The Rhizome Digest merged into the Rhizome News in November 2008. These pages serve as an archive for 6-years worth of discussions and happenings from when the Digest was simply a plain-text, weekly email.
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Subject: RHIZOME DIGEST: 01.06.06 From: digest@rhizome.org (RHIZOME) Date: Fri, 6 Jan 2006 11:37:06 -0800 Reply-to: digest@rhizome.org Sender: owner-digest@rhizome.org RHIZOME DIGEST: January 06, 2006 ++ Always online at http://rhizome.org/digest/ ++ Content: +note+ 1. Francis Hwang: Director of Technology's report, December 2005 +opportunity+ 2. patrick lichty: Call for experimental video: ADTV 3. Marisa Olson: Submit to ISEA 2006 Symposium 4. Lauren Cornell: Assistant Professor position at the The City College of New York +work+ 5. abe linkoln: UNIVERSAL ACID COUNTDOWN!!!!!!! 6. carlos katastrofsky: [ann] [work] new work: russian roulette +announcement+ 7. Christiane Paul: intelligent agent Vol. 5 No. 2 -- end of year special issue (and a Happy New Year!) 8. {NetEX}: NetEX: 1 January - a world premiere 9. Christiane Paul: artport gatepage Jan 06: Abe Linkoln & Marisa Olson - Abe & MO Sing the Blogs 10. Eduardo Navas: FW: Music and the Moving Image Conference--Please Distribute Widely +comment+ 11. director AT eaf.asn.au: Pandilovski in conversation with Holubizky + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome is now offering Organizational Subscriptions, group memberships that can be purchased at the institutional level. These subscriptions allow participants at institutions to access Rhizome's services without having to purchase individual memberships. For a discounted rate, students or faculty at universities or visitors to art centers can have access to Rhizome?s archives of art and text as well as guides and educational tools to make navigation of this content easy. Rhizome is also offering subsidized Organizational Subscriptions to qualifying institutions in poor or excluded communities. Please visit http://rhizome.org/info/org.php for more information or contact Lauren Cornell at LaurenCornell AT Rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. From: Francis Hwang <francis AT rhizome.org> Date: Jan 3, 2006 11:42 AM Subject: Director of Technology's report, December 2005 Hi all, Haven't done one of these in a while. The reason now should be, I hope, fairly obvious: We rolled out our redesign in December, which was most of what we were working on for the last few months. It's a fairly big project. By my account, Design & Production intern Jason Huff and I had to edit more than 150 PHP files by hand to do this. (On a technical note: ob_start, register_shutdown_function, and "php_value auto_prepend_file" are three obscure PHP features that helped ease the pain quite a bit. More notes are available at http://fhwang.net/blog/90.html if you're interested.) The big rollout is done, and everything major seems to work, but this should be considered a work in progress. Please feel free to report bugs to me, or just suggestions. Best, Francis Hwang Director of Technology Rhizome.org phone: 212-219-1288x202 AIM: francisrhizome + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. From: patrick lichty <voyd AT voyd.com> Date: Jan 1, 2006 8:38 PM Subject: Call for experimental video: ADTV Post widely: Call for Experimental Video: ADTV In the ever-accelerating media culture, how can video art explore the contemporary cultural milieu? For that matter, how can it interface with genres like New Media to create novel modes of audience engagement? ADTV (Attention Deficit TV) is an experimental television program created in the spirit of Dada, the Situationists, and Fluxus to address the disjoint nature of contemporary culture in a playful manner. Mixing elements of the attentive, the inattentive, the frenetic, and the discontinuous, ADTV seeks to challenge the established protocols of television, motion graphic design, video art, and New Media. ADTV will consist of 1-3 30-minute pilot episodes which will be 'broadcast' from an top-secret media laboratory deep beneath the bowels of a Midwestern US university. Each episode will be of an ad hoc format of segments rarely longer than 30-90 seconds each, with the exact configuration depending on the content and daily occurrences surrounding the show's creative process. Hosted by creators Patrick Lichty and Nathan Murray (with Gregory Little), ADTV wants to provide a potent palaver for the undulating underground of the transmodern mediascape. In the end, our goal is to deliver 20-30 minutes of content akin to the irresistible media train wreck that changes channels every 30 seconds. No need to flip the channel - we'll do it for you. The resulting ADTV episodes will be broadcast on WBGU-TV and distributed via V-Podcast through DVBlog.org Will: ADTV be a high colonic for what ails you? ADTV be a palate cleanser or an after-dinner aperitif? ADTV be a cutting-edge critique of contemporary culture? ADTV be a mirror of a surface-deep media milieu? We have no idea. Our goal is the solely the process of ADTV's media stream-of-consciousness firehose. ADTV Call for Content! While the ADTV archives are brimming with viral little bits of moving media, we want your involvement. What we are looking for are short works for inclusion in the ADTV media stream. Our only requirements are that the media can be broadcast under Fair Use guidelines, and that we can reedit the media to fit our format/purposes (if necessary). All collaborators will be properly credited, and all media will be distributed through a Creative Commons Attribution Agreement. The call begins January 5, and ends April 3. Works received earliest will receive priority attention. Works should be at least 320x240, 15 FPS, and in AVI, QuickTime, DV or MPEG format. Works on CD, DVD, or DV are accepted. While we can accept VHS, specific technical challenges ask that we discourage submission on this format. NTSC or PAL formats are accepted, and all languages are welcome to submit. Please send all media to: ADTV c/o Patrick Lichty 1556 Clough St, #28 Bowling Green. Ohio 43402 Address all inquiries to: voyd AT voyd.com For FTP transfer, please contact by email for FTP instructions. Thank you for your interest, and we hope you will participate! + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Support Rhizome: buy a hosting plan from BroadSpire http://rhizome.org/hosting/ Reliable, robust hosting plans from $65 per year. Purchasing hosting from BroadSpire contributes directly to Rhizome's fiscal well-being, so think about about the new Bundle pack, or any other plan, today! About BroadSpire BroadSpire is a mid-size commercial web hosting provider. After conducting a thorough review of the web hosting industry, we selected BroadSpire as our partner because they offer the right combination of affordable plans (prices start at $14.95 per month), dependable customer support, and a full range of services. We have been working with BroadSpire since June 2002, and have been very impressed with the quality of their service. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. From: Marisa Olson <marisa AT rhizome.org> Date: Jan 5, 2006 11:36 AM Subject: Submit to ISEA 2006 Symposium Dear Rhizomers, As a member of the planning committee for the 2006 ISEA Symposium, in San Jose, CA, I would like to encourage you to submit proposals in one of two forms... The Symposium Call for Participation for Papers and Presentations can be found here: http://isea2006.sjsu.edu/symposiumcall/ The deadline for submission is January 15. The Call for Participation for Workshops can be found here: http://isea2006.sjsu.edu/workshopscall/ This call is open until January 31st. As you may know, ISEA is one of the most important symposia and new media festivals. In particular, symposium chair Joel Slayton has been working to make the 2006 symposium a new kind of conference that excitingly transcends the model of traditional academic conferences. On top of this, the festival itself promises to be a ton of fun (in the California sun), so you don't want to miss an opportunity to participate. Thanks, Marisa + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. From: Lauren Cornell <laurencornell AT rhizome.org> Date: Jan 5, 2006 10:52 PM Subject: Assistant Professor position at the The City College of New York Listing follows. ------ Forwarded Message From: doreen maloney <dmalone AT uky.edu> Date: Thu, 5 Jan 2006 13:47:08 -0500 To: NEWMEDIACAUCUS AT LSV.UKY.EDU Subject: job posting Assistant Professor, New Media. Department of Art, The City College of New York. Tenure-track Starting September. 