curt cloninger
Since the beginning
Works in Canton, North Carolina United States of America

ARTBASE (7)
BIO
Curt Cloninger is an artist, writer, and Associate Professor of New Media at the University of North Carolina Asheville. His art undermines language as a system of meaning in order to reveal it as an embodied force in the world. His art work has been featured in the New York Times and at festivals and galleries from Korea to Brazil. Exhibition venues include Centre Georges Pompidou (Paris), Granoff Center for The Creative Arts (Brown University), Digital Art Museum [DAM] (Berlin), Ukrainian Institute of Modern Art (Chicago), Black Mountain College Museum + Arts Center, and the internet. He is the recipient of several grants and awards, including commissions for the creation of new artwork from the National Endowment for the Arts (via Turbulence.org) and Austin Peay State University's Terminal Award.

Cloninger has written on a wide range of topics, including new media and internet art, installation and performance art, experimental graphic design, popular music, network culture, and continental philosophy. His articles have appeared in Intelligent Agent, Mute, Paste, Tekka, Rhizome Digest, A List Apart, and on ABC World News. He is also the author of eight books, most recently One Per Year (Link Editions). He maintains lab404.com, playdamage.org , and deepyoung.org in hopes of facilitating a more lively remote dialogue with the Sundry Contagions of Wonder.
Discussions (1122) Opportunities (4) Events (17) Jobs (0)

DISCUSSION

Re: Linking to Rhizome


http://lab404.com/misc/mitt.jpg

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Daniel Schwartz wrote:

> Hi,
>
> I would like to link to Rhizome on my webpage. Are there graphics for
> members to use to do so?
> cheers,
> -daniel.

DISCUSSION

Signor A


All of us were slowly losing that intellectual light that allows you
always to tell the similar from the identical, the metaphorical from
the real. We were losing that mysterious and bright and most
beautiful ability to say that Signor A has grown bestial -- without
thinking for a moment that he now has fur and fangs. The sick man,
however, thinking 'bestial,' immediately sees Signor A on all fours,
barking or grunting."

- Casaubon

http://capitolrecords.com/radiohead/player/
http://www.slowlydownward.com/NODATA/data_q001.html
http://www.elephant6.net/mp3/otc/OTC_EuropeanSon.mp3

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DISCUSSION

Re: Re: Fwd: FW: Digital Artists: Call for Entries


Personally, I'm just hanging around for the free oven mitt. I hate to keep harping on this, but after a certain number of posts, don't I qualify to receive some sort of free Rhizome oven mitt? I realize arts funding in the US is on the decline, but surely things aren't so bleak that somebody can't toss me a danged free oven mitt every once in a while (or even, like, *ever*).

i mean honestly, what's the deal? do i or don't i qualify for the free oven mitt? (a simple yes or no will do.)

respectfully,
curt

++++++++++++++++++

marc garrett wrote:

> There are many who were linked here from europe - loads have vanished.
> So
> now discussion is done by only a few on this list. Although, I still
> beleive
> that some of it has been pretty interesting and dynamic in places -
> not as
> regular as before, or as much. Its more to do with numbers not
> necessarily
> the quality. Many people before felt part of something, now they
> don't. It's
> all changed - when people feel part of something they are more likely
> to
> contribute with quality. It's a natural thing...
>
> marc

DISCUSSION

Re: Oro Bourous, Outsider Net.Artist pt 2.


I assume these posts are hyperbolic. I can agree somewhat, but my problem is with the "anti-" of it. If my art is "pro-" something, then my art is necessarily influenced by that something, and that works out well since I'm for that something. If my art is "anti-" something, then my art is also influenced by that something, which is not so great since I'm actaully against that something. To make art specifically to snub institutions is akin to making art specifically to gain acceptance into institutions. Either way, an awareness of the institutions dictates the creation of the art.

Institutionally accepted shock/un-art conceptualists (serrano, hirst, tracy emin) welcome your embrace ("pro-") or your utter dismissal ("anti-"). What they can't stand is the critique that they are not that interesting. Oh, it's not great, it's not evil, it's just kind of boring. [The situationists who occasionally crop up on this list fall into the same category.]

The "paying" art world is what it is. I don't need money or fame from it. I don't make my work to gain acceptance into it. But neither is my work a reaction to it. If someone "inside" wants to recognize and hype something I've done "outside," that's fine. As long as it doesn't cause me to alter my work in order to get a gig.

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Eryk Salvaggio wrote:

>
> "What this world needs is to give up the pretense that it can discern
> quality for itself; it needs to give up the charade that there is any
> way to
> make art that works or does not work, and that all art is successful
> in and
> of itself by simply being created by an artist, like myself. The
> artist
> should determine what art is good art, and no one else. Unfortunately,
> the
> world is ruled by people who simply don't get my work, (and many other
> artists work) and as such, I am not allowed to participate in their
> art
> world hierarchy- not that I would want to.
>
> But there is a large number of artists who refuse to conform to that
> system
> without ever having stepped foot into the door of a museum, simply
> knowing
> the evils that lay in wait once inside. These artists are a movement
> in and
> of themselves. I declare this the "No-Show Movement," because we
> reject the
> idea of shows, exhibitions, galleries, and museums. We reject the idea
> that
> we should even try to have our work in such a context, because our
> work
> should not be enslaved by being seen. And because we feel we could not
> have
> our work shown in a system that is so corrupt. Instead, our work
> exists in
> real life, and in conversation- we talk about the projects we would
> make, if
> only getting a grant was easier. And while we could simply make art in
> the
> streets, we reject that, as well, because having our art in the
> streets with
> trash and car exhaust is a disservice to our ideas. In this way, our
> ideas
> remain untainted by actualization.
>
> But if they changed this system of appraising "quality" based on
> things they
> did not understand, I might be able to participate in the art world.
> As it
> is, I want to make a living off of my art, but I refuse to compromise.
> And
> it is the fault of the institutions for not paying money based solely
> on an
> artists unwillingness to compromise. That is why I reject the
> institutions
> altogether, and why I have dedicated my life to complaints about
> them."
>
> -Oro Bouros, Outsider Net.Artist
>
>
>
>
> ----- Original Message -----
> From: "marc.garrett" <marc.garrett@furtherfield.org>
> To: <list@rhizome.org>
> Sent: Saturday, May 31, 2003 9:23 AM
> Subject: RHIZOME_RAW: Circlejerk P.H.D
>
>
> > What this world needs is more hierarchical definitions. So we can
> define
> who
> > are the right and correct people to meet regarding furthering an art
> career.
> > If you have 'up and coming' artists in the same space as the more
> > established it could get very confusing. Exclusivity finely tunes
> good
> > art...
> > Circlejerk P.H.D
> >
> >
> >
> > + ti esrever dna ti pilf nwod gniht ym tup
> > -> post: list@rhizome.org
> > -> questions: info@rhizome.org
> > -> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> > -> give: http://rhizome.org/support
> > +
> > Subscribers to Rhizome are subject to the terms set out in the
> > Membership Agreement available online at
> http://rhizome.org/info/29.php
> >
>