Tuesday, November 27, 2007

Devon Dikeou and Luke Murphy at artMovingProjects

4 documents citing the carbon dating procedure mounted on sintra with non-glare Plexiglas surface
Dimensions: 8 _” x 11”

Niney Carbon Dating, 2007
C-Print mounted on aluminum with non-glare Plexiglas surface
Dimensions: 20” x 30”

La Boheme, 2007
C-Print mounted on aluminum with non-glare Plexiglas surface
Dimensions: 30” x 20”
Hospital, 2007
C-Print mounted on aluminum with non-glare Plexiglas surface
Dimensions: 20” x 30”

Niney Timeline, 2007
Acrylic on gessoed canvas
Dimensions variable

Wash Me, 2007
44 Gerber baby food jars, _ cap of Woolite, and 198 ounces of water containing the residue of washing Niney
displayed on Plexiglas shelves
Dimensions variable

Gabe Chicco

Still from the Longest Painting of Death

Luke Murphy installing

166 N.12th St, between Bedford and Berry Sts., Williamsburg (917-301-6680, 917-301-0306).
Subway: L to Bedford Avenue  Thurday -Sunday, 1pm - 6pm www.artmovingprojects.com artmovingprojects.blogspot.com

Opening 7-9 Saturday, December 1st - Feb. 10th 2008

Devon Dikeou

In her first one person show at artMovingProjects
Devon Dikeou shows the documentation of “Niney”, a child’s sweater made out of what she thought was lambs wool that she has gone to extreme lengths to keep in her immediate possession since childhood. Following in the tradition of Joseph Kosuth, John Baldessari, and Gorden Matta Clark she uses photography and text to augment the significance of this article of clothing. Notions of fragility, safety and comfort, collide with feelings of fear, vulnerability and voyeurism in the ongoing work that has seen earlier manifestations at Postmasters Gallery, and more recently at the Robin Rule Gallery. The installation will include photographs, documentation and paintings that cite a written timeline both sincere and hilarious that builds to form an absurd narrative of intimacy and taboo.


New Media Project Space

Luke Murphy

The Longest Painting of Death is a digital work that takes an image of Albert Pinkham Ryder’s “The Race Track” (Death on a Pale Horse c.1896), enlarges it to the painting’s original size of 27 3/4" x 35 1/8", stretches it digitally until it is one mile in length and then traverses it in 02:11:20 min, the average speed of the still fastest race horse, Secretariat. This piece is an extension of two “minimalist” works done almost ten years ago. The Mile Long Page and the Square Mile Page, both digital updates of Walter de Maria’s Vertical Kilometer, consist of a mile-long line of single black pixels and a square mile of black pixels respectively. In The Longest Painting of Death, Murphy stretches the painting to the length of a race track, “moving” along the track on the screen, thereby encouraging the viewer to switch from the side of the course to the perspective of Death watching the landscape as it passes by.


by appointment: Dec. 21 - Jan. 13 closed Jan. 18 - 20

Sunday, November 25, 2007

Linda Post's installation 'LEVEL' in Queens

opening reception: Saturday, December 1st, 5-7pm

The Chocolate Factory
5-49 49th ave, long island city, ny 11101

nov 29 - dec 22, 2007

gallery hours:
thursdays & fridays 5-8pm, saturdays 3-8pm, & by appointment


Friday, November 9, 2007

Natalie Moore review on ArtistOrganizedArt.org

Thursday, November 08, 2007

Natalie Moore at artMovingProjects 166 North 12th Street Brooklyn NY 11211 (Link) http://www.artMovingProjects.com

correspondent: NY artist, Erika Knerr


Natalie Moore's second one person show at ArtMovingProjects in Williamsburg, Brooklyn, titled "Mirage" is an graceful installation that rests between sculpture, painting and poetry. Layed out with a small map for viewers, of 12 individual pieces created from stainless steel wire mesh, with somewhat unrelated titles like Pompeii, Apricot, Lochness and Fire, the first impression is that the objects function together as a topography seemlessly inter-related. There is a casuallness to the way the forms are bent and molded into shape almost like a crumbled and discarded piece of paper, yet the thoughtful and alluring color is so over the edge elegant it creates an exquisite paradox.