1, 2006, pending budgetary approval. The Department of Art seeks a New Media artist with strong programming and broad technical skills, working in 3D modeling/animation, physical computing, interactive design or other closely related areas of New Media art/design. Candidate will teach undergraduate courses in digital art/design from among 3D and 2DImaging, Multimedia Design and Multimedia Projects, and Critical Issues in Technology. Experience programming/scripting in languages from among C++, Java and Processing, Perl, php and Javascript as well as expertise in electronics is desired. Applicants are expected to have working knowledge of Photoshop, Illustrator and HTML. Candidate should be conversant with contemporary practices, criticism, and theory in New Media and have the ability to articulate these concerns. MFA or equivalent degree, one or more years of University teaching experience (full-time preferred), outstanding creative portfolio with national and international exhibition record and evidence of ongoing creative research are required. Candidate should demonstrate excellent administrative and communication skills. Position includes shared responsibility for program administration as well as department and university committee work and significant student advisement. Successful candidate will show evidence of commitment to undergraduate teaching, personal research and service to department and college. Salary range: $35,031- $65,308 commensurate with qualifications and experience Submit a letter of application, resume, artists' statement and a statement of teaching philosophy, (samples of other expository writing encouraged), extensive visual documentation of own work and up to twenty samples of student work on DVD/CD or online; self-addressed stamped envelope; names, addresses, titles and phone numbers of three references to: Professor Colin Chase, Art Department The City College, CUNY l38th Street & Convent Avenue New York, NY 1001 (212) 650-7420 fax (212) 650-7438 Applications will be reviewed beginning February 15, 2006 and the search will continue until the position is filled. THE CITY COLLEGE OF THE CITY UNIVERSITY OF NEW YORK IS AN EQUAL OPPORTUNITY/AFFIRMATIVE ACTION/AMERICANS WITH DISABILITIES ACT/EMPLOYER. Additional information available at www.ccny.cuny.edu. CUNY Personnel Vacancy Notice No.: 11428. -- -- doreen lamantia maloney Associate Professor of New Media President, New Media Caucus www.newmediacaucus.org College of Fine Arts University of Kentucky www.doreenmaloney.com + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome ArtBase Exhibitions http://rhizome.org/art/exhibition/ Visit "Net Art's Cyborg[feminist]s, Punks, and Manifestos", an exhibition on the politics of internet appearances, guest-curated by Marina Grzinic from the Rhizome ArtBase. http://www.rhizome.org/art/exhibition/cyborg/ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. From: abe linkoln <abe AT linkoln.net> Date: Dec 31, 2005 1:27 PM Subject: UNIVERSAL ACID COUNTDOWN!!!!!!! Rhizomerz, Marisa Olson and I are doing an online performance today 6 video performances, and 6 remixes in 12 hours! First couple of vids are already online, check in all day till midnight west coast time! http://universalacid.net/ :))))))))))))))))))) Abe + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org 2005-2006 Net Art Commissions The Rhizome Commissioning Program makes financial support available to artists for the creation of innovative new media art work via panel-awarded commissions. For the 2005-2006 Rhizome Commissions, eleven artists/groups were selected to create original works of net art. http://rhizome.org/commissions/ The Rhizome Commissions Program is made possible by support from the Jerome Foundation in celebration of the Jerome Hill Centennial, the Greenwall Foundation, the Andy Warhol Foundation for the Visual Arts, and the New York City Department of Cultural Affairs. Additional support has been provided by members of the Rhizome community. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. From: carlos katastrofsky <carlos.katastrofsky AT gmx.net> Date: Jan 4, 2006 2:16 PM Subject: [ann] [work] new work: russian roulette new work: russian roulette play the sometimes lethal game with your computer's life: http://aqua.subnet.at/carlos/projekte/netart/roulette/ ------------------------------------ c a r l o s k a t a s t r o f s k y http://aqua.subnet.at/carlos + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. From: Christiane_Paul AT whitney.org <Christiane_Paul AT whitney.org> Date: Dec 31, 2005 10:52 AM Subject: intelligent agent Vol. 5 No. 2 -- end of year special issue (and a Happy New Year!) intelligent agent Vol. 5 No. 2 Articles now available at http://www.intelligentagent.com + Special Issue Vol. 5 No. 2: // new media / photoblogging / interviews with Brian Massumi and Marcos Novak // +reviews of games, books All content is available in html and as pdf files. //new media / photoblogging// + Susan Elizabeth Ryan, What's So New About New Media Art? Susan Ryan traces the art-historical lineage of the slippery term "new media" -- from various forms of non-traditional, "oppositional media" to video. Materialism vs. dematerialization, art vs. commerce, and hybrid practices emerge as issues that have characterized "new media" throughout the decades. + Curt Cloninger, Geeks Inadvertently Making Net Art: SXSW 2005 Cloninger reports on his attendance of the South by Southwest (SXSW) Interactive conference where the participants were active flickr.com users: "What resulted was a form of online, indexed photoblogging of a common event that comes closer to achieving the holy grail of compelling non-linear narrative than anything I've come across in a long time." //interviews// + Thomas Markussen & Thomas Birch, Transforming Digital Architecture from Virtual to Neuro -- An Interview with Brian Massumi At the Neuroaesthetics conference in London, Markussen & Birch talked to Brian Massumi about the increasing impact of neuroscience on contemporary architectural theory, which marks a clear change of interests, if not a paradigm shift. Is "virtual" becoming "neuro"? + Thomas Markussen & Thomas Birch, Minding Houses -- A Conversation with Marcos Novak Markussen & Birch talk to architect Marcos Novak, who utilizes nanotechnology in constructing houses of the future out of neurons and atomic particles. Beetle-like buildings with built-in central nervous systems and the ability to think independently are gradually coming to life. //free radical// + Shawn Rider, Redefine the Grind: "Sociolotron" and the Atypical Gamer Shawn Rider explores social dynamics, sexuality, and violence in Sociolotron, an online game that distinguishes itself from all of the better-known massively-multiplayer online role-playing games (MMORPGs) through the dogged pursuit of *removing* any obstacle to character actions. Actions like rape, theft, and general assault or mayhem are possible, and character?s ?social? interactions range from basic sit / stand positions to sexual activities. //reviews// + Patrick Lichty, Ghost in the Shell: Stand Alone Complex Patrick Lichty reviews the "Ghost in the Shell: Stand Alone Complex" video game based on the Masamune Shirow cyberepic that has become a staple of anime culture. + Alan Sondheim, Book Encapsulations Alan Sondheim reviews a selection of books, including "PDF Hacks, 100 Industrial-Strength Tips & Tools," "Game Console Hacking," and "Smart Home Hacks." +++++++++++++++++++++++++++++++++++++++ intelligent agent Editor-in-Chief: Patrick Lichty Director: Christiane Paul http://www.intelligentagent.com intelligent agent is a service organization and information provider dedicated to interpreting and promoting art that uses digital technologies for production and presentation. ++++++++++++++++++++++++++++++++++++++++ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. From: {NetEX} <virtu AT kulturserver-nrw.de> Date: Jan 4, 2006 12:28 AM Subject: NetEX: 1 January - a world premiere a Peaceful and Happy New Year 2006 from Cologne/Germany !! ---> wish Agricola de Cologne & his [NewMediaArtProjectNetwork]:||cologne www.nmartproject.net Here are the latest news: 1. 1 January 2006 the global networking project RRF [Remembering-Repressing-Forgetting] starts its third year under a new name and new URL [R][R][F]2006--->XP http://rrf2006.newmediafest.org 2. 1 January 2006 Hardly arrived in the new year, the Art Gallery of Knoxville/USA http://www.theartgalleryofknoxville.com is presenting [R][R][F]2006--->XP http://rrf2006.newmediafest.org respectively the complete VideoChannel collection in 10 DVD volumes http://videochannel.newmediafest.org as a world premiere in the framework of the exhibition "Global Groove" (Nation Building as Art) 01 -25 January 2006 Source: http://netex.nmartproject.net 3. 27-29 January 2006 CeC & CaC The Carnival of e-Creativity & Change-agents Conclave http://www.theaea.org/cec_cac/cec_part.htm organized by The Academy of Electronic Art New Dehli/India www.theaea.org at India International Center New Dehli/India on 27-28-29 January 2006 will be presenting of VideoChannel - Selection'03 curated by Agricola de Cologne Source: http://netex.nmartproject.net/index.php?blog=3 4. 