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/
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/
Art Star/Sausage Factory
APRIL 15 2004
FOR IMMEDIATE RELEASE
(from Debs & Co.)
http://www.debsandco.com/
Art Star/Sausage Factory
April 15th -- May 8th, 2004
Debs & Co. 525 West 26th Street, Second Floor, New York, NY 10001.
212.643.2070.
info@debsandco.com
::::::::::::::::::
Dear Friend,
We're super-jazzed to invite you to participate in our oh-so-conceptual
and sort-of-object-driven spring show, Art Star/Sausage Factory: A
Communal Progressive Drawings-for-Sale Exhibition. The deal is this: we're
inviting artists and other people who(m?) we really like to make a drawing
(or drawings) in the gallery. These drawings will be immediately added to
the show. In addition, anyone visiting the gallery throughout the run of
the exhibition is welcome to make a drawing and add it to the show.
There will be a large communal drawing table set up at the gallery, with a
fairly extensive assortment of supplies. (And, of course, some really
top-drawer paper!) Here's the details:
1. All drawings must be completed at the gallery. You can bring whatever
materials or components that you like, but the works should at the very
least be assembled here.
2. We will hang the drawings by pins unless you provide (and hang) the
drawings by other means.
3. You may take whatever real estate you like in the gallery, or you can
leave the hanging of the work to our discretion.
4. After you complete the work, the front office will give you a standard
consignment form. Retail price for the drawings will be double the
artist's asking price. If you'd like $50 for your drawing, we will price
it at $100. If you'd like $40,000 for your drawing, we will price it at
$80,000.00.
5. If you are represented by a gallery, please obtain their permission in
advance to participate, as we will not be preparing individualized loan
forms with other dealers, nor, due to the nature of the show, will we be
fulfilling individual contractual obligations. If your gallery would
prefer that you not participate, please respect those wishes. If your
gallery has any questions, please have them give us a call.
6. We will collect and pay sales tax on all applicable sales.
7. You must provide us with name, phone number, and mailing address for
payment.
8. Please keep in mind that we reserve the right to split discounts up to
20% -- 10% for each party. If any discount should exceed 20% of the retail
cost, such as in the event of a museum sale, the gallery will absorb the
remainder.
9. Artists in the exhibition will be identified by name, most probably in
the form of small wall labels near the drawing, and definitely by a
publicly-available price list at the front desk.
10. Although we will probably not exercise it, we must reserve the right
to remove any work from the show for any reasons.
11. Unsold work must be collected by the artist after the exhibition (at
any time). Work remaining uncollected after 90 days from the close of show
will become part of our collection.
12. The first half of the show's title is taken from a song by the Yeah
Yeah Yeahs, from their first EP, Master.
13. This document, in the interest of "conceptual purity," will also serve
as the show's press release.
One love,
Nick and Choire
---
FOR IMMEDIATE RELEASE
(from Debs & Co.)
http://www.debsandco.com/
Art Star/Sausage Factory
April 15th -- May 8th, 2004
Debs & Co. 525 West 26th Street, Second Floor, New York, NY 10001.
212.643.2070.
info@debsandco.com
::::::::::::::::::
Dear Friend,
We're super-jazzed to invite you to participate in our oh-so-conceptual
and sort-of-object-driven spring show, Art Star/Sausage Factory: A
Communal Progressive Drawings-for-Sale Exhibition. The deal is this: we're
inviting artists and other people who(m?) we really like to make a drawing
(or drawings) in the gallery. These drawings will be immediately added to
the show. In addition, anyone visiting the gallery throughout the run of
the exhibition is welcome to make a drawing and add it to the show.
There will be a large communal drawing table set up at the gallery, with a
fairly extensive assortment of supplies. (And, of course, some really
top-drawer paper!) Here's the details:
1. All drawings must be completed at the gallery. You can bring whatever
materials or components that you like, but the works should at the very
least be assembled here.
2. We will hang the drawings by pins unless you provide (and hang) the
drawings by other means.
3. You may take whatever real estate you like in the gallery, or you can
leave the hanging of the work to our discretion.
4. After you complete the work, the front office will give you a standard
consignment form. Retail price for the drawings will be double the
artist's asking price. If you'd like $50 for your drawing, we will price
it at $100. If you'd like $40,000 for your drawing, we will price it at
$80,000.00.
5. If you are represented by a gallery, please obtain their permission in
advance to participate, as we will not be preparing individualized loan
forms with other dealers, nor, due to the nature of the show, will we be
fulfilling individual contractual obligations. If your gallery would
prefer that you not participate, please respect those wishes. If your
gallery has any questions, please have them give us a call.
6. We will collect and pay sales tax on all applicable sales.
7. You must provide us with name, phone number, and mailing address for
payment.
8. Please keep in mind that we reserve the right to split discounts up to
20% -- 10% for each party. If any discount should exceed 20% of the retail
cost, such as in the event of a museum sale, the gallery will absorb the
remainder.
9. Artists in the exhibition will be identified by name, most probably in
the form of small wall labels near the drawing, and definitely by a
publicly-available price list at the front desk.
10. Although we will probably not exercise it, we must reserve the right
to remove any work from the show for any reasons.
11. Unsold work must be collected by the artist after the exhibition (at
any time). Work remaining uncollected after 90 days from the close of show
will become part of our collection.
12. The first half of the show's title is taken from a song by the Yeah
Yeah Yeahs, from their first EP, Master.
13. This document, in the interest of "conceptual purity," will also serve
as the show's press release.
