ARTBASE (3)
BIO
Jess Loseby is a digital artist from the UK whose main medium is the internet. Her work ranges from small and intimate online installationsto large scale digital projections and video. In a relatively brief time, her work has become known internationally such as the ‘cyber-kitchen’ (lead artist and co-curator) and ‘the Digital Pocket’ (lead artist and co-curator), which is currently listed in the Whitney Artport. In August 2003, she became the first virtual artist in residence at Furtherfield.org (FurtherStudio) one of the first virtual artists residencies of its kind. She has exhibited in digital festivals such as the Split Film Festival, Pixxelpoint 2003, FILE 2003 and the Stuttgart Filmwinter. In 2003 she created interactive digital sets for the production of ‘The Dadaists’ at The Met Theater in Hollywood. Also in 2003 she was also awarded a grant from the Daniel Langlois Foundation, with the resulting work 'views from the ground floor...' being currently exhibited internationally.
Thematically, her projects continue her fascination with borderlands and ‘beautiful seams’ between the ubiquitous worlds of computing and the ‘real’ (domestic). A staunch opponent of new media's absorption with VR, her on and offline installations create flows and streams in the relational space of art and technology. Loseby’s unashamedly low-tech approach to new media build comparisons of the network and digitally (in its frustrations, attention to triviality and repetition) as absurdly compatible to the female domestic routine.
Jess Loseby has 3 children, 2 wheels, 1 husband and 0 days off.
Thematically, her projects continue her fascination with borderlands and ‘beautiful seams’ between the ubiquitous worlds of computing and the ‘real’ (domestic). A staunch opponent of new media's absorption with VR, her on and offline installations create flows and streams in the relational space of art and technology. Loseby’s unashamedly low-tech approach to new media build comparisons of the network and digitally (in its frustrations, attention to triviality and repetition) as absurdly compatible to the female domestic routine.
Jess Loseby has 3 children, 2 wheels, 1 husband and 0 days off.
Re: inIVA x-space commission
> I think my point is being missed.
No I did get you point (and the painter analogy was v. funny) although I
thought you were focusing more on the funding to transform one thing
into another ("...whose practice lends itself to painting either through
subject matter or form") rather than the 'help' to do this.I was just adding
that this kind of misguided call is pretty typical (particularly amongst uk
funding bodies) who are trying to be 'hip' by funding new media -
unfortunatly they rarely fund anything that could actually be useful to
most net artists because they tie their fund up is such specific ill-
informed guidelines, such as funding painters to transform into internet
artists (why should should a artists ability in traditional forms of art
make it 'compatible' with working digitally - what form of art isn't
compatable, why do you have to come from a fine art backgound
anyway???) or tieing internet artists to a specific geographical location
etc etc In terms of 'help' to get started I don't have the same problem
with this apart from the fact that help to learn html, java, flash etc etc is
all there and mostly free on the net anyway. You can get (very) basic
web design training courses free or at subsidized rates at most tech
colleges in the uk anyway, plus if you're not in work they will give you
travel expenses and/or funding to attend too. Why waste valuable
funding opps like inIVA on reinventing the wheel? Why not give it to
artists who are actually making the art and are waste half their time
trying to either get funding (or taking crap web design jobs to pay their
bills) ...like me, for example:-) jess.
o
/^ rssgallery.com
][
No I did get you point (and the painter analogy was v. funny) although I
thought you were focusing more on the funding to transform one thing
into another ("...whose practice lends itself to painting either through
subject matter or form") rather than the 'help' to do this.I was just adding
that this kind of misguided call is pretty typical (particularly amongst uk
funding bodies) who are trying to be 'hip' by funding new media -
unfortunatly they rarely fund anything that could actually be useful to
most net artists because they tie their fund up is such specific ill-
informed guidelines, such as funding painters to transform into internet
artists (why should should a artists ability in traditional forms of art
make it 'compatible' with working digitally - what form of art isn't
compatable, why do you have to come from a fine art backgound
anyway???) or tieing internet artists to a specific geographical location
etc etc In terms of 'help' to get started I don't have the same problem
with this apart from the fact that help to learn html, java, flash etc etc is
all there and mostly free on the net anyway. You can get (very) basic
web design training courses free or at subsidized rates at most tech
colleges in the uk anyway, plus if you're not in work they will give you
travel expenses and/or funding to attend too. Why waste valuable
funding opps like inIVA on reinventing the wheel? Why not give it to
artists who are actually making the art and are waste half their time
trying to either get funding (or taking crap web design jobs to pay their
bills) ...like me, for example:-) jess.
o
/^ rssgallery.com
][
Re: collaboration...where, what and who?
cheers for this joseph, good thoughts....
jess.
