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BIO
Christina McPhee http://christinamcphee.net
Mark Dery tonight at RX Gallery SF
Thursday May 19th
2005 Rx Lecture Series with
MARK DERY
<http://rxgallery.com>
The Sexual Grotesque: Pomosexualities and Robopathologies on the Web
Posthuman relationships with the anatomically accurate androids called
RealDolls, extreme bukkake orgies, ultra-violent Japanese hentai
cartoons: Depending on your perspective, the Web is a libidinous
interzone---a torture garden of unearthly delights---or a sinkhole of
depravity. What are we to make of the runaway proliferation of
fetishism, in the Web age? (Tentacle rape, anyone? Decapitation
fantasies? Amputee worship?) Is fetishism becoming the default modality
of our post, post, postmodern sexuality? If so, is it transgressive or
repressive---one more example of the iron cage of techno-industrial
rationale constricting our desires, or an inspiring example of
subcultural sensibilities rebelling against normative notions of
sexuality? As well, what are we to make of the Web-enabled
"democratization of exploitation": the niche-marketing of nonstandard
body types that, ironically, realizes the feminist dream of dethroning
normative notions of beauty by peddling the flesh of the morbidly obese
and the mind-crushingly ugly. Does this stuff subvert the Beauty Myth?
Or is it simply extending its exploitative logic to the far margins of
society? "Sex organs sprout everywhere," wrote William S. Burroughs, in
Naked Lunch. Even as the self-appointed morals czars of the Bush
administration try to childproof the Web, exotic new toadstools spring
up in its danker corners. In The Sexual Grotesque, I'll examine the
Newtonian physics of our culture---the equal and opposite reactions of
official culture and the Web's sexual underworld.
7:00pm doors / 8:00pm lecture / 21+UP
$10 / $5 with student ID
Seating is Limited
CURRENT EXHIBITION
Christina McPhee
recent work
Seismic Memory
May 12 - June 8
Gallery hours : Wednesday - Saturday 12pm-5pm, or by appointment by
calling (415) 756-8890. Bar opens at 5pm Thursday-Saturday.
Rx Gallery
Realspace, LLC
132 Eddy Street @ Mason Street
San Francisco, CA 94102
1 Block west of Powell Street BART
Gallery Phone:
415-474-7973 (RXSF)
2005 Rx Lecture Series with
MARK DERY
<http://rxgallery.com>
The Sexual Grotesque: Pomosexualities and Robopathologies on the Web
Posthuman relationships with the anatomically accurate androids called
RealDolls, extreme bukkake orgies, ultra-violent Japanese hentai
cartoons: Depending on your perspective, the Web is a libidinous
interzone---a torture garden of unearthly delights---or a sinkhole of
depravity. What are we to make of the runaway proliferation of
fetishism, in the Web age? (Tentacle rape, anyone? Decapitation
fantasies? Amputee worship?) Is fetishism becoming the default modality
of our post, post, postmodern sexuality? If so, is it transgressive or
repressive---one more example of the iron cage of techno-industrial
rationale constricting our desires, or an inspiring example of
subcultural sensibilities rebelling against normative notions of
sexuality? As well, what are we to make of the Web-enabled
"democratization of exploitation": the niche-marketing of nonstandard
body types that, ironically, realizes the feminist dream of dethroning
normative notions of beauty by peddling the flesh of the morbidly obese
and the mind-crushingly ugly. Does this stuff subvert the Beauty Myth?
Or is it simply extending its exploitative logic to the far margins of
society? "Sex organs sprout everywhere," wrote William S. Burroughs, in
Naked Lunch. Even as the self-appointed morals czars of the Bush
administration try to childproof the Web, exotic new toadstools spring
up in its danker corners. In The Sexual Grotesque, I'll examine the
Newtonian physics of our culture---the equal and opposite reactions of
official culture and the Web's sexual underworld.
