ARTBASE (1)
PORTFOLIO (1)
BIO
The McElroys are a husband and wife collaborative artist, technology, and business team who bring significant artistic, technology and community development skills to Corporate Performance Artists. Joseph, is a graduate of Computer Science from Duke University and a former team leader at IBM. He has been a CEO of several companies, and has been responsible for raising $2 million to fund a startup company called EveryDayPrint.com, which while part of the dot-com boom and bust, he managed to bring to profitability and which still survives to this day.
Donna was an operations manager and PR specialist in the firms they have started together. She has recently been credited by several business leaders in the Bronx as being "top spokesperson for the Bronx." She is active in many community development projects, such as participating on the Board of the Bruckner Arts and Antique District, and working to promote many Bronx activities through an online newsletter called Cupcake Kaleidoscope.
Joseph was the leader of the Open Source Sig for the New York Software Industry Association. And was track co-chair for Open Source at the 2001 New York Software Industry Summit. He was on the advisory board for PostgreSql, Inc - the leading Open Source Database and has had articles published by Lutris Technologies and Open Magazine on Open Source business models and technology solutions. He is a database expert with extensive Fortune 500 experience. Among other awards, he won an IBM Division Award for Technical Excellence.
From magazine "Open" issue September 2001 - "The McElroys kick open the doors of old business models and capitalize on what they believe." The McElroys have achieved re-known as Open Source visionaries with interviews by Interactive Week, Infoworld, Fortune Technology, Open magazine, and others. Joseph and Donna make no claims of divine insight, but in review by Lewis Lacock, it is said, "that this dynamic duo of art are the closest things we have to true shamans today". They are doing their best to pursue the knowledge to support such claims someday.
HIGHLIGHTS
* Achieved reputation as Open Source visionarys with interviews by Interactive Week, Infoworld, Fortune Technology, Open magazine among others.
* National Columnist on Money Matters for Gather.com.
* Judge for the Advanced Technical Categories of the Emmys.
* Successfully raised $2 million funding for startup.
* Successfully built and sold two technology businesses.
* First Entry into the Multimedia wing of the Museum of Computer Art.
* Artwork collected by the Library at Cornell University.
* Artwork in the collection of Rhizome.org.
* Developed first ever Exhibition Catalog completely on CD Rom. Done for Alternative Museum. Reviewed by New York Times.
* Selected to attend first ever Summer Institute for Performance Art at The Kitchen in NYC.
* IBM Division Award for Technical Excellence.
* Various academic, mathematic and scholarship awards. Attended Duke University on a full scholarship in mathematics.
* Poetry published in various journals. Art exhibited in museum shows.
* Certificate of Artistic Excellence from Congressman Jose Serrano.
* Recognized by Bronx Borough President Aldofo Carrion for contributions to the community.
Donna was an operations manager and PR specialist in the firms they have started together. She has recently been credited by several business leaders in the Bronx as being "top spokesperson for the Bronx." She is active in many community development projects, such as participating on the Board of the Bruckner Arts and Antique District, and working to promote many Bronx activities through an online newsletter called Cupcake Kaleidoscope.
Joseph was the leader of the Open Source Sig for the New York Software Industry Association. And was track co-chair for Open Source at the 2001 New York Software Industry Summit. He was on the advisory board for PostgreSql, Inc - the leading Open Source Database and has had articles published by Lutris Technologies and Open Magazine on Open Source business models and technology solutions. He is a database expert with extensive Fortune 500 experience. Among other awards, he won an IBM Division Award for Technical Excellence.
From magazine "Open" issue September 2001 - "The McElroys kick open the doors of old business models and capitalize on what they believe." The McElroys have achieved re-known as Open Source visionaries with interviews by Interactive Week, Infoworld, Fortune Technology, Open magazine, and others. Joseph and Donna make no claims of divine insight, but in review by Lewis Lacock, it is said, "that this dynamic duo of art are the closest things we have to true shamans today". They are doing their best to pursue the knowledge to support such claims someday.
HIGHLIGHTS
* Achieved reputation as Open Source visionarys with interviews by Interactive Week, Infoworld, Fortune Technology, Open magazine among others.
* National Columnist on Money Matters for Gather.com.
* Judge for the Advanced Technical Categories of the Emmys.
* Successfully raised $2 million funding for startup.
* Successfully built and sold two technology businesses.
* First Entry into the Multimedia wing of the Museum of Computer Art.
* Artwork collected by the Library at Cornell University.
* Artwork in the collection of Rhizome.org.
* Developed first ever Exhibition Catalog completely on CD Rom. Done for Alternative Museum. Reviewed by New York Times.
* Selected to attend first ever Summer Institute for Performance Art at The Kitchen in NYC.
* IBM Division Award for Technical Excellence.