>
> Collaboration is tricky, especially for creative people. The project is very
> rare that can be successful with multiple focii...thus one focus is required
> o
/^ rssgallery.com
][
jess.
>
> Collaboration is tricky, especially for creative people. The project is very
> rare that can be successful with multiple focii...thus one focus is required
> o
/^ rssgallery.com
][
Re: inIVA x-space commission
these sort of calls drive me nuts too.
I decided to have a rant the other week on a studio based in London
that was offering a rather nice bursary to digital artists. Dream brief, no
timeframe, no agenda, no 'finished' project that you hand over - just
money to 'buy' time and materials to explore ideas
BUT
only london artists could apply.
I sent them a three page rant on how they had totally misunderstood the
whole 'freedom of movement' potential of working digitally, translocal
practice on the net, the difficulties and rarity of gaining funding for
individual [net] artists and it was totally misplaced to to insist the artist
be based in a specific physical location blah blah blah
I actually got back a rather nice calm email but saying they weren't
happy about this either but the funding was provided by a specific
london based organization and had made this a prerequisite of the
brief...maybe if it was successful it could be expanded, try again soon,
etc etc etc
ho hum
Worked out that I could have spent the total money I've paid in
childcare to gain the time to write submission for grants, bursaries and
stipends (that I didn't get) on a whole new computer.
thanks god for
I decided to have a rant the other week on a studio based in London
that was offering a rather nice bursary to digital artists. Dream brief, no
timeframe, no agenda, no 'finished' project that you hand over - just
money to 'buy' time and materials to explore ideas
BUT
only london artists could apply.
I sent them a three page rant on how they had totally misunderstood the
whole 'freedom of movement' potential of working digitally, translocal
practice on the net, the difficulties and rarity of gaining funding for
individual [net] artists and it was totally misplaced to to insist the artist
be based in a specific physical location blah blah blah
I actually got back a rather nice calm email but saying they weren't
happy about this either but the funding was provided by a specific
london based organization and had made this a prerequisite of the
brief...maybe if it was successful it could be expanded, try again soon,
etc etc etc
ho hum
Worked out that I could have spent the total money I've paid in
childcare to gain the time to write submission for grants, bursaries and
stipends (that I didn't get) on a whole new computer.
thanks god for
collaboration...where, what and who?
I've been writing and researching what it net.collaboration means, the
problematics of this and trying to devise strategies to perhaps re-
present the cyber-kitchen project. In doing this I've noticed that rhizome
(and my other usual trusted sources of text and information) are very
happy to talk about artists on the net 'in collaboration' but not what
being 'in collaboration IS. ..
(some questions - not necessarily what I think)
What does being 'in collaboration' on the net mean?
When there is talk of a group of collaborating artists does this often
really mean that they are just exhibiting together under the same
theme? (or when is a collaboration not a collaboration)
When net artists collaborate how closely do the artists influence each
other, side by side (you do the text, i'll do the music) or in each others
pockets (file sharing, working into each others artworks etc)?
Is collaboration at it's base level simply a way of getting people to do
the work you can't? If so, is there anything wrong with that?
Who and where is the 'good practice' of net.collaboration?
Wondered if anyone had any thoughts or links to texts about this....
cheers,
jess. o
/^ rssgallery.com
][
problematics of this and trying to devise strategies to perhaps re-
present the cyber-kitchen project. In doing this I've noticed that rhizome
(and my other usual trusted sources of text and information) are very
happy to talk about artists on the net 'in collaboration' but not what
being 'in collaboration IS. ..
(some questions - not necessarily what I think)
What does being 'in collaboration' on the net mean?
When there is talk of a group of collaborating artists does this often
really mean that they are just exhibiting together under the same
theme? (or when is a collaboration not a collaboration)
When net artists collaborate how closely do the artists influence each
other, side by side (you do the text, i'll do the music) or in each others
pockets (file sharing, working into each others artworks etc)?
Is collaboration at it's base level simply a way of getting people to do
the work you can't? If so, is there anything wrong with that?
Who and where is the 'good practice' of net.collaboration?
Wondered if anyone had any thoughts or links to texts about this....
cheers,
jess. o
/^ rssgallery.com
][