7:00pm doors / 8:00pm lecture / 21+UP
$10 / $5 with student ID
Seating is Limited
CURRENT EXHIBITION
Christina McPhee
recent work
Seismic Memory
May 12 - June 8
Gallery hours : Wednesday - Saturday 12pm-5pm, or by appointment by
calling (415) 756-8890. Bar opens at 5pm Thursday-Saturday.
Rx Gallery
Realspace, LLC
132 Eddy Street @ Mason Street
San Francisco, CA 94102
1 Block west of Powell Street BART
Gallery Phone:
415-474-7973 (RXSF)
Seismic Memory at RX Gallery San Francisco
Dates:
Thu May 12, 2005 00:00 - Thu May 12, 2005
RX Gallery San Francisco presents
SEISMIC MEMORY
recent work by Christina McPhee
On view through May 12-Jun 12, 2005
Reception for the artist
THURSDAY, MAY 12 2005
6-9 pm
132 Eddy Street @ Mason
1 block west of Powell Street BART
phone 415-474-7973 or by appointment 415-756-8890
Gallery hours: Wednesday to Saturday 12 pm to 5 pm, evening hours after 5 pm Thursday-Saturday
Rx is very pleased to present its next exhibition " Seismic Memory: Carrizo-Parkfield Diaries" featuring recent work by Christina McPhee, with video by Terry Hargrave
Online live seismic data diaries with music/animations by Christina McPhee, text by Jeremy Hight and programming by Sindee Nakatani at
Christina McPhee builds very large digital chromogenic prints from medium format documentary photography, digital video, digital photography and field drawings, from the Carrizo Plain, called the "Cadillac" of San Andreas Fault geomorphology, north to Parkfield, site of the most thoroughly studied recent quake in California (September 28, 2004). In architectonic vertical stacks of images, the artist conflates field observation within a dream-like sequence of painterly shadow and illumination. Carrizo's stark terrain, littered with debris from abandoned homes and cars, is the site of McPhee's field notes and landscape performance, shot in documentary video over a period of four years with Terry Hargrave. Stills from the video work infiltrate the architecturally scaled prints, where, layering her onsite drawings with traces from geomorphologic maps, the artist shape-shifts visual narratives that put the intangible, intimate and local sense of place, up against the reality of continuous seismic activity in California. Online at http://carrizoparkfielddiaries.net, animations based on the video documentation and the chromogenic prints, flash across the screen in fleeting layers, that trigger from a "crash" of near-live ground motion data compilations into archived seismic data from the recent Parkfield quake. Conceptually, the current data's reach into the past changes the archive from a static resource to an uncanny future array.
fmi: William Linn, curator will@blasthaus.com
SEISMIC MEMORY
recent work by Christina McPhee
On view through May 12-Jun 12, 2005
Reception for the artist
THURSDAY, MAY 12 2005
6-9 pm
132 Eddy Street @ Mason
1 block west of Powell Street BART
phone 415-474-7973 or by appointment 415-756-8890
Gallery hours: Wednesday to Saturday 12 pm to 5 pm, evening hours after 5 pm Thursday-Saturday
Rx is very pleased to present its next exhibition " Seismic Memory: Carrizo-Parkfield Diaries" featuring recent work by Christina McPhee, with video by Terry Hargrave
Online live seismic data diaries with music/animations by Christina McPhee, text by Jeremy Hight and programming by Sindee Nakatani at
Christina McPhee builds very large digital chromogenic prints from medium format documentary photography, digital video, digital photography and field drawings, from the Carrizo Plain, called the "Cadillac" of San Andreas Fault geomorphology, north to Parkfield, site of the most thoroughly studied recent quake in California (September 28, 2004). In architectonic vertical stacks of images, the artist conflates field observation within a dream-like sequence of painterly shadow and illumination. Carrizo's stark terrain, littered with debris from abandoned homes and cars, is the site of McPhee's field notes and landscape performance, shot in documentary video over a period of four years with Terry Hargrave. Stills from the video work infiltrate the architecturally scaled prints, where, layering her onsite drawings with traces from geomorphologic maps, the artist shape-shifts visual narratives that put the intangible, intimate and local sense of place, up against the reality of continuous seismic activity in California. Online at http://carrizoparkfielddiaries.net, animations based on the video documentation and the chromogenic prints, flash across the screen in fleeting layers, that trigger from a "crash" of near-live ground motion data compilations into archived seismic data from the recent Parkfield quake. Conceptually, the current data's reach into the past changes the archive from a static resource to an uncanny future array.