* Various academic, mathematic and scholarship awards. Attended Duke University on a full scholarship in mathematics.
* Poetry published in various journals. Art exhibited in museum shows.
* Certificate of Artistic Excellence from Congressman Jose Serrano.
* Recognized by Bronx Borough President Aldofo Carrion for contributions to the community.
Re: Re: FWD ArtBase Update--Rub Linda
Eduardo Navas wrote:
> One should never guess, but rather admit when one does not know. And
> I do
> not know what else to say.
>
Everything is but your best guess, to claim otherwise is a lie. Stacking opinions is the game of acadamia.
joseph
>
> ----- Original Message -----
> From: "joseph (yes=no & yes<>no) " <joseph@electrichands.com>
> To: <list@rhizome.org>
> Sent: Saturday, June 21, 2003 8:10 PM
> Subject: Re: RHIZOME_RAW: FWD ArtBase Update--Rub Linda
>
>
> > My guess is that you and your students are asleep in a world of easy
> living. I
> > don't claim to be particularly awake, however I am keenly aware of
> gullability.
>
> One should never guess, but rather admit when one does not know. And
> I do
> not know what else to say.
>
> Best,
>
> Eduardo
>
>
> One should never guess, but rather admit when one does not know. And
> I do
> not know what else to say.
>
Everything is but your best guess, to claim otherwise is a lie. Stacking opinions is the game of acadamia.
joseph
>
> ----- Original Message -----
> From: "joseph (yes=no & yes<>no) " <joseph@electrichands.com>
> To: <list@rhizome.org>
> Sent: Saturday, June 21, 2003 8:10 PM
> Subject: Re: RHIZOME_RAW: FWD ArtBase Update--Rub Linda
>
>
> > My guess is that you and your students are asleep in a world of easy
> living. I
> > don't claim to be particularly awake, however I am keenly aware of
> gullability.
>
> One should never guess, but rather admit when one does not know. And
> I do
> not know what else to say.
>
> Best,
>
> Eduardo
>
>
Re: FWD ArtBase Update--Rub Linda
Quoting Eduardo Navas
>When appropriating a particular form, this one must have an excess of
>meaning;* or a clear reference to what is being presented for
>consideration/critique. What this means, in your case, is that it should
>look like adverstising, that way the discourse would be opened up to talk
>about advertising strategies through the actual devices used by the
>commercial field that is being critiqued. However, your piece does not rely
>on any signifiers that would alude to a particular type of branding
>strategy. For example, if you presented a logo of a well known strip club
>and/or combined it with a company logo of your choice, then the discourse is
>pointing to advertising. All you offer us is HTML text at the top of the
>page, and also a voice over at the beginning of the song, but there is no
>specific reference to how advertising manipulates consumers (the voice over
>is too vague).
The very first statement is "you can't slice it and you can dice it" which is a
direct reference to one of the most famous advertising campaigns for Ginsu
knives - certainly one of the most agressive campaigns ever. Additionally, I am
not critiquing advertising or branding - but insidious campaigns of head games
that are every where. Propoganda and marketing of ideology. What makes a
president say that a blow job is not cheating on his wife, what makes a
president convince a nation to go to war on trumped up charges - it is not just
passive acceptance, it is being led around by your nose, participating in small
larcenies, taking advantage and stepping in front of someone in line, listening
to your neighbor that the guy upstairs beats his children - should you act or
not, who do you believe? It is not a critique, it is an awareness, a non-vague
acknowledgment of your vulnerability, your conditioning, your inability to be
seperate. Try as you might Edward, you are not smart enough, nor is anyone, to
escape or stand outside your own criminal being, though only the crimes are
known after the fact.
>A good example of appropriation with excess of meaning is
>Sherrie Levine and her urinal:
>http://www.walkerart.org/resources/res_pc_levine2.html
>which undeniably comments on Duchamp:
>http://www.zumbacombo.com/duchamp/fountain.html
>*I borrow the term 'excess of meaning' from Roland Barthes' Essay "The Third
>Meaning" pages 50-68.
>http://www.amazon.com/exec/obidos/ASIN/0374521360/qid56241100/sr=2-1/ref=
>sr_2_1/102-0760815-9333731 However, this one is used specifically in
>relation to appropriation by Craig Owens in his essay "The Allegorical
>Impulse" in (
>http://www.amazon.com/exec/obidos/ASIN/0520077407/qid56241207/sr=2-1/ref=
>sr_2_1/102-0760815-9333731 )pp. 53-87.
I could care less about how much Shirly Levine wants to comment upon her
position within the power structures that exist. She wants to point to crimes
against herself (and gender). What are the crimes that she commits? Where
does her hypocracy lie? I am telling you mine, I seduce you into doing things
you wouldn't want to do.