Ms. Moore speaks of working with the idea of perception. The notion that we percieve things differently at different times. If we look at something one way it seems fixed, then suddenly we approach it from another angle and it becomes very different. Countless examples of this scenario occur in everyday life from thought patterns to political rhetoric, to just what we are seeing in and through the objects in this miraged perspective set up by Natalie Moore. Solid and opaque on one side, transparent and shear on the other, as you move around the room, moiré patterns, creating another level of drawing on the landscape are fleeting. You catch a glimpse of it and then it's gone. She attempts to create an image that goes in and out of visibility, like a mirage in the desert. T
he physical objects are smaller than human size and a curiously familiar scale and proportion that refer to large heavy rocks, yet are clearly light weight and fragile in reality, continuing the play on what is real and true and what is imagined, fantasy and false. Moore invited writer Melanie Neilson Junceau to write the statement for the exhibition that unconventionally functions as press release and only text accompanying the show. The poetic prose piece is titled, " Mirage: Morning Before the Fact," and is a dreamy revelation of associations to "Mirage."

Ms. Moore's first show at artMovingProjects in 1998 was the inaugural exhibition for this artist-run space by Aron Namenwirth. Moore at that time had come out of running another artist initiated space called "Sauce" from 1992-95, with a small group of other artists, also in Williamsburg. It was one of the four original artist-run spaces featured in the show "OTHER ROOMS" at Ronald Feldman Fine Arts in 1995. Another was the senior artist organized venue Four Wall's which before moving to Mike Balou's garage space in Brooklyn in 1991, was founded by Adam Simon in Hoboken in 1984. The other two are the now long running Williamsburg haunts Perogi 2000 and the non-profit Momenta Art which emerged consecutively in 1994 and 1995. Like Momenta, artMovingProjects is going non-profit.

"Mirage" is a new direction for Natalie Moore's work which came as a surprise to some who know her as a digital media aficionado and professor. With the galleries often emphasis on new media art, this hands-on formal/informal approach is unexpected, but also a natural evolution from the physically conceptual installations of electrical, cable and/or computer wire that was embedded directly into the plaster walls of the spaces she was working as site specific installations. This work presented the idea of a room or house having a life of it's own; it's insides breaking out of the walls. The wires being the veins and hair of the space, pushing out of the walls and making the room itself come alive. Here she worked with combining mediums as well, working between drawing, sculpture and architecture. I look forward to where she goes from here and the role that intermedia might play.

The show is up through sunday, November 18th, 2007.
-- Erika Knerr

Natalie Moore at artMovingProjects

Thursday, November 8, 2007

Programming Chance at Emily Harvey Foundation

curated by James Fuentes

John Cage, Jean Dupuy,
Alison Knowles, William Stone
& Aaron Young


11/13/07 - 12/08/07

The Emily Harvey Foundation
537 Broadway, Second Floor
New York, NY 10013

Hours Tues. - Sat., 1pm - 6pm
Tel 212.925.7651
Fax 212.966.0439


Wednesday, November 7, 2007


Rhizome Needs You!

November 7, 2007

This week, Rhizome begins our 2007 Community Campaign. We need to raise $30,000 by midnight, December 31st. We're calling upon the artists, critics, curators, scholars, scientists, and general digital culture fans in our network to achieve this goal. Now is the time to become a member (it's only $25!), renew your membership, or make a generous donation. Rhizome serves an emerging field and we rely, to no small extent, on our community for support. Your contribution will seed the development of our web-based programs, such as commissions, discussion, and digital art preservation, all of which aim to increase the visibility and vibrancy of this growing field. Helping us will help make new media art history. Please support us today!


artMovingProjects is going non-profit!

Monday, November 5, 2007

Paddy Johnson ArtFagCity reviews bloggerskins

Marcin Ramocki, Blogger Skins

Marcin Ramocki, Blogger Skins, 2007

You’ll have to excuse the lack of content on this blog as of late. Unfortunately, Art Fag City hasn’t proven to be awesome in the paying bills department, which results in time spent on cash generating projects I naturally have about half the interest in.

If time and money weren’t issues, you’d probably read a few more responses to material on Tom Moody’s blog over the last week. In the next couple of days I’ll be covering three topics he’s raised recently, beginning with Marcin Ramocki’s Blogger Skins at artMovingProjects and moving on to his discussion of the Nasty Net Halloween post, and Net 1.0.

For those who are either not aware of Ramocki’s project, or only aware of our fresh link to the exhibition reading “Dear Mr. Ramocki, Next time please paint a giant portrait of my face”, Blogger Skins is basically a portrait created by arranging the first 100 google image results drawn from their first and last names. Bloggers Tom Moody, Joy Garnett, James Wagner, Regine DeBatty, and myself were the chosen subjects for this piece, the results of which can be seen here.

