This spring, the Manifest.AR collective is presenting new and established augmented reality (AR) artworks at the ICA during the 2011 Boston Cyberarts festival. Approximately 16 artists will present their incorporeal digital art in and around the ICA. Some will be site-specific works that respond to the architecture of the museum and some will aim to juxtapose their work against the existing physical exhibitions in the[…..]
Though the fields obviously aren’t mutually exclusive, technology and art have shared a love-hate relationship through the ages. At moments adversarial, art puritans fear drastic change in the application of new technologies to art disciplines, and staunch technologists fear a contamination of science by ‘softer’ art practices. However, at their most collegiate, art benefits from the potential of new technologies to both alter people’s perceptive[…..]
The Armory Show shares its name with its historically significant predecessor following a brief stint at the same 69th Regiment Armory. While today’s Armory Show is now in its twelfth year and situated on expansive piers along the Hudson River, it no doubt benefits from association with the formative 1913 International Exhibition of Modern Art. However, positioned within a global art context that is increasingly[…..]
L.A. Expanded: Notes from the West Coast A weekly column by Catherine Wagley On The Rolling Stone’s website, you can see a behind-the-scenes video of Terry Richardson shooting the new Justin Bieber cover. In it, between shots, Bieber answers fan mail. He’ll read a letter aloud then, not usually thinking for more then a second or two, spin off his answer. Someone name Marty T.[…..]
Laurel Nakadate’s work uses unassuming means to memorable effect. Oops! (2000) is a video of a young woman in a tank top and tight jeans dancing a choreographed routine while a man in late middle age dances (or stands) awkwardly beside her. It is mesmerizing in its ambiguity: is she making fun of the man? Which one is being exploited? Beg for Your Life (2006)[…..]
One might be tempted to call Lisa Tan’s exhibition at Arthouse in Austin poetic. But what would this mean? It is spare, filled with layered and complex allusions, much like a poem. The imagistic lyricism of two finches in a cage; a lone man smoking as he stares out a window; flashes of barren mountain peaks; and a doctor’s stark appraisal of an aging body[…..]
I’m reluctant to quote from Emerson’s Quotation and Originality, but it really does add to a conversation about the Stan VanDerBeek exhibition at MIT. While Emerson is obsessed with verbal communication and upholding the cannon as a garden that we can “honestly” borrowed from, The Culture Intercom actively fights the idea that “all minds quote” and “the originals are not original.” VanDerBeek’s career was filled[…..]