21-27 January 2006 MAGMART - the new videoart festival in Naples/Italy will present five digital videos by Agricola de Cologne 21-27 January 2006 - www.magmart.it Source: http://netex.nmartproject.net/index.php?blog=6 ****************************************** NetEX - networked experience http://netex.nmartproject.net is a free information service from [NewMediaArtProjectNetwork]:||cologne www.nmartproject.net . info(at)nmartproject.net + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. From: Christiane Paul <Christiane_Paul AT whitney.org> Date: Jan 5, 2006 11:42 AM Subject: artport gatepage Jan 06: Abe Linkoln & Marisa Olson - Abe & MO Sing the Blogs January 06 gatepage for artport, the Whitney Museum's portal to Internet art: Abe & MO Sing the Blogs by Abe Linkoln & Marisa Olson http://artport.whitney.org Blogs, like the Blues, have been credited with channeling "the voice of the people," but do blogs adhere to any one set of characteristics that defines them as a genre? And how might blogs be understood as public spaces, in light of the time-based performances that take place there? Selecting the postings that comprise the greatest "hits" of some of their favorite blogs, Abe Linkoln & Marisa Olson "sing the blogs" in order to address these questions. While Linkoln's posts speak to musical genres at large, Olson's posts seek to find harmony with specific models. Both question the status of the author's voice... The whole "album" is presented as a form of reblog, in an effort to self-reflexively dive into the meme culture that is its subject. The artists' blog gets situated as the site of a happening, and their intention is to come back and continue depositing performative ephemera. Linkoln & Olson frequently work in the blog format. Previous examples of their collaborative work include Universal Acid and Blog Art, and separate projects My Boyfriend Came Back from the War (Abe Linkoln's 2004 Blog Mix), Screenfull.net (Linkoln & Jimpunk), and Marisa's American Idol Audition Training Blog. http://www.universalacid.net/ http://blog-art.blogspot.com/ http://myboyfriendcamebackfromthewar.blogspot.com/ http://screenfull.net/ http://americanidolauditiontraining.blogs.com/marisa + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 10. From: Eduardo Navas <eduardo AT navasse.net> Date: Jan 5, 2006 6:50 PM Subject: FW: Music and the Moving Image Conference--Please Distribute Widely > The UC Santa Barbara Center for the Interdisciplinary Study of Music (CISM) is > sponsoring an interdisciplinary graduate conference entitled Music and the > Moving Image . This conference seeks to explore the interaction between the > moving image (film, television, digital media, etc.) and music, sound, and > even "silence" through a wide variety of interdisciplinary approaches. The > conference is organized by graduate students, for graduate students, and will > be held in the UCSB Music Building on January 14th and 15th, 2006. With the > exception of the film screening on Saturday night, the conference is free and > open to the public. Admission to the film screening of The Call of Cthulhu is > $3 for the public and free for conference participants. > > Please see the conference schedule below. Additional information can be found > at the conference website: > http://www.music.ucsb.edu/projects/musicmovingimage. > > > CONFERENCE SCHEDULE > > Saturday January 14, 2006 > > 9:00-10:00 Registration and Breakfast for Conference Participants (Music > Building) > > *Saturday Morning Sessions > > 10:00-12:00 > > Space, Location, and the Mise-en-Scène (Music 1145) > * Nathan Platte (University of Michigan), "The Hungarian, theHappy Farmer, and > 'Home, Sweet Home': Elevating Musical Quotation inHerbert Stothart's Score for > The Wizard of Oz" > * Michael Hetra (San Francisco State University), "The Music ofGodard's Le > Mépris and Week End" > * Patrick Morganelli (University of Southern California), "The Useof Solo > Piano in Film Scoring" > * Jonas Westover (City University of New York), "Frame by Frame:An Homage to > West Side Story in Demy's Les Demoiselles deRochefort" > > Sound and the Real (Geiringer Hall) > * Lucia Ricciardelli (University of California, Santa Barbara),"American > Documentary Practice and the Crisis of WesternHistoricism: Deconstructing the > 'Truth' of Omniscient Narration" > * Anita Ip (University of California, Santa Barbara), "A Boatrideon the > Wonkatania: Madness in Film and Opera " > * "Sound Putty" and "Bit Signal Fabric": A PanelDiscussion of Two New Digital > Installations > > > *Lunch Break > > 12:00-1:30 > > Lunch for Conference Participants (Courtyard or MCC) > > Installation: "Sound Putty" > Installation: "Bit Signal Fabric" > Display: "The Music of Bernard Herrmann: An Archival Exhibition" (LLCH) > Sponsored by UCSB Libraries Department of Special Collections > > > *Saturday Afternoon Sessions > > 1:30-3:00 > > Myth, Sound Editing, and the Music Video (Music 1145) > * Amy Parker (University of Glasgow), "The Pop Video andRoland Barthes' > Mythologies" > * Peter Kaye (Kingston University), "The Anatomy of a ModernAction Cue" > * Tim Rush, Sound Editing Demonstration > > The Horror, the Horror!: Sounding the Visceral (Geiringer Hall) > * Russell Knight (University of California, Santa Barbara), "TheVoice of the > Wound: Lavinia's Double Death in Julie Taymor'sTitus" > * Daniel Steinhart (University of California, Los Angeles),"Monster Music: > Sound and Music in the First ThreeFrankenstein Films" > * Kelly Kirshtner (University of California, Irvine), "A CinemaWithout Organs: > Musical Values and Fields of Vibration in HorrorFilm" > > > 3:15-4:45 > > The Sights and Sounds of Experimentation: 1965-1975 (Music 1145) > * Jessica Payette (Stanford University), "Musical CounterpointTranslated into > Film: Alfred Leslie's Birth of a Nation" > * Utako Kurihara (Kyusyu University), "The InterrelatedDevelopment of Music, > Color Selection, and Composition of the ScreenPicture in Norman McLaren's > Synchromy" > * Joshua Neves (University of California, Santa Barbara), "Two-Lane Blacktop, > Film Sound and Spectatorship" > > New Directions: Temporality, Spatiality, and Contemporary European Film > (Geiringer Hall) > * Travis Allen (University of California, Santa Barbara), "Musicand Society in > Run Lola Run" > * Senta Siewert (University of Amsterdam), "'Rhythm ofYouth. Contemporary > German Films: New Anti-heroes, Pop Music andCinematic Experience" > * Shauna Laurel Jones (University of California, Santa Barbara),"Distance > Makes the Mountains Blue: Music and Icelandic Landscape inNói Albinói" > > > *Saturday Evening > > 5:00-6:15 > > Keynote Address : "Film Themes: Roxy, Adorno, and the Problem of Cultural > Capital" (LLCH) > Prof. Rick Altman (University of Iowa) > > 8:00-10:00 > > Film Screening: The Call of Cthulhu > <http://www.cthulhulives.org/cocmovie/index.html> followed by talk-back with > screen writer Sean Branney (LLCH) > Admission $3. Free for conference participants. > > Sunday January 15, 2006 > > 9:00-10:00 Breakfast for Conference Participants (Music Building) > > *Sunday Morning Sessions > > 10:00-12:00 > > Music Across Media in the Early 20th Century (Music 1145) > * Ciarán Crilly (University College Dublin), "Sounding the Image:Musical and > Cinematic Composition in Satie's Entr'acte" > * Bartholomew Brinkman (University of Illinois, Urbana-Champaign),"Movies, > Modernity and all that Jazz: Langston Hughes' Montage of aDream Deferred" > * Edmond Johnson (University of California, Santa Barbara),"Figaro! Figaro! > Figaro?: The Intersection of Animation andOpera in Looney Tunes and Merrie > Melodies" > * Matt Mooney (University of California, Irvine), "Between theReels: Live > Performance in the Motion Picture Theatre, 1905-1915" > > Visualizing Rock & Roll (Geiringer Hall) > * Suzanne Scott (University of Southern California),"'Shitty Pictures, Man. > Every Single One.': Negotiating Mythin the Elvis Films of the 1960s" > * Carlos Kase (University of Southern California), "Avant-GardeFilmmaking and > Pop Culture Deviance: The Adaptation of Rock & RollMusic and Mythos in the > films of Kenneth Anger" > * Paul N. Reinsch (University of Southern California), "The Beatsand the > Brats: 50s Lipstick Traces in the Song and Film BlankGeneration" > * Annabelle Honess Roe (University of Southern California),"Manchester, Music > and Myth in 24 Hour Party People" > > > *Lunch Break > > 12:00-1:00 > > Lunch for Conference Participants (Courtyard or MCC) > > Installation: "Sound Putty" > Installation: "Bit Signal Fabric" > > > *Sunday Afternoon > > 12:00-1:00 > > Performance: "Entr'acte" (LLCH) > > 2:00-3:00 > > End of Conference Reception (Location TBA) > > -- > Music and the Moving Image: An Interdisciplinary Graduate Conference > January 14-15, 2006 at the University of California, Santa Barbara > http://www.music.ucsb.edu/projects/musicmovingimage/ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 11. From: director AT eaf.asn.au <director AT eaf.asn.au> Date: Jan 3, 2006 5:59 AM Subject: Pandilovski in conversation with Holubizky MELENTIE PANDILOVSKI IN CONVERSATION WITH IHOR HOLUBIZKY MP: For the past twenty-five years, you've assumed the roles of an art critic, curator, gallery director [for the private and public art sectors], performance artist, musician etc. You started out in history and political science, but have specialised in art and technology. It reminds me a bit of the situation in Australia, where people frequently wear numerous hats. In your case, was this because of survival or the absolute inner need to express yourself in different roles? IH: The many-hat scenario was of the times, a personal, formative period, as everyone has a coming-of-age or consciousness. For the art and cultural scene in Toronto [Canada for that matter], the 1960s was a 'heady' time [the centenary of nationhood was in 1967] and had resonance into the 1970s. I was still in high school in the 1960s. [You make choices, learn to live with them, make something of them, otherwise you live in denial.] I studied political science and history at university, with an emphasis on non-Western histories and the development of the Labor Union movement-because of 'the times'. If you didn't chose a career path, or were not an outright slacker, you lined up on the side of social change, believing that change was necessary and that things could change. The Vietnam War had a lot to do with the radicalisation of that time, as did the Civil Rights Movement in the USA. These were not just 'American Problems'. Opinion was galvanised-you took a position everywhere in the world. The [Vietnam] War had a particular resonance in Canada as a de facto border nation with the United States. Large numbers of American draft dodgers and war resisters [that is, not exclusive to men avoiding military service], found asylum in Canada and naturally, artists. The latter has a history that has not been written. There was a cultural impact, feeding upon