fmi: William Linn, curator will@blasthaus.com
next wednesday semiotext(e) Los Angeles Art and the Triumph of Nothingness
http://www.semiotexte.com/index2.html
Bergamot Books & MESS (Media Ecology Super Sessions) proudly present
Chris Kraus in dialogue with Gerry Fialka
WEDNESDAY, May 11 at 7:30pm
Bergamot Station, Building G-5B, 2525 Michigan
Ave, Santa Monica, CA,
310-453-5768. Free admission. Free parking.
www.bergamotstationbooks.com
They will be discussing Kraus' book Video Green: Los
Angeles Art and the Triumph of Nothingness
Bergamot Books & MESS (Media Ecology Super Sessions) proudly present
Chris Kraus in dialogue with Gerry Fialka
WEDNESDAY, May 11 at 7:30pm
Bergamot Station, Building G-5B, 2525 Michigan
Ave, Santa Monica, CA,
310-453-5768. Free admission. Free parking.
www.bergamotstationbooks.com
They will be discussing Kraus' book Video Green: Los
Angeles Art and the Triumph of Nothingness
Re: Fw: Re: RHIZOME_RAW: hardcore conceptual digital art
re : hardcore -- the perfect code for code system, for your musings :
a few more refs re AP:
http://www.clui.org/clui\_4\_1/lotl/v27/m.html
"Another unrelated self contained system was installed at a remote location northwest of the DRS by Martin Howse and Jonathan Kemp, researchers from England. This system involves a network of solar powered sensor/transmitter pods that communicate with one another. Variations in external influences on each pod, including electromagnetic, sonic, physical vibrations, and temperature change, effect a signal which is transmitted at a frequency shared by each pod. This signal in turn effects the state of each pod, which responds with a variation, which in turn effects the signal, and so on. This compounded dynamic language system unites the individual units into a 'community
a few more refs re AP:
http://www.clui.org/clui\_4\_1/lotl/v27/m.html
"Another unrelated self contained system was installed at a remote location northwest of the DRS by Martin Howse and Jonathan Kemp, researchers from England. This system involves a network of solar powered sensor/transmitter pods that communicate with one another. Variations in external influences on each pod, including electromagnetic, sonic, physical vibrations, and temperature change, effect a signal which is transmitted at a frequency shared by each pod. This signal in turn effects the state of each pod, which responds with a variation, which in turn effects the signal, and so on. This compounded dynamic language system unites the individual units into a 'community
Fw: Re: RHIZOME_RAW: hardcore conceptual digital art
-----Forwarded Message-----
From: christina mcphee <christina112@earthlink.net>
Sent: Apr 21, 2005 4:18 PM
To: "t.whid" <twhid@twhid.com>
Subject: Re: RHIZOME_RAW: hardcore conceptual digital art
i think (i am not totally sure) that this is kinda what AP (Artificial Paradises) is up to.
http://1010.co.uk/
c
-----Original Message-----
From: "t.whid" <twhid@twhid.com>
Sent: Apr 21, 2005 1:45 PM
To: rhizome <list@rhizome.org>
Subject: RHIZOME_RAW: hardcore conceptual digital art
Hi Rhizome,
Had this idea and posted it to the mtaa blog today, but it sounds
familiar... anyone can direct me to something similar? Thanks.