>My comment on this would be again to look at Levine's work. She is not
>passing a judgment, but rather asking the viewer to do so. However, her
>piece points to the power structure in which she functions as a woman, and
>by doing this she makes the viewer aware of the political implications that
>art objects carry with them. In her case, the outcome as it is well known,
>is a feminist statement -- reevaluating 'the good old boys club.'
Yes point the finger and do nothing about it. She is guilty of hypocracy, for
she commits the same crimes.
>So if the piece, as you state, is not about asking people to pass judgment
>on the war and not about the pros and cons, then what is it about? As I
>already pointed out, the advertising reference is not strong enough.
Its about watching CNN a few days after the 9/11 disaster and saying to
yourself, "what the hell have I been missing"
>So, after I realized that "I rubbed Linda and fell for the trick," what is
>left? So I was tricked; will I then buy the product? Most likely not.
You already did buy the product.
>I should say that I did not see all of the above when I first encountered
>your piece. In a way I found it very slippery which is why I decided to
>present it for critique, but after discussing it with students and hearing
>their opinions, I then came to the above conclusion -- a few days after
>actually. Some of it I could sense, but I was not able to articulate as I
>can now. I learned something important from them. And that is the main
>reason why I referenced them in my first response, because it was the
>students' questioning that helped me reevaluate the piece.
My guess is that you and your students are asleep in a world of easy living. I
don't claim to be particularly awake, however I am keenly aware of gullability.
joseph & donna
www.electrichands.com
joseph franklyn mcelroy
corporate performance artist www.corporatepa.com
go shopping -> http://www.electrichands.com/shopindex.htm
call me 646 279 2309
SUBSCRIBE TO OUR NEWSLETTER CUPCAKEKALEIDOSCOPE - send email to
CupcakeKleidoscope-subscribe@yahoogroups.com
>When appropriating a particular form, this one must have an excess of
>meaning;* or a clear reference to what is being presented for
>consideration/critique. What this means, in your case, is that it should
>look like adverstising, that way the discourse would be opened up to talk
>about advertising strategies through the actual devices used by the
>commercial field that is being critiqued. However, your piece does not rely
>on any signifiers that would alude to a particular type of branding
>strategy. For example, if you presented a logo of a well known strip club
>and/or combined it with a company logo of your choice, then the discourse is
>pointing to advertising. All you offer us is HTML text at the top of the
>page, and also a voice over at the beginning of the song, but there is no
>specific reference to how advertising manipulates consumers (the voice over
>is too vague).
The very first statement is "you can't slice it and you can dice it" which is a
direct reference to one of the most famous advertising campaigns for Ginsu
knives - certainly one of the most agressive campaigns ever. Additionally, I am
not critiquing advertising or branding - but insidious campaigns of head games
that are every where. Propoganda and marketing of ideology. What makes a
president say that a blow job is not cheating on his wife, what makes a
president convince a nation to go to war on trumped up charges - it is not just
passive acceptance, it is being led around by your nose, participating in small
larcenies, taking advantage and stepping in front of someone in line, listening
to your neighbor that the guy upstairs beats his children - should you act or
not, who do you believe? It is not a critique, it is an awareness, a non-vague
acknowledgment of your vulnerability, your conditioning, your inability to be
seperate. Try as you might Edward, you are not smart enough, nor is anyone, to
escape or stand outside your own criminal being, though only the crimes are
known after the fact.
>A good example of appropriation with excess of meaning is
>Sherrie Levine and her urinal:
>http://www.walkerart.org/resources/res_pc_levine2.html
>which undeniably comments on Duchamp:
>http://www.zumbacombo.com/duchamp/fountain.html
>*I borrow the term 'excess of meaning' from Roland Barthes' Essay "The Third
>Meaning" pages 50-68.
>http://www.amazon.com/exec/obidos/ASIN/0374521360/qid56241100/sr=2-1/ref=
>sr_2_1/102-0760815-9333731 However, this one is used specifically in
>relation to appropriation by Craig Owens in his essay "The Allegorical
>Impulse" in (
>http://www.amazon.com/exec/obidos/ASIN/0520077407/qid56241207/sr=2-1/ref=
>sr_2_1/102-0760815-9333731 )pp. 53-87.
I could care less about how much Shirly Levine wants to comment upon her
position within the power structures that exist. She wants to point to crimes
against herself (and gender). What are the crimes that she commits? Where
does her hypocracy lie? I am telling you mine, I seduce you into doing things
you wouldn't want to do.
>My comment on this would be again to look at Levine's work. She is not
>passing a judgment, but rather asking the viewer to do so. However, her
>piece points to the power structure in which she functions as a woman, and
>by doing this she makes the viewer aware of the political implications that
>art objects carry with them. In her case, the outcome as it is well known,
>is a feminist statement -- reevaluating 'the good old boys club.'