One of the more obvious points of interest in this piece lies in the reading of the results, an aspect Moody covers well;

Clearly Debatty, who publishes the blog We Make Money Not Art, is the most successful personage among us, as the first dozen hits are photos of her. This means people with huge amounts of Google juice have linked to her and pushed these images to the top of the heap. Garnett is the most successful artist, as it is her paintings that fill the top slots. James Wagner is disadvantaged by having a common name, while I have been sharing Google with an Australian cricket player and coach for many years now. The drawings occupying the #1 and #2 slots for my name are actually drawings by me published in a Dallas zine when I lived there years ago. Almost two decades later and the artist is still sniffing the critic’s butt and shining the curator’s shoes.

While it’s hard not to respond to the fact that Tom Moody’s portrait is largely defined by cartoons he drew of an artist sniffing a critic’s ass, and then later shining his shoes, the reading of what is essentially statistical data strikes me as a slightly different animal than the term portrait suggests. To my mind, the strength of Blogger Skins lies less in its “completeness” as a portrait, than in its austere arrangement of digital profiles. The timestamped titles may suggest an evolving digital skin, but Ramocki’s visualization tells us what Moody must already be grumbling about; Our digital selves don’t change nearly as much we might like.

smith review of blogger skins and Campanelli on Torcito Portraits and The Wall street Journal

Even Boring Blogs
Are Things of Beauty
In Some Artists' Eyes

December 19, 2007; Page B1

The Web is full of content that only its creator could love. Witness the office-party photos, blogs about people's pets and bad lip-synched videos that turn up in a few minutes of Google-fueled procrastination.

A zoom of Guthrie Lonergan's "Internet Group Shot"

To Guthrie Lonergan, however, Web junk is the basis of his most popular online art. "I'm sort of interested in that boringness," he says.

"Internet Group Shot" is one example. The collage, cobbled from dozens of group portraits, shows how people adopt the same huddle when they're saying "cheese." For "MySpace Intro Playlist," Mr. Lonergan looked for the self-made videos that young people post to their personal pages, then strung them together to show how teenagers tend to act similarly and say the same things when they're introducing themselves.

"There are defaults in our culture," Mr. Lonergan adds. "MySpace doesn't set up something for you to create an introduction video, but kind of like a telephone answering machine, you assume a certain kind of voice and say certain things."

The 23-year-old, who lives in L.A., is one of many artists mining Internet culture for creative inspiration. They make videos out of email spam and multimedia projects from MySpace profiles, and make a case for Web surfing as an art form in itself.

Marcin Ramocki is another. He got the idea for his portrait series "Blogger Skins" when a documentary film he made was being shown world-wide. After setting up search-engine alerts to notify him whenever "8 Bit" was mentioned, he was struck by the unrelated images that came up.

"Internet Group Shot," a collage of group photos scavenged from the Web by Guthrie Lonergan
"MySpace Intro Playlist," also by Mr. Lonergan, a collection of personal videos embedded on their creators' MySpace pages
"Blogger Skins," a series of "portraits" made with Google search results by Marcin Ramocki
"Unmonumental," an online and offline group show at the New Museum and Rhizome, its new-media affiliate.
Rhizome has also sponsored exhibits such as "Professional Surfer," which addresses Web surfing as an art form, and "Faultlines," a look at online communities.
"Time-Lapse Homepage," a one-minute video by Paul Slocum that traces a Web page's look over time.
"Monitor Tracings" is a series of drawings based on Google Images results, by Marisa Olson. Her Internet-based work also includes "Abe and Mo Sing the Blogs," in which she sang journal entries in a blues style.
"Kurt Cobain's Suicide Letter vs. Google AdSense," by Cory Arcangel, pairs the Nirvana singer's words with keyword-based ads.
Mr. Arcangel's del.icio.us bookmarks have also attracted attention in digital-art circles. Some artists also flock to "surfing clubs" such as Nasty Nets, Supercentral and double happiness.

For "Blogger Skins," he Googled a handful of bloggers who write about art, then assembled a virtual mosaic of the images that resulted. "The idea is that a Google search for people who are very active in this community changes every day, so I wanted to capture one specific search," he says.

The image reflects the original order of the search results, he says, "and that creates, sort of accidentally, this beautiful shape, but that shape also reflects the popularity of different images." Subjects with common names had wildly random images associated with them. The artists, though, exerted control over their search results by filling them with their work.