what was already in the air, such as Marshall McLuhan's presence. Here was a Canadian who was recognised internationally as an important cultural thinker. Prime Minister Pierre Trudeau also had an impact upon the Canadian consciousness in the late 1960s. More than a politician, he was an intellectual; erudite and witty-he touched a social nerve, he had style, he was an adventurer. He was NOT Richard Nixon. Many hats were and could be worn, the rule rather than the exception [and perhaps the same for Australia at the time]. I was disillusioned with the empirical side of political science. It's why I leapt into art and technology-it had all the hallmarks of an adventure, which happened to attract minds from many disciplines. There was optimism [it was the pre-Bill Gates world]. Iain Baxter was one of the Canadian artists of the time, daring and radical, a key figure in the conceptual practice. He too had a mixed and many-hatted background-born in England, educated in the USA [degrees in Zoology, Education and Fine Art] and studied in Japan. Baxter formed a collective-corporate approach in the mid-1960s with his N.E. Thing Co [the 'anything company'] and later incorporated it, emulating corporate language with a difference. The charter stated the following: i. to produce sensitivity-information ii. to provide a consultation and evaluation service with respect to things iii. to produce, manufacture, import, export, sell and otherwise deal in things of all kinds. There wa no use of the word 'art'-no strategic end or endgame. It was open-ended, anything and everything-so too for other artists in Toronto [Baxter was based in Vancouver at the time]. Michael Snow had a huge presence in the Toronto art scene, beginning in the mid 1950s-a musician, filmmaker, painter and sculptor-still mixing it up. Don Jean-Louis mounted one of the first interactive television-video installations in a private Toronto gallery under a 'corporate' aegis. The 'statement' for his 1969 The Nature of the Media is to Expose was concerned with the identity, nature and function of any given number of people, products, things, colours and sounds at any rate of speed and their interrelationship under given conditions-scale considered. In the 1970s Jean-Louis worked collaboratively with people in the film and music industry. They made a short sci-fi feature [receiving awards] and managed the seminal Toronto punk band The Viletones. He also worked in the television graphics department at the Canadian Broadcasting Corporation, as did other artists. They learned about television and applied it to 'non-television solutions'. Intersystems was a mid-1960s Toronto collaboration with electronic composer-musician John Mills-Cockell [he went on to form the synthesizer band Syrinx and then to compose music for theatre], artist Michael Hayden [who now lives in California] and poet Blake Parker. They released an album, staged 'electro-happenings' and built audio-kinetic sculptures. Norman White, an American expatriate who had studied biology, arrived in the late 1960s. He was making electronic/artificial intelligence sculptures and installations and then taught at the Ontario College of Art in the new Photo-Electric Department, which became the New Media Department, when I arrived as a sessional instructor in the mid-1980s. General Idea was the stepchild of these early artist collaborations and actions-they added sexual politics to the mix, engaging and collaborating with other artists, designers, performers and musicians in their 1970s events, publishing FILE magazine and starting Art Metropole [publication and distribution of artist books, editions and videos], which continues today. I spoke to Baxter in early 2005. We discussed that formative 1960s period. He admitted-not that he ever denied it-that he was following his intuition, being in and of the times, working in every corner. I'm not sure if the issue of survival was that much of a factor. As I noted, this was a sense of optimism, which could and did have a critical side to it, an engagement with society and culture on many levels and much more than making things to charm the collectors, critics and curators. My over-narration of the Toronto scene is not to promote it above others, but to illustrate that there are galvanising moments-everywhere-and at different times. When they happen doesn't matter, but historians, even theorists, are hung up on who and what came first. Art and culture is not a horse race, yet there ARE a lot of jockeys with whips. For myself, playing music was a way of knowing something else-learning and participating. It seemed more real than sitting through unreal university classes. When I began working in the gallery world, I had to broaden my skills again-they had to be real and applicable. That's still the case for small staff organisations, but not so for large public galleries. I've worked at both ends of the gallery spectrum. Over the past twenty-five years I have witnessed the rise of a professional class. They're not necessarily specialised, but departmentalised. I joked with a colleague that a skills test for curators should be assembling an IKEA bunk bed against the clock, then disassembling it, and reassembling it. You can muddle and mutter your way through the assembly, but in order to reassemble you have to be paying attention-'be in touch' with the materials and the function-be able to visualise the outcome. MP: You are currently preparing your PhD, whose working title is 'Radical Regionalism, Art and the Modern Age'. Your interest in the directions which modern art takes outside the Eurocentric model has led you to research particular issues of nationhood in Latin America, Russia/Ukraine, the United Kingdom and Australia. You have taken as case studies Juan Manuel Blanes, David Burliuk, Tarsila do Amaral and Ian Fairweather. How many of these specific developments of modern art outside the centre are researched within the canon of modern arts? What is the importance that is given to them? My approach to art history follows the IKEA analogy, except the bunk bed is already made. It looks a bit creaky and doesn't seem to fit well in the room. In taking it apart and reassembling, it may look the same but it has to be usable and in the process I will know more about it. However, as anyone who has IKEA furniture knows, it requires maintenance. You may have to replace or substitute parts, keeping in mind that it was never meant to last. Ongoing repair and reconstruction turns the cheap-and-cheerful modern into a Frankenstein. At that point you have to decide on its future and you still need to replace the bed. What to do-buy another IKEA bed? There are other solutions to the need for sleeping, but raised-platform beds are the Western convention. Then it's a matter of taste and style preference-and budget. To return to the question. Marginalised artists can be canonised. Frida Kahlo is an apt [and extreme] example, but it wasn't that long ago when the mention of her name would have furrowed the brow. Who the hell is Frida Kahlo and why should I care? In some respects she has been cut out of Mexican art history in order to fit a 'liberalised' canonical history. The cult of Frida Kahlo doesn't help the legion of under-recognised Mexican artists. To be pragmatic, it's better than nothing. I did not select the four artists [Blanes, Burliuk, Amaral and Fairweather] as case studies to privilege them, but to acknowledge them, to cut away the deadwood of art history. There could be forty others, four hundred, four thousand! Burliuk was in 'the game' with Kandinsky, Blaue Reiter and the Moscow avant-garde prior to 1920-the year he left for Japan and then the USA in 1922. There is rehabilitation afoot to claim him as the 'father of Russian futurism,' because it is acceptable for the post-Soviet Russians to celebrate their early avant-garde. At the same time, Ukrainian revisionists are claiming him as part of the formative Ukraine avant-garde, even to claim that Burliuk's avant-garde-ness in the Ukraine precedes that of his Moscow endeavours. The Americans, on the other hand, don't care about Burliuk-he doesn't fit any of the national canonical agendas. He's not 'Ashcan', 'Social Surrealist', 'American Scene,' nor strictly speaking an American regionalist. Tarsila do Amaral popped up in the Body Nostalgia exhibition at the National Museum, Tokyo, in 2004, a Brazilian-subject exhibition. She served as a starting point, with Lygia Clark as the 'halfway point' to the real focus, contemporary artists, so no need to deal with her in a broader canonical context. I'd love to see someone do so, but like Burliuk in America, it wouldn't further existing agendas. Fairweather interested me, because his story as encoded in Australian art history, has too many gaps and too many assumptions-the aspirations of Australian art projected onto someone who was, in my view, not that interested in Australia. An artist then in his sixties was an odd choice to be made into a modernist hero. Blanes is too historically remote for anyone outside of South America to care. He died in 1901. There is a story yet to be told about early regional modernists and the rise of modern nationhood-literally postcolonial-independence was declared in 1828. Blanes wanted to paint the national psyche, but also for the Americas. How do you do that? You have to 'generate' the signs. These signs feed mythologies. But the national mythology is part and parcel of the work. Once you remove the object-the painting-from place and context, it's an exotic and puzzling footnote at best-IF we adhere to the