Yes point the finger and do nothing about it. She is guilty of hypocracy, for
she commits the same crimes.
>So if the piece, as you state, is not about asking people to pass judgment
>on the war and not about the pros and cons, then what is it about? As I
>already pointed out, the advertising reference is not strong enough.
Its about watching CNN a few days after the 9/11 disaster and saying to
yourself, "what the hell have I been missing"
>So, after I realized that "I rubbed Linda and fell for the trick," what is
>left? So I was tricked; will I then buy the product? Most likely not.
You already did buy the product.
>I should say that I did not see all of the above when I first encountered
>your piece. In a way I found it very slippery which is why I decided to
>present it for critique, but after discussing it with students and hearing
>their opinions, I then came to the above conclusion -- a few days after
>actually. Some of it I could sense, but I was not able to articulate as I
>can now. I learned something important from them. And that is the main
>reason why I referenced them in my first response, because it was the
>students' questioning that helped me reevaluate the piece.
My guess is that you and your students are asleep in a world of easy living. I
don't claim to be particularly awake, however I am keenly aware of gullability.
joseph & donna
www.electrichands.com
joseph franklyn mcelroy
corporate performance artist www.corporatepa.com
go shopping -> http://www.electrichands.com/shopindex.htm
call me 646 279 2309
SUBSCRIBE TO OUR NEWSLETTER CUPCAKEKALEIDOSCOPE - send email to
CupcakeKleidoscope-subscribe@yahoogroups.com
Re: FWD ArtBase Update--Rub Linda
> quoting Eduardo Navas
>In the last thread I was involved in, Liza Sabater had a great approach to
>criticism; which is to question the platforms upon which one develops a
>position. ( http://rhizome.org/thread.rhiz?thread
>In the last thread I was involved in, Liza Sabater had a great approach to
>criticism; which is to question the platforms upon which one develops a
>position. ( http://rhizome.org/thread.rhiz?thread
Re: FWD ArtBase Update--Rub Linda
quoting Eduardo Navas
>I presented Rub Linda during a lecture some time ago. The lecture dealt
>with criticism in art and design, and actually most of who spoke did not
>consider it critical at all; they thought Rub Linda openly supported the
>male gaze. On top of this, they considered it a bit sentionalistic and
>riding on gender stereotypes of women. Mostly women supported this, but also
>a few men coincided. So that is what New Media students thought.
So? What did you think? Don't hide behind the students, who obviously have no
influences leading their views, and who are conveniently tucked away so they
can neither present or defend their views.
joseph & donna
www.electrichands.com
joseph franklyn mcelroy
corporate performance artist www.corporatepa.com
go shopping -> http://www.electrichands.com/shopindex.htm
call me 646 279 2309
SUBSCRIBE TO OUR NEWSLETTER CUPCAKEKALEIDOSCOPE - send email to
CupcakeKleidoscope-subscribe@yahoogroups.com
>I presented Rub Linda during a lecture some time ago. The lecture dealt
>with criticism in art and design, and actually most of who spoke did not
>consider it critical at all; they thought Rub Linda openly supported the
>male gaze. On top of this, they considered it a bit sentionalistic and
>riding on gender stereotypes of women. Mostly women supported this, but also
>a few men coincided. So that is what New Media students thought.
So? What did you think? Don't hide behind the students, who obviously have no
influences leading their views, and who are conveniently tucked away so they
can neither present or defend their views.
joseph & donna
www.electrichands.com
joseph franklyn mcelroy
corporate performance artist www.corporatepa.com
go shopping -> http://www.electrichands.com/shopindex.htm
call me 646 279 2309
SUBSCRIBE TO OUR NEWSLETTER CUPCAKEKALEIDOSCOPE - send email to
CupcakeKleidoscope-subscribe@yahoogroups.com
FWD ArtBase Update--Rub Linda
The official word is out - IT AINT ART. :)
joseph
Forwarded messaged
Hi joseph
We receive many requests for inclusion in the Rhizome ArtBase, but are unable to index all of them. We regret that we are unable to include your artwork
Rub Linda
in the ArtBase because it did not meet our selection criteria.
You may read our selection criteria online at http://rhizome.org/artbase/9.php3
If you have any questions as to why your artwork was not able to be included, please contact me via email (alena@rhizome.org).
Best Regards,
Alena Williams
Rhizome.org
joseph
Forwarded messaged
Hi joseph
We receive many requests for inclusion in the Rhizome ArtBase, but are unable to index all of them. We regret that we are unable to include your artwork
Rub Linda
in the ArtBase because it did not meet our selection criteria.
You may read our selection criteria online at http://rhizome.org/artbase/9.php3
If you have any questions as to why your artwork was not able to be included, please contact me via email (alena@rhizome.org).
Best Regards,
Alena Williams
Rhizome.org