Some of these Web-inspired works have been included in the recently reopened New Museum's "Unmonumental" exhibition, parts of which are on view at its New York location and others of which can be seen on the site for Rhizome, its new-media affiliate. "This generation really knows the Net," says Lauren Cornell, Rhizome's executive director. "They grew up with it and are, for lack of a better word, native to it."

"Art is just going to be what's going on in the world around you. It makes sense to do work about this thing that's changing our life so much," adds Paul Slocum, a 33-year-old Dallas artist whose day job is in systems programming. His video "Time-Lapse Homepage," part of the New Museum exhibit online, is intended to follow the development of the digital aesthetic: in 1,200 screenshots and at 20 frames a second, it chronicles the evolution of a single personal page's look.

He also created a functioning replica of MySpace's log-in page. "I was interested in how you go to these pages all the time that are constantly in flux, changing all the things they show you," he says.

One of the best-known artists in this medium, Cory Arcangel, has "performed" the deletion of his Friendster account in front of an audience at the P.S.1 Contemporary Art Center in Queens, N.Y. "People kind of cringed and then cheered when it was all over," he says. He published on his personal site Kurt Cobain's suicide note alongside Google AdWords that served up ads to social-anxiety treatment and spiritual-growth classes.

"Surfing so much, I get ideas of things that I would like to see that don't yet exist," Mr. Arcangel explains. "This is when I make a project."

This year, Rhizome organized an online group show called "Professional Surfer" that took the prosaic idea of bookmarking Web pages and posited it as art.

On other Web sites, such as Nasty Nets, Supercentral and Yahoo's bookmarking service Del.icio.us, artists link to videos, photos and other digital ephemera they've come across.

"They're like sketchbooks," says Paddy Johnson, a Brooklyn art blogger. "Your ability to spot the best stuff speaks to your eye as an artist. ... The better your quoting ability, the better artist you seem to be."

Even some "offline" works are inspired by Internet culture. For a series called "Monitor Tracings," Marisa Olson searched Google Images for headphones, radios and other devices, then drew the results on paper.

One thing most of these artists haven't solved is how to make money off work that is available to anyone online. Ms. Olson says she sells her drawings and editioned copies of video pieces, but never an Internet-based work. "You would think that the contemporary, hip art world is ahead of the curve on this," she says, "and it's not -- yet."

blogger skins

Marcin Ramocki - Regine Debatty blogger skinConsidering all the chatter about interoperability and social presence this week, it is worth drawing attention to project I recently discovered. Brooklyn-based new media artist and curator Marcin Ramocki recently launched a web-based piece called Blogger Skins. The project uses Google's image search to create photo-mosaics representing the web presence of a number of prominent art bloggers including Tom Moody, Paddy Johnson, James Wagner, Joy Garnett and RĂ©gine Debatty (whose "skin" is on the left). On the surface, the project is a bit of a one-liner, but I think it is a fun exercise in speculating the nature of presence, personality and influence across a distributed network of sites and communities. The project statement elaborates on the contemporary notion of identity:

We have entered the era of identity superstructures: complex sets of search engine outcomes based on our activities, popularity, name itself, purposeful efforts and a whole bunch of random data fluctuation. We are growing second skins, made out of words, links and images: exciting, addictive and sometimes completely meaningless.


Torcito Project, sonic portraits
Marcin Ramocki, a Polish artist who's also a director of documentaries and independent curator, since his first experiments has focused his research on the construction of metaphors by using the most diverse software programs. Non-linear narration, be it generative and random or interactive, is the common theme of his many projects, even though there are other central themes, such as videogames aesthetics (especially the retro ones), combining old and new technologies, the DIY philosophy (which has recently become DIWO, thanks to a Furtherfield collective provocation or - more likely - thanks to the interactive nature of web 2.0), for example in works like Torcito Project (sonic portraits). This work is composed of seven portraits made in the Italian region of Salento (Masseria Torcito is in Cannole, near Lecce) in the summer of 2005 using Virtual Drummer, an "old" Macintosh software. A 48x64 grid is the canvas used by Ramocki. In this grid there's the bitmap image of a human face which eventually turns into the score of an endless sound loop. Each horizontal line corresponds to an instrument (for a total of 48 instruments) which is activated each time the cathode ray beam hits one of the portrait's pixels. Ramocki's work brings to mind Jacquard's punched cards, but also the pianola and the automatic piano. All these, in fact, are applications of the simple binary principle of full and empty. As is easy to understand, there's nothing too far from the basic principle modern digital technologies, and our information society, are based on.
Vito Campanelli

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