generalist-generalising canon. I'm still pondering all this and the 'adherence'. An example: Mary Anne Staniszewski's Believing is Seeing, Creating the Culture of Art [New York: Penguin Books, 1995], has a radical revisionist tone and chastises the American cultural scene for lacking in its resolve to integrate cultures. Yet she writes in her introduction: "[The book] is meant to be a supplement to the canonical texts that shape art and humanities course curriculum. I am not, however, suggesting getting rid of our culture's collective aesthetic memory. In fact, I have gone to great lengths to use the most powerful and famous images of what has been called our 'museum without walls'." Is this a strategic fight-fire-with-fire? Another canonical questioning is that of Matthew Baigell and his postscript to the Artist and Identity in Twentieth-Century America [Cambridge University Press, 2001]: "Someone could write a first rate history of American art as one long essay about identity politics'. Further on he discusses how European Americans had to 'invent' native Americans and African Americans in order to distinguish themselves from the Others; how these Others has to 'reinvent' themselves in order to find out who they were on their own terms. Otherness is a two-way street. Does this sound familiar-the 'inventing Asia' discourse, that Asia is an invention of Europeans or of the Antipodes? So who invented Europe? There are many other such questions within regional and national histories. Perhaps it is too complex, too demanding a task. However, I'm not trying to interject yet another category. Radical regionalism is not a movement, it is a way of modelling, a way of getting past less-useful, but oft-repeated truisms that impress the diminutive on art histories and artists. The categorisation of Tony Tuckson is an oft-repeated example, "Tony Tuckson... later recognised as one of Australia's finest abstract expressionist artists". [Museum of Contemporary Art, Sydney, Vision & Context, 1993]. One could have a field-day 'deconstructing' this interjection because the prime topic is not Tuckson as an artist, but Tuckson as a curator and in the MCA publication context, within a section titled "Australian Aboriginal Art". That is, his role as a curator, yet the sentence ends, "openly indebted for inspiration to the abstract languages of Aboriginal and New Guinean art". It doesn't take a screaming revisionist to figure out what's wrong with this sentence, but at the same time, I'm not taking the writer to task. It is the Australian-canonical summation. Look at Robert Hughes' take on Ian Fairweather in The Art of Australia [1966 and 1970], when Fairweather was still alive: "What does the word 'great' mean in the context of Australian art... but I think it is at least arguable that [he] is the most gifted painter who has so far appeared in Australia; though even this kind of statement involves one in a distasteful role of tipster". Is 'gifted' the anointment, or does the artist provide 'the gift'? When I listen to Rahsaan Roland Kirk's album Volunteered Slavery, I am always struck by his comment [recorded live at the Monterey Jazz Festival] in tribute to John Coltrane: "Here are three songs [he] left for us to learn." It's all well and good to pay tribute to visual artists, even to canonise them, but do we learn anything from this? It's all-too-easy to shuffle past in mute admiration and accepting 'greatness'. I confess that I've never been a great fan of Jackson Pollock's canonisation because it is difficult to filter out from the work itself. In watching the Ed Harris director-commentary for his 2000 film Pollock, I took note of his 'methodology' [it is a 'methodology']. To get 'into' the character, he had to learn how to paint, not simply imitate or mimic the action. That's a difficult lesson, but necessary for what he described as "an emotional journey", not an art history film. But there were many other characterisations in the film that were equally important and equally problematic-they were not on screen as much and not so known. Film is a language, so if we take on Roland Barthes' assertion, it is a language of myth. But this analogy has its limits, because only a few art emotional journeys will be made into a film-myth-Van Gogh, Frida Kahlo, Basquiat. Not Ian Fairweather. The reasons are self-evident-the cost is high and the market is small. [Pollock cost approx $6 million to make, but only made $10 million at the box office.] MP: In a context that is not too distant from your research, the Slovenian art collective IRWIN has positioned through their project EAST ART MAP the notion that East European Art practices have not been validated appropriately in the context of the Western Art canon. How do you feel about this notion? Following on my comments above, I know enough about some national-regional histories to know that they have not been validated. I have hope. Hans Belting does acknowledge the art of 'Eastern Europe' in his 2003 book Art History after Modernism [AHM]. He would not have done that twenty years ago. I think we're at the starting blocks sorting out histories, but applying yet another hierarchical sorting would be counterproductive. I am reading the Belting book at the moment and struck by his [new-found?] candidness and doubts, hence other quotes to follow. MP: Do you see the experiment within arts as alive, and is it today only technological by nature? I think that all compelling art has an experimental aspect. It doesn't need to have a technological component. McLuhan commented on the relationship of artists and technology in his 1969 film Picnic in Space-their role as social navigators, opening up visual worlds and raising ethical questions that never really go away. I knew that it wasn't all social navigation when running a private gallery that specialised in art and technology. Some of it was technological effect, another way to produce a pretty and pleasing thing. Nothing wrong with that, but that's all it was. One artist I worked with in the mid-1970s was American Lew Alquist. He had a sly subversive streak in him, which is what I expect [but not 'demand')] from 'social navigators'. He was demystifying and then generating new mysteries for us to ponder and often said, because the question of is-this-art was often raised, "Not everything is art, but everything is art supplies'. Knowing the difference is crucial. Artists will always push the limits of technology-create languages-and sometimes will succumb to old language with new means. It is the language that matters, not the technology, unless [a BIG unless] it IS a language [by-product] of technology. That's another topic for another time. MP: You have been dealing extensively with new technologies. How much do you see reflections of Lucio Fontana's 'Manifesto Blanco' in what is happening today with electronic arts? I haven't read it. I should. In lieu of my ignorance, allow me to quote artist Robert Adrian X [Canadian born but has lived in Vienna for the past thirty years], from an email exchange last year about electronic arts: I'm inclined to think that we need new models. After doing a few telecommunication projects [early '80s] and trying to cope with the [apparent?] incommensurability between traditional [industrial] art practice and the fugitive practice of working with electricity, code and telephones, I began to wonder if 'art' was the right word to describe the stuff we were doing with telecommunications. There was no discernible product or material substance-nothing collectable-nothing for the critic to get his/her teeth into, no clear tradition or history: just a few polaroid snaps and fading faxes, low-res video, scraps of computer chit-chat printout. Machines are on: its here-machines are off. It's gone! MP: Is there a notion of the avant-garde which is still meaningful today? I don't think one can aspire to the avant-garde in the same way as the historical avant-garde was able to act. Renato Poggioli's Theory of the Avant-garde [1962] examined the avant-garde not in terms of "its species as art, but through what it reveals, inside and outside of art itself... an argument of self-assertion [with] a social or antisocial character of the cultural and artists manifestations that it sustains and expresses". Poggioli also noted that "even the avant-garde has to live and work in the present, accept compromises and adjustments, reconcile itself with the official culture of the times, and collaborate with at least some part of the public". In his chapter 'Technology and the Avant-garde', Poggioli proposed that "the avant-garde's experimental nature is not essentially or exclusively a matter of art [but] to experiment with factors extraneous to art itself". Granted, the latter is contestable, but the avant-garde is not something that you can learn in art school. We may not even be able to discern between avant-garde and what is 'cutting edge', which may in turn be what is 'technologically fashionable'. There is an avant-garde today, but I would be hard-pressed to give you an example operating within the art world, or, we may not recognize it as such. Poggioli wrote in his conclusion: "The avant-garde is one of those tendencies destined to become art in spite of itself, even in the out-and-out denial of itself". Add Alquist's statement, mix in McLuhan and there's a topic for a bright young curator to take on, don't you think? If I was going to start with a post-1960 view of avant-garde-ness, it would be with the small oeuvre of filmmaker Arthur Lipsett-between 1963 and 1970 [his last completed film-he committed