an expansive and experimental incarnation of painting that unifies two seemingly exclusive media.
I started painting when I was 14 and continued until I was 21. My
approach to the medium alternated between furrow-browed intensity and
casual play. I was a severe young person.
I developed a crisis of meaning related to how communicative or
important I imagined those canvases could be (not very). Then there
was the issue of fitting a post-studio lifestyle in with egg tempera
and yards of rough fabrics. Painting was closed-in and locked down.
The surrounding discourse didn’t help: it seemed obsessed with
material and structure to the point of being autistic, but also
over-invested in a trivial history of the medium. Or perhaps it was
the other way around, that I was not successful in making myself care.
At 22 I began the flight to other mediums, nations and realms online.
This was a fruitful escape. I did not return to the easel. However, a
certain way of seeing persisted. Looking for light and contour, often
over content. I began to draft more seriously in Photoshop.
Nu Painting is a game. A blank 40cmx60cm 300 dpi .PSD file is a level
terrain. Layers are added and blank spots are filled with textures, 3D
objects, faux-3D effects, simulated bruhsstrokes, colors and formless
forms. The resulting file is stashed in a folder until a print has
been ordered (chromaluxe or dye-sublimation). When the order has been
placed the file is deleted.
The original file is sacrificed in order to create value. The printed
matter now has a chance of attaining the status of a Unique Art
Object. Nu Painting becomes an old medium.
- Jaakko Pallasvuo