joy garnett
Since the beginning
Works in United States of America

ARTBASE (1)
BIO
Joy Garnett is a painter based in New York. She appropriates news images from the Internet and re-invents them as paintings. Her subject is the apocalyptic-sublime landscape, as well as the digital image itself as cultural artifact in an increasingly technologized world. Her image research has resulted in online documentation projects, most notably The Bomb Project.

Notable past exhibitions include her recent solo shows at Winkleman Gallery, New York and at the National Academy of Sciences, Washington, DC; group exhibitions organized by the Whitney Museum of American Art, P.S.1/MoMA Contemporary Art Center, Artists Space, White Columns (New York), Kettle's Yard, Cambridge (UK), and De Witte Zaal, Ghent (Belgium). She shows with aeroplastics contemporary, Brussels, Belgium.

extended network >

homepage:
http://joygarnett.com

The Bomb Project
http://www.thebombproject.org

First Pulse Projects
http://firstpulseprojects.net

NEWSgrist - where spin is art
http://newsgrist.typepad.com/

Discussions (685) Opportunities (5) Events (8) Jobs (0)
DISCUSSION

terrorvision reviewd


for bomb project fans, the dvds that are mentioned come directly out of tha=
t...

---------- Forwarded message ----------
Date: Fri, 21 May 2004 11:34:34 -0400
From: Jeanette Ingberman <jeanetteingberman@exitart.org>
Subject: WE ARE IN THE NEW YORK TIMES TODAY

Congratulations to everyone!.

Jeanette

http://www.nytimes.com/2004/05/21/arts/design/21GLUE.html

ART REVIEW | 'TERRORVISION'

Sampling Degrees of Terror, From Al Qaeda to Cancer
By GRACE GLUECK

Published: May 21, 2004

Under the not far-fetched assumption that terrorism is Topic A in the
minds of many, the nonprofit exhibition space Exit Art has mounted
"Terrorvision," a big, shapeless show that, true to Exit Art form,
wanders all over the place but doesn't lack punch.

Noted for the wide latitude of its theme exhibitions, Exit Art asked
participants to make works that defined their most "extreme fears." So
the terrors conjured by the 50-odd artists in this particular jam come
in all types, degrees and sizes. They range from the general threats
posed by Al Qaeda and its franchises, evoked mostly in the show's video
works, to the traumas of personal catastrophes like breast cancer and
heart operations.

The exhibits run from an artificially bloodied sink by a Moroccan-born
artist, Francois Zelif, meant to recall the horrors of toothache, to an
interactive device that projects images of bombs dropping in formation
from overhead planes. That piece, by Saoirse Higgins and Simon
Schiessl, based at the Massachusetts Institute of Technology, is
activated by winding up a toy drummer, which sparks a ceiling-mounted
video projector to throw the bombing images on the floor, with the
bombs falling to the beat of the toy drum.

But before getting on with the show, a quick refresher on Exit Art.
It's a multi-financed nonprofit exhibition space established in 1982 by
Jeanette Ingberman and Papo Colo, to promote the work of lesser-known
artists involved with "the diverse, multidisciplinary nature of
contemporary culture."

Its self-generated exhibitions have ranged from underground comics to
performance art from former Soviet bloc countries. Although planned in
advance, the shows usually have an engaging rawness about them, partly
because Exit Art seems to care more about their content than about the
sleakness of the space where they're shown. This one, the third in Exit
Art's new quarters on 10th Avenue at 36th Street, is no exception.

To assemble the show, the gallery issued an international open call in
December to its 10,000-address e-mail list, asking artists to submit
works that defined their visions of terror. From the 650 proposals the
gallery chose 36 objects and 18 video works.

The multidisciplinary presence is there, all right, including

DISCUSSION

Re: Rhizome needs to drop its membership fee and free its content


I'm not even a computer artist I am just a painter."

wha-ho? Lee, you mean: dumb as a painter? hmm, but then again:
http://www.wired.com/news/infostructure/0,1377,63506,00.html?tw=rss.TOP

(review of 'Hackers + Painters')

-jg

On Wed, 19 May 2004, Lee Wells wrote:

> Personally I think the info should be free. Go to Google and type any one=
of
> our names in and some sort of Rhizome link will come up. Click the link a=
nd
> you cannot get to it. Sometimes I cant because I don

DISCUSSION

Re: Rhizome needs to drop its membership fee and free its content


speaking of XML... rather than scrap newsgrist I'm gradually shifting it
to blogdom:

http://newsgrist.typepad.com/

- jg

DISCUSSION

Re: Rhizome needs to drop its membership fee and free its content


This is surely the case. For the record: the interesting discussion
threads on RAW were not what exploded the distorted molotov sit-in; it was
the effect of RSS. Net.art News and Liza's culturekitchen for a start,
both of which linked to Michael's call for solidarity page. Then etoy,
neural, reblog, Modern Art Notes, boingboing, Stay Free! and greg.org all
picked it up. In effect, there were several blog 'nodes' or loci from
which the news spread or radiated among different communities. All of this
resulted from the usual RSS/XML/aggregator functions, which spread the
info much faster and more widely than any subscriber-based discussion
could. Which makes me think that perhaps Raw or Rare should be syndicated
-- didn't that possibiltiy come up way back when fees were being
discussed? It's an idea...

Joy

twhid wrote:

> The content needs to be free for it to be an equal node on the web,
> otherwise, it will start to be ignored. I'm afraid it's happening
> already. Being a RSS/blog addict, the only presence I see Rhizome having
> in that area is net art news. People don't link to Rhizome articles
> because they can't. This can't be helpful to Rhizome.

DISCUSSION

Re: Rhizome needs to drop its membership fee and free its content


> i've seen net art news linked to quite a bit,
> probably because it can be syndicated.

I have to agree with you and twhid -- this really does seem the case. viva
la RSS, etc. so what are the obstacles and how can they be circumvented?
(ok: does th revenue generated by membership fees make it all worth it ?
something tells me not. but I am just making an assumption.)

jg