suicide in 1986]. They were done under the umbrella of the National Film Board of Canada. I don't think they really knew what he was up to, but no one could think of a reason to stop him. He slipped in under the radar signal. MP: You curated an exhibition of the painter Tony Scherman within the gallery program of the Art Gallery of Hamilton in 1994. Even though you are aware of its constraints, you still see it as your most important and most radical exhibition, Can you elaborate as to why you think this is the case? The exhibition was an example of slipping under the institutional radar signal. It was a collection show. I wasn't spending big bucks and it occupied a lot of gallery space-a win for the ever-beleaguered budget. The premise was simple enough as not to set off any warnings bells-a painting show. Rather than pull out a shop-worn theme-the face, the land, still life, the this, the that [how many times have we seen these, all watered dow, so that they neither offend nor inspire]-it was a predicated on a discussion, an artist and a curator talking about painting. That's what we did for the first year. THEN we went into the vaults-not to select, but to keep talking. Not what we thought was good, but what kept generating discussion. Clearly, it would not be anything we were indifferent towards. Our final selection spanned two hundred years, beginning with a c.1800 Henry Raeburn portrait-that's where it started, not chose to start. The installation, however, was not hung in chronological sequence or by style, but as if our conversation-or passages of conversation-was on the wall. Except, there were no didactic labels. People would have to enter into the conversation-maybe it would be in mid-conversation, or as if eavesdropping on the street. The 'seeing' could start anywhere. I scattered 'church hall' wooden folding chairs around. I encouraged them to be used and moved around the gallery-a place to sit and talk. I checked the location of the chairs on a regular basis-they did shift around, like small herds of caribou, an indication that it was working. I could even imagine where a conversation had ended, in front of one group of paintings or another. I also asked Tony to include his own work. He resisted at first, but I insisted. He didn't have to deny being a painter simply because he was wearing a curatorial hat. I did the selection and decided where they should be installed. We did talk about it, but I don't recall him making any changes. The title we decided on was Prosperity Returns, the oral tradition in painting, which came from a 'chance encounter' with a headline in the financial section of the newspaper. In bad times, everyone wants prosperity to return and no one would care about 'the return of painting'. Did it ever go away? The title expressed optimism. There was no catalogue, although I had started a text. I realised that it would be counterproductive, even redundant. After all, it was the ORAL tradition, not writing about art. [This may have put us at odds with John Berger-but seeing is a step to knowing.] That exhibition has kept me goin-it provided a model that could be re-examined, shifted here and there-made me wary of manufacturing words. Challenging my assumptions, biases and taste. MP: Art has passed through a number of phases in the past twenty-five years. Do you think that there has been a decisive critical shift from postmodernism, or are we still in this historic stage? It certainly seems that way when reading persuasive writers and theorists: their insistence that we are in an age of 'massive change' [to borrow designer Bruce Mau's 'project'], or the silver-tongued paradoxes as in Belting's AHM, an age 'where nothing new is discovered and the old is no longer familiar'. I would interpret the later as myopia-the glut of art production over the past forty years makes it near-to impossible for any one historian, critic, curator or pundit to have the inside track on what it all means. I agree with Belting and have thought that The [notion of] Shock of the New [Ian Dunlop's book, the title then borrowed by Robert Hughes] is a now-historic period. Can anything in art be shocking anymore? Yet, I see 'The New' that reminds me of what I have seen before. Some is work by artists who are forgotten or never known. The more doors you open, the more questions that appear. If we are in an age, it is of the museum and the art spectacle, the proliferation of recurring temporary exhibitions and art fairs, like the era of the mega rock concert in the wake of Woodstock. Some are remembered for things other than the music-such as Altamont-or for their branding [Lollapalooza as a recent example]. Music is not made in these festivals. Music comes from the thoughts of musicians in private before it becomes public. Likewise, for art. More often than not, art is 'merely' consecrated in the new public event. The late art historian Francis Haskell explored the history of art-as-spectacle in The Ephemeral Museum [Yale University Press, 2000], which began in the early nineteenth-century with the 'invention' of the Old Masters loan exhibition and continues. Such exhibitions, he noted, on the anniversary of an artist's birth or death, have become a social obligation at the expense of scholarship. So too, I believe, for twentieth-century modern masters. Enough with the Picasso and Warhol shows. What has changed in the past twenty-five years? What have we added? Rap music and the internet? DEVO recorded Post-post modern man in 1990. As good as any date for the end or demise of Po-Mo. [One of the DEVO 'boys' was a student of Lew Alquist. I note this not for the sake of cultural trivia but to reopen the question, where do ideas begin; as Ralph Waldo Emerson posed in 1841, where does nature-our idea of nature-begin?] MP: Is art in a general state of crisis today? Or is crisis a natural state for the arts in all times? Crisis is just another word for, what ? Nothing left to say [with apologies to Kris Kristofferson]! In 1992, the National Gallery of Canada organised the first national overview of Canadian abstraction of the 1950s, titled The Crisis of Abstraction. Was it really a crisis? I don't think so, not for the artists nor for society then. I've seen a Crisis of Impressionism titled show, so why not a crisis of everything show? The Cuban missile crisis was a crisis, but now anything can be a crisis, as over-amplified by 24/7 news channels. In the wake of the predicted disaster of Hurricane Rita [a crisis of global, massive weather change?], there was a Fox News live feed from downtown Beaumont Texas. The on-camera reporter walked to the drive-through bank and pointed at the ATM machine and informed 'the world' that it was out of order and to underscore the importance of this piece of trivia blurted out that there was no indication when it would be operating again! I keep a copy of the 1972 anthology Museums in Crisis close at hand. Valuable insights and nothing much has changed: directors are still beleaguered, curators have dilemmas, trustees have power, museums huddle under corporate wings and the democratic fallacy is perpetuated. MP: In a situation of rampant globalisation and sweeping liberalism, what is the role of art? Maybe that's the crisis, what is the role of art? Perhaps it has been over-named, oversold, and overwritten. There's more to McLuhan than the catch phrase 'global village', which has been overused and vulgarised. SBS broadcasts a program called Global Village. How is it different from National Geographic magazine? It is made for Western audiences, to make them feel comfortable with the notion of a multi-centered world. Is it the same for global-sample exhibitions and biennials-a comfort zone with a tidy tour package of the world of art? MP: What is the role of the independent curator today and are independent curators still necessary? How is curating today different to the era when there weren't as many art institutions globally? Independent curators are highly dependant on the gallery system. Very few can assert true independance as they must toe the line of institutional agendas. By the same token, the 'democracy' of the curatorial team weakens a strong individual voice. The results are exhibitions by committee, which is NOT to say that teamwork is not important in an institution, but it has to embrace all the staff, not just the glamour positions. For more on this topic, see my responses to question 17. If, as many claim, exhibitions are a type of cultural laboratory, shouldn't there be a post-experiment analysis? That doesn't happen. Hefty catalogues are produced in advance of the experiment. At best these are sketches for what has yet to happen, or be determined. For more on this topic, see my response to question 15. MP: How did you come to write art criticism? I thought that writing art criticism was a necessary rite of passage, so I did. In truth, I have only written two or three pieces of outright criticism over twenty years. I regret the first because I criticised the artists. I apologised to them and am still friends with one of the two. My last art criticism in 1999 was, I believe, justified: I criticised the curators. Perhaps this too was unfair because artists are inevitably caught in collateral damage. I see myself as an historian [because my formative period is now history], and an essayist. If I can't add anything to a topic, why write? MP: Tell me something about the role of the art critic today and about how you define the delicate relationship between critics and artists? The long history of critics' hostility towards artists is