++++
AIOTD: Art By Computers, For Computers
posted at 14:25 by T.Whid in /news/twhid
Two software programs are created. Program A creates ?art data? which
is transmitted to program B. Program B is programed in such a way that
it has aesthetic criteria with which it evaluates Program A?s art data
transmissions. The human witness doesn?t view the art data, but Program
B responds to the art data in a way that is discernible by the human
witness.
Oh! I almost forgot. This is hardcore conceptual digital art.
++++
read M and me discussing it here:
http://www.mteww.com/mtaaRR/news/twhid/
aiotd_art_by_computers_for_computers.html
++++
re: net art market
Bitforms has been trying. Napier tried to sell access to a
collaborative space. Not sure how successful he was.
Selling straight-up digital art seems to be easier, as Curt mentioned,
the McCoys do it within an installation/object context. Also Paul
Johnson, wolfgang staehle, Assume Astro Vivid Focus (sells AI files of
his wallpaper, up to the collector to fabricate). You could count Paul
Pfieffer too. All in all, I think digital media has been making some
real inroads into traditional art markets the last few years. Many
times this is under the guise of video, photographs or installations,
but it's digital art nonetheless.
Good luck!
===
<twhid>http://www.mteww.com</twhid>
===
+
-> post: list@rhizome.org
-> questions: info@rhizome.org
-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
-> give: http://rhizome.org/support
-> visit: on Fridays the Rhizome.org web site is open to non-members
+
Subscribers to Rhizome are subject to the terms set out in the
Membership Agreement available online at http://rhizome.org/info/29.php
From: christina mcphee <christina112@earthlink.net>
Sent: Apr 21, 2005 4:18 PM
To: "t.whid" <twhid@twhid.com>
Subject: Re: RHIZOME_RAW: hardcore conceptual digital art
i think (i am not totally sure) that this is kinda what AP (Artificial Paradises) is up to.
http://1010.co.uk/
c
-----Original Message-----
From: "t.whid" <twhid@twhid.com>
Sent: Apr 21, 2005 1:45 PM
To: rhizome <list@rhizome.org>
Subject: RHIZOME_RAW: hardcore conceptual digital art
Hi Rhizome,
Had this idea and posted it to the mtaa blog today, but it sounds
familiar... anyone can direct me to something similar? Thanks.
++++
AIOTD: Art By Computers, For Computers
posted at 14:25 by T.Whid in /news/twhid
Two software programs are created. Program A creates ?art data? which
is transmitted to program B. Program B is programed in such a way that
it has aesthetic criteria with which it evaluates Program A?s art data
transmissions. The human witness doesn?t view the art data, but Program
B responds to the art data in a way that is discernible by the human
witness.
Oh! I almost forgot. This is hardcore conceptual digital art.
++++
read M and me discussing it here:
http://www.mteww.com/mtaaRR/news/twhid/
aiotd_art_by_computers_for_computers.html
++++
re: net art market
Bitforms has been trying. Napier tried to sell access to a
collaborative space. Not sure how successful he was.
Selling straight-up digital art seems to be easier, as Curt mentioned,
the McCoys do it within an installation/object context. Also Paul
Johnson, wolfgang staehle, Assume Astro Vivid Focus (sells AI files of
his wallpaper, up to the collector to fabricate). You could count Paul
Pfieffer too. All in all, I think digital media has been making some
real inroads into traditional art markets the last few years. Many
times this is under the guise of video, photographs or installations,
but it's digital art nonetheless.
Good luck!
===
<twhid>http://www.mteww.com</twhid>
===
+
-> post: list@rhizome.org
-> questions: info@rhizome.org
-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
-> give: http://rhizome.org/support
-> visit: on Fridays the Rhizome.org web site is open to non-members
+
Subscribers to Rhizome are subject to the terms set out in the
Membership Agreement available online at http://rhizome.org/info/29.php