So good: "My name is Domenico Quaranta and I’m a contemporary art critic and curator. That’s, at least, what I think I am. Some people don’t agree, and call me new media art critic and curator. Don’t believe them. I think to know why they do it, but this doesn’t mean it makes any sense. They do it because I care for art that is aware of the internet, of globalization, climate change, postfordism, mediatization of life, dematerialization of power, identity construction, body manipulation, this kind of stuff. Some of this art is networked, most isn’t; some of this art is done with digital means, most isn’t. I still didn’t find a better term to address it than contemporary art. In the end, how can something be “contemporary” if it’s not aware of the internet, of globalization, climate change, postfordism, mediatization of life, dematerialization of power, identity construction, body manipulation, this kind of stuff? My name is Domenico Quaranta and I’m a contemporary art critic and curator. And this is all you should know about me."

working at an ad agency proved alienating, she said, because of the way “the work mimics art.”

weird

We maintain a list of "creative coding" platforms here, please add relevant projects:

I am lolling all over the place. "Ever since I was a child I have been fascinated by the theoretical limits of relationships. What starts out as hope soon becomes debased into a hegemony of power, leaving only a sense of decadence and the chance of a new synthesis."

The Variable Media Questionnaire is a project of Forging the Future, an alliance dedicated to building tools to help rescue digital culture from oblivion.

This is some quality bloggin'

Moral of the story: putting similar cool things together without something to say makes them boring.

All chat excerpts are published with the participant's permission, and with the understanding that, although an excerpt may be included for public consumption, the goal is to provide a space for the casual spontaneity of the private conversation.

The MFA program in Art Criticism & Writing is one of the only graduate writing programs in the world that focuses specifically on criticism. This program is not involved in “discourse production” or the prevarications of curatorial rhetoric, but rather in the practice of criticism writ large, aspiring to literature.

"LACMA’s website has begun releasing publication-quality digital images of out-of-copyright works in its permanent collection. It appears to be the first major museum to do this, and that’s big news. It may herald the end of 'zombie copyrights.'"

conducts creative, participatory research that aims to temporarily transform public spaces dominated by non-public agendas. Using performance and conversation, we investigate social and political "tiny things".

These have included corporate ads, street names, and post-9/11 security terminology. The Institute markets dissent through its research reports in the form of maps, books and videos.

Custom software recreates various Sol LeWitt drawings. The software also posts instructions on Amazon.com’s Mechanical Turk. Human workers execute the drawings online based on the instructions from the program. The workers are paid 5¢ for each drawing. The software then assembles the drawings in a grid. The computer generated drawings, and the grids filled in by anonymous workers are displayed side by side.

Oil paintings ordered over the internet, inkjet on paper, 18 feet by 8 feet

Almost two thirds of the world’s oil paintings are produced cheaply in China and a large number of these are sold over the internet, raising questions of reproduction, authorship and copyright. These commissioned paintings represent a variety of experiments; painted feedback loops, open-ended instructional paintings, and paintings corrupted by digital transmission errors. They investigate the system in which these paintings are created, and more importantly directly address some of the individual painters’ aesthetics and ideas. This series of commissioned paintings blurs the boundaries between human creativity and machine-like, systematic intelligence.

“Every page must explode, whether through seriousness, profundity, turbulence, nausea, the new, the eternal, annihilating nonsense, enthusiasm for principles, or the way it is printed. Art must be unaesthetic in the extreme, useless and impossible to justify.” —Francis Picabia

an exhibition of artists’ books and related material exploring the encyclopedic form at Printed Matter thru February.

couches in galleries!

The Met has created its first app, to accompany the guitar show. It is embarking on the daunting task of wiring its huge building for Wi-Fi, he said, so that patrons will eventually be able to read and watch videos about art museumwide on their phones and tablet computers. And it is venturing as never before into the rapidly evolving field of what museum administrators call “visitor engagement”: a social science aimed at trying to reach every patron, from the first-timer to the seasoned scholar.