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Art*o*Mat - -Artists
in Cellophane
Clark Whittington of Winston-Salem, NC, founded Artists
in Cellophane and created a new use for old cigarette vending
machines. Selling works of art restricted to the size of a pack
of cigarettes and refurbishing the machine to become an Art-O-Mat.
Artomat vending machines have been seen in major art institutions,
such as the Whitney Museum, New Museum of Contemporary Art NYC,
Andy Warhol Museum as well as less famous places but equally important
to the goal of bringing art to the masses at a very reasonable
price. The tiny paintings and small glass and ceramic works are
being sold in two dozen locations from as far afield as Pittsburgh
and Cleveland to Texas and New York.
Each machine sells works by about 20 different artists, some
of whom make miniature versions of their normal work.
Pat Badani - conceptual
/ interactive art
In the course of an itinerary that embraces Europe
and the Americas, Pat Badani develops works that explore concepts
related to the production of space, its occupation and its habitation.
In the last decade, installation projects articulate notions surrounding
the house, the city and the territory. These works integrate various
mediums to elicit a multiplicity of readings. Writing, drawing,
painting, sculpture, photography, video and digital elements,
contribute to the creation of a physical and mental space where
opposites co-exist in fields of simultaneous interactions.
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"Tower-Tour",
a hybrid installation that explores the Myth of the Tower of Babel
and its representations, is developed through a period of three
years in collaboration with the food industry. It is first exhibited
at the Canadian Cultural Center in Paris, France in 1997.This
same year, her work is included in the group exhibition "Geographiques"
at the FRAC et Palazzo Nazionale in Corsica (France), at the side
of Richard Long, Peter Fend, Sophie Riestelhueber and other international
artists.
"R'evolution des particules",
an installation-work elaborated over two years at the cross-roads
between two texts, the Myth of Creation and Paul Auster's "In
the Country of Last Things", is exhibited at the Maison de
L'Amerique Latine in Paris in 1994.
She counts with several joint works. In 1994, Pat Badani and
Quebec poet Claude Beausoleil co-author an interactive book titled
"La mise en songe".
In 1998 she collaborates with Zygote Multimedia Productions in
the development of a trilingual C.D.ROM titled "Directions-Direcciones"
and in 1999 she conducts "Housebroken",
a city project in Paris that involved interdisciplinary Art &
Science collaborations.
The Journal of New Media and Culture - technology
and culture
In this first issue, NMEDIAC, the new online peer-reviewed Journal
of New Media & Culture, offers three teasers of what is to come
with regard to new media art: Superstitious
Appliances and "in
an unrelated sequence comes" by Jason Nelson, and Thomas Swiss/Motomichi
Nakamuras poem
"Hey Now."
Jennifer Ley, in her
introduction to Nelsons work, notes that this authors use
of Flash to create new media poems draws us into his own comforter
and couch cushion fort of language, symbol, sound and meaning.
His work speaks the tongue of people, not trends, fads or fetishes
all too customary within online programming communities.
Megan
Sapnar familiarizes us with Hey Now
by discussing how the aesthetic possibilities of new media poetry
are addressed in the tone and inspirations for Swiss/Nakamuras
piece. Similarly, the aesthetic and textual issues of new media
poetry also emerge in George
Hartleys review of Loss Pequeo Glaziers forthcoming book,
Digital Poetics: The Making of E-Poetries. Mobility, transitivity,
manipulability, interactivity, programmability, hyperactivity,
Hartley writes, are the qualities of Glazier's ideal Web poem,
a kind of anti-text that moves from context to dystext.
Jason Nelson
What upsets many traditional readers about hypertext, hypermedia,
and e-lit in general is its often slick appearance, code tricks
and perhaps most importantly, its lack of closure. Modernism was
an important movement in writing and the arts, but we have entered
a new century, and recent events have left many readers asking
for a bit more than sonal wallpaper from the writers they're willing
to read.
Jason Nelson's use of Flash draws us into his own comforter and
couch cushion fort of language, symbol, sound and meaning. His
work speaks the tongue of people, not trends, fads or fetishes.
It is rare for hypermedia poetry to offer a sense of dramatic
fruition, of entry, progression, denouement and closure without
strict adherence to one author-driven timeline. When it does,
we begin to see what the overused term "interactivity"
can mean for e-literature, and why it makes sense for poets to
ask their audience to give up the solace of paper for the computer
screen.
excerpts from NMEDIAC Contributing Editor Jennifer
Ley's article on the art of Jason Nelson
internet history break - Pop
Culture, Valentine style
From the archives of Computer-Mediated
Communication Magazine
Volume 2, Number 2 / February
1, 1995
1995 doesn't seem so long ago - but this was when images were
new on the web - a 28.8 modem was really fast and people were
still browsing to see what this new medium was. One woman reported
on the seasonal links that she uncovered (dead
link warning - this is history and most of the sites have
gone on - but Pigs in Cyberspace remain alive)
My Darling, my Disk Drive
Ah, February. Romance may be in the air, but it's not on the Web. After spending
hours searching, the only pages I could find suitable for viewing
a deux were: a
playground poll on falling in love and
a compare and contrast guide to the sexes. Just in case anyone
was confused... If you prefer to thumb your nose at Cupid, then
you can always curl up to your monitor and check out 101
easy ways to say no brought to you courtesy of
Scott Yanoff. Or go out of your way to check out the Pigs
in Cyperspace page, featuring the femme fatale for whom the
ten-pound box of chocolates was made for, Miss Piggy. |
the
public's library and digital archive