hardly delicate. Critics DO manufacture words and see confrontation as their right. One example, from Henry Geldzahler's essay in New York Painting and Sculpture: 1940-1970: "There were critics [in the 1950s] crying for a return to the figure, for a 'new humanism." [With the appearance of Pop Art] these critics cried 'foul', and they cried it hard and long'. Yet doubts and questions can be raised by critics. An example is in Ira Gitler's liner notes to Bill Evans Trio, Sunday at the Village Vanguard [1961]: "Just because I am a writer-critic in the jazz field doesn't mean that I can't enjoy an album like any layman. It is true that when one is forced to listen to 'x' amount of LPs every week, there are times when the spirit can become hostile toward the very thought of records." Hostility is what I object to-is art a battleground fought over biases and preferences? It's different for the movie industry. Generally speaking, the public decides what it wants to see and why, even if the reviews are universally critical. In one conversation with the [then] art critic for the Globe and Mail, Canada's national newspaper-safe and off-the-cuff because I had just left my gallery position. I was 'independent'-we spoke of one artist who had been highly promoted a few years before and had fallen off the map. The critic said the problem was that the artist believed his own press. Well, who wrote the press? A critic cannot walk away from what they write-their responsibility-and yet they do so, over and over again. Donald Judd wrote in the early 1960s, wearing his art critic hat at the time, "Criticism is pretty much after the fact". [Roger Fry made a similar comment on reviewing his own criticism in 1920.] I can imagine how newspaper critics are chosen: "Let's see, you have no experience and you're an opinionated little fart. Oh, you can be the art critic." Which is also to say, that the automotive critic-writer had better know what they are talking about: more people drive cars than look at art. MP: What do you think of the affirmative writing, which is so often present in the critical writing about the arts? If you mean affirmative writing as in making unsubstantiated claims that bask in its own glow, that's part and parcel of the game. One artist is championed at the expense of many others, one perspective given primacy over others. Multi-perspective publications can often cancel each other out. From Robert Scholes' book on science fiction writing, Structural Fabulation [University of Notre Dame Press, 1975], "Knowing one thing is a way of not knowing something else". I come across a lot of one thing not knowing something else. W. McAllister Johnson on catalogue writing in Art History, Its Uses and Abuses [University of Toronto Press, 1988] says, "a curious contradiction: a catalogue is issued for an exhibition even as it is supposed to record its 'results'! It therefore anticipates the fact... Whatever the time and energy expended in their creation, catalogue production remains a 'cottage industry', whose artisans have very different ideas of their craft. Otherwise put, they may not know it well, if at all." There is another form of affirmative writing and as I have already quoted artist Don Jean-Louis' 1969 affirmative assertion at the outset, here is the last line from curator Germano Celant's 'Stating That', his 1969 Arte Povera catalogue [an affirmative introduction, with doubts expressed]. "This book is a precarious and contingent document and lives hazardously in an uncertain artistic-social situation." They are expressing not dissimilar ideas, at the same time and unaware of each other. If I have to chose, I'll choose the artist over the curator in this instance. The artist is closer to 'prime production', whereas the curator is 'exhibiting doubts'. And yet, they are both 'doing their job'. MP: Can you compare the art criticism in North America to the criticism here in Australia? There are good writers in North America and Australia, everywhere for that matter and in unlikely places such as Richard Huntington who writes for the Buffalo News. But no one outside of Buffalo is going to read him. Does that matter? Good art writing should address what is happening in the community-to track it. Keep it clean, keep it honest. The only advice I can give to artists; be mindful of what is written, but to go about your work as if nothing had happened. MP: In your text 'The Man Who Thought His Myopia Was A Vision: Heliocentric Worlds, with apologies to Herman Blount', you give us a very important parallel between the worlds of visual arts and music. You depict the impact that San Ra and his Solar Myth Arkestra had on your formative years, as well as the curatorial experiences acquired at cultural institutions such as the Art Gallery of Hamilton and the Museum of Contemporary Art in Sydney. One word that seems to me to be very important is 'independent'. Could you define what 'independent' means for you today? I returned to listening to jazz after years of inattention [in my most lucid moments, I could only play fake jazz]. For me, jazz embodies whatever notion of independence [freedom of expression] we can muster. The last two CDs I purchased were the aforementioned Bill Evans and Archie Shepp's Fire Music [1965]. I don't see a contradiction in appreciating the two, as different as they are-Evans and Shepp are independent voices, adding something to the language of culture. I am exercising my independence in buying both of them. The term independent has more relevance in music than it does in the gallery world. The rise of independent music labels-they come and go-is an alternative and a necessity. Musicians need not wait for major labels to discover them. Not all of it is good, but there is a lot of good music that would not be available if left to the devices of the industry. Ironically, major labels will pluck off what they think may generate business for them thereby adding industry currency and credibility. I feel the same way about the well-heeled gallery and museum system. Independent curators are a pool of inexpensive intellectual talent that museums are unwilling to invest in, within 'their own culture'. The temporary-contemporary centres have changed dramatically over the past thirty-five years [less independent as accountability to funding bodies increases], but this is where the action is-the laboratory. Not all experiments will succeed, but the measure of success is not the manufacturing of likely-to-succeed events. Big galleries will trawl these centres for 'artist talent'. One reason for the marginalisation of vanguard jazz in the 1950s and 1960s was the reluctance of a white-dominated music industry to promote afro-American musicians who aligned themselves with radicalised politics. In other words, if you want to be independent, prepare to be poor. I don't wish to criticise the Museum of Contemporary Art. I believe that it has an important role to play, but I didn't feel much like a curator there, more like a 'content provider'. At the Art Gallery of Hamilton there were similar pressures to deliver content that would click the turnstiles as a performance indicator, but there was time for research, even if it was on my own time. Granted, the Art Gallery of Hamilton performance stakes were lower than that of the MCA, so I could/would make time for things that mattered, and in that way, asserting independent thought and still contributing to the organisation. Then again perhaps it was just me and every other MCA curator has been 'happy as a clam'. I confess that I can't listen to Sun Ra everyday. Too intense. MP: What do you think of the situation today for young and emerging artists? It's obvious that they have more chances than fifteen or twenty years ago, simply because of what seems to be a favourable grants policy for emerging artists across the globe. What is the impact [if any] of this policy, in regard to upper-echelon art and the art market? First, I don't have much faith in grants or policies. No matter how committed arts councils are, at regional to national level, they are accountable further up the bureaucratic food chain. Arts funding is an easy cut when 'belts are tightened'. Who receives grants has no bearing on the art market, nor are individual grants any indication of critical mass or commodity market success-to-come. The art market is a wholly different beast from the agendas of arts councils and public-funded galleries. Discourse means nothing in the primary market, and definitely not in the secondary market, where the real profit lies, for the auction houses themselves. The majority of art dealers struggle year-to-year and I know only a handful of artists personally, who can support themselves through the sale of their work. That's not going to change. Moreover, in real economic terms, the art market is not so vast, but it is unregulated. It's tough for young and emerging artists-so many graduates pouring out of art schools into a system than cannot absorb them. What's the outcome? More art teachers? It can't go on forever-the art school system will collapse under its own weight and backlog. That may have a positive result, we can start it all over again. MP: You are also a musician and you have dealt with music almost as much as the visual arts. You have said that as a musician, you "have learned to let things go and that there was never going to be a perfect performance or recording." Do you feel the same about visual art? Yes, except playing music was more satisfying 'incompleteness'. You learn from your mistakes, and no one was hurt or humiliated [sure, there's bitterness, but you get over it]. Wish I could say the same for the art world. MP: There is big hype today about Asian contemporary art. We have been aware of a huge number of artists coming from Japan, China etc. The number of Biennials and other grand manifestations in Asia has exponentially grown, which is to say that we are bidding farewell to the Eurocentric art world. Yet, the domain of art theory, criticism and aesthetics still remains ruled by the 'old world'. How do you account for this? Too much has been invested and absorbed, to ever have a blank slate. Then again, art history as we know it is only a hundred or so years old. Yet the hegemony issue is being acknowledged. Belting-AHM [quoting him because he is a 'Euro'] says the pressures on the canon "[do] not mean that the traditional discussion of art history is on the verge of collapse, but it invites us to reopen that discussion to communicate with others from non-Western traditions." That's great-now let's see it in action. Perhaps in a hundred years this may shift. However, let's not conflate the dramatic shifts in world economies with art and culture, nor conflate say, Japan with China-different cultural and social states of mind. China is not going to reinvent capitalism, but it will very soon be the major economic power in the world. Not in old money terms, but in dominating the world of commodity production. Vast and cheap labour is one of the reasons. That's still old capitalism in operation. Lower the cost of production: exploit the workers. In this case, exploiting your own nation's workers in order to drive a wedge into old capitalism. But who is buying the new Asian art? It's the established Western art market that needs fresh goods in order to keep expanding its markets, as the West profited from the Japanese economic boom in selling ITS art to Japan, as the Europeans sold THEIR art to the American nouveau riche a hundred years ago. MP: What do you think of Canadian art today? I probably know more about Australian art today. My continuing interest in Canada is to the artists, whom I have followed for some time-it's my commitment to them-and unfinished business in Canadian art history. The latter, however, has informed my approach to Australian research and work as a useful comparative study. Anyone committed to the research and study of Canadian art had to know American art history too, not because of influence or 'derivation', but the cultural traffic that was generated by artists themselves. Ideas don't stop at political borders. [This is where my history training comes back into play.] MP: Most of the international art market has Aboriginal art as a focus for Australia. How do you interpret this? Any market action, critical or commodity, outside of the national scene must have benefits. On the other hand, the breadth of Australian culture is distorted. Maybe this isn't such a bad thing-a payback time, assuming that indigenous artists DO benefit directly. I read with interest Bruce Ferguson's candid comment on Gerald McMaster's appointment as Curator of Canadian Art at the Art Gallery of Ontario [Bruce has just been appointed AGO's director of exhibitions and both had worked in the USA for several years]: "I just love the idea of an Indian getting to decide about white man's art... This has never happened before. It's beautiful." Indeed. Now let's see this happen in Australia. I won't go further. Suffice to say, there still much more 'work' to be done in Australia, and then let's see how this is received internationally, in the critical and commodity markets. MP: You have lived in Australia for the past seven years and have followed closely the work of Australian artists. How do you see the place of Australian art within the context of the contemporary art project? Like my continuing interest in Canadian artists, there are emerging to mid-career artists in Australia who are thought-provoking and engaging. I will not name them. That would be unfair and send out an incorrect signal. Equally, I feel that there are Australian artists with a mature practice and senior status who should be better known in the world, but there is no model nor context in which to send their work out. Art as diplomatic mission serves political agendas, not the artist's needs. A recent news channel 'filler' program interviewed celebrity chefs, among others, Jamie Oliver, Gordon Ramsay [both Brits] and an Indian [subcontinent] chef [can't recall his name]. For argument's sake, let's think of 'celebrity chefs' as the curators of the contemporary cuisine project. Oliver pooh-poohed the idea of a Michelin star, but stated that getting one would be easy enough for him. It was a matter of doing the right things to charm the critics. He has other agendas, one of which is a form of social action and responsibility-training the unemployed, improving public school lunches. Ramsay denied that he was a celebrity chef, but said that there was nothing wrong in aspiring to a Michelin star and that it was a legitimate, professional benchmark. Which is to say, he believes in his profession-his craft-as much as Oliver does, but chooses to stay within the prescribed arena of that profession. The question posed to the Indian chef was different. Could Indian cuisine ever gain gourmet status world wide? His response-one billion people eat Indian food everyday, so why not the world? The question was loaded, and the response was wry. Which is to say, the fact that one billion people eat Indian food everyday doesn't matter to those who control the cuisine canon. The canon may simply exclude the one billion because of preferences. There is Australian art that is 'nourished' by the legacies of the national school, what can properly be called 'Australian art' [which then raises the question, what is more Australian than Aboriginal art in all of its forms and manifestations] and art from Australia that speaks to anyone, anywhere, within the prescribed and 'industry-accepted' area of contemporary art. [I know what you mean by the contemporary art project, so I won't unravel the term]. The members of the global cultural politburo are growing, but there's still a pecking order and mandated ambitions. Read the mission statement of the Museum of Modern Art, NYC: "Founded... as an educational institution, [MoMA] is dedicated to being the foremost museum of modern art in the world." They achieved that position a long time ago. Is Tate Modern challenging that position? What's art and culture got to do with it, except where it benefits the museum. I know that I have dodged answering your question directly, but I return to my opening comment about my formative period. I still adhere to that optimism and by the same token, recognise that once a heretic always a heretic, even in moving towards what may appear to others as conservatism. A lot of my work now is historical, but all that means is that there's unfinished business and someone's got to do it. I'm working on two twentieth-century retrospective exhibitions at the moment. One artist is dead, the other is a senior practitioner. It's tougher to communicate with the dead artist, but when I do 'get a message' it's a doozy! My optimism extends to Australian artists who will think for themselves. As for 'Australian art', it will manage itself. It has up to now. I can only hope that it will manage itself with intelligence, passion and compassion. I have no aspirations for Michelin star cooking, but I do cook every day and I use local ingredients. If I don't, then I'm in a culinary-cultural denial. My results will be enjoyable and fulfilling and to hell with what I'm 'told to do'. This text was commissioned by the Contemporary Art Centre of South Australia, Adelaide, for CONTEMPORARY VISUAL ART+CULTURE Broadsheet magazine, Volume 34 No 4, 2005. -- EXPERIMENTAL ART FOUNDATION curates its exhibition program to represent new work that expands current debates and ideas in contemporary visual art. The EAF incorporates a gallery space, bookshop and artists studios. Lion Arts Centre North Terrace at Morphett Street Adelaide * PO Box 8091 Station Arcade South Australia 5000 * Tel: +618 8211 7505 * Fax +618 8211 7323 * eaf AT eaf.asn.au * Bookshop: eafbooks AT eaf.asn.au * http://www.eaf.asn.au * Director: Melentie Pandilovski The Experimental Art Foundation is assisted by the Commonwealth Government through the Australia Council, it arts funding and advisory body and by the South Australian Government through Arts SA. The EAF is also supported through the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org is a 501(c)(3) nonprofit organization and an affiliate of the New Museum of Contemporary Art. Rhizome Digest is supported by grants from The Charles Engelhard Foundation, The Rockefeller Foundation, The Andy Warhol Foundation for the Visual Arts, and with public funds from the New York State Council on the Arts, a state agency. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome Digest is filtered by Marisa Olson (marisa AT rhizome.org). ISSN: 1525-9110. Volume 11, number 1. Article submissions to list AT rhizome.org are encouraged. Submissions should relate to the theme of new media art and be less than 1500 words. For information on advertising in Rhizome Digest, please contact info AT rhizome.org. To unsubscribe from this list, visit http://rhizome.org/subscribe. Subscribers to Rhizome Digest are subject to the terms set out in the Member Agreement available online at http://rhizome.org/info/29.php. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + |
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