One love,
Nick and Choire
---
more on free culture...
Law prof offers new book for free on the Internet
By Ben Whaley
The Stanford Daily
http://daily.stanford.edu/daily/servlet/tempo?page=content&id650&repository 01_article
Wednesday, April 7, 2004
last updated April 7, 2004 2:13 AM
While some copyright owners are suing students and users who download
their music, movies and books, Law Prof. Lawrence Lessig has made his most
recent book available for free over the Internet.
Practicing the method he promotes in his new book Free Culture: How Big
Media Uses Technology and the Law to Lock Down Culture and Control
Creativity Lessig is searching for both a larger audience and a new
approach to copyrighted work.
In his book, Lessig criticizes media companies using their monopolies and
lawsuits to stifle creativity. Earlier this month the Recording Industry
Association of America sued a Stanford student for the first time for
copyright infringement for downloading songs.
Lessig debuted his new work in the traditional way, with a $24.95 price
tag and a spot on the shelves of major bookstores across the nation. Free
Culture was also released in its entirety in a free downloadable format,
available via Web sites such Amazon.com and Lessigs own free-culture.org.
Lessig said that convincing his publisher to allow the free release of the
book was difficult at first.
Lessig presented two numbers to the publishing company, Penguin Press. The
first was the estimated number of people who would decide not to buy the
book due to its availability on the Internet. The second number, what
Lessig called the commercial interest, was the number of people who would
have had no interest in the book under regular circumstances, but due to
the fact that a free copy was available online, would begin reading it and
eventually buy a hard copy.
Needless to say, the second number is larger than the first, Lessig said.
In the end, Lessig said, he thinks most people will end up with a physical
purchase.
People dont really like reading whole books online, he said. Amazon.com
has a link on the site to download the book, and theyre a business in it
only for selling books.
Lessig stated, however, that there was definitely anxiety on the part of
the publisher to offer the book for free.
Its to their great credit that theyre willing to experiment, he said. If
it works, more publishers will push to release books free online.
Lessig is not the first author to release his book in an online format.
Others have released their works online, and science fiction author Cory
Doctorow was one of the first to use the creative commons license that
Lessig champions. Doctorows Down and Out in the Magic Kingdom published
by Tor Publishing was received as a mainstream book, despite its novel
license.
Under the creative commons copyright license (the same license that Free
Culture is released under), not only could people download this book in
its entirety online, they could make as many copies as they wanted and
distribute them, as long as they credited the work to Doctorow. Down and
Out in the Magic Kingdom shows the potential successes that book
experiments such as this can have. Doctorows book, despite being available
for free on the web, sold well and garnered great reviews from mainstream
outlets such as The New York Times and Entertainment Weekly.
While Lessig used Doctorows case and his own projections to sell his
experimental idea to the publisher, the real motive behind the free online
version of the book was to be true to the works title.
I want to put the information out there, said Lessig.
Within the first launch day there were nine different formats of Free
Culture available on the Internet. There are versions of the book that act
as an editable PDF file, with readers being able to modify whatever they
would like in the text.
The work is spreading, Lessig said. These are creative reuses of the book,
some of them I didnt expect.
Free Culture is Lessigs third book, following his other successful works
Code and The Future of Ideas. The new book discusses the consequences of a
war against creativity on the Internet, being waged through litigation and
legislation. According to Lessigs Web site, this is an argument about our
freedom to create, freedom to build, and ultimately, freedom to imagine.
The content and context of this debate includes, but is not limited to,
issues of file sharing, music remixes and original written content.
According to Lessig, The copyright wars are causing harm to the
opportunity of creativity in the Internet and we need to find a way to
peace for the Internet that supports decentralized creativity. Thats not
what Washington understands.
+
-
By Ben Whaley
The Stanford Daily
http://daily.stanford.edu/daily/servlet/tempo?page=content&id650&repository 01_article
Wednesday, April 7, 2004
last updated April 7, 2004 2:13 AM
While some copyright owners are suing students and users who download
their music, movies and books, Law Prof. Lawrence Lessig has made his most
recent book available for free over the Internet.
Practicing the method he promotes in his new book Free Culture: How Big
Media Uses Technology and the Law to Lock Down Culture and Control
Creativity Lessig is searching for both a larger audience and a new
approach to copyrighted work.
In his book, Lessig criticizes media companies using their monopolies and
lawsuits to stifle creativity. Earlier this month the Recording Industry
Association of America sued a Stanford student for the first time for
copyright infringement for downloading songs.
Lessig debuted his new work in the traditional way, with a $24.95 price
tag and a spot on the shelves of major bookstores across the nation. Free
Culture was also released in its entirety in a free downloadable format,
available via Web sites such Amazon.com and Lessigs own free-culture.org.
Lessig said that convincing his publisher to allow the free release of the
book was difficult at first.
Lessig presented two numbers to the publishing company, Penguin Press. The
first was the estimated number of people who would decide not to buy the
book due to its availability on the Internet. The second number, what
Lessig called the commercial interest, was the number of people who would
have had no interest in the book under regular circumstances, but due to
the fact that a free copy was available online, would begin reading it and
eventually buy a hard copy.
Needless to say, the second number is larger than the first, Lessig said.
In the end, Lessig said, he thinks most people will end up with a physical
purchase.
People dont really like reading whole books online, he said. Amazon.com
has a link on the site to download the book, and theyre a business in it
only for selling books.
Lessig stated, however, that there was definitely anxiety on the part of
the publisher to offer the book for free.
Its to their great credit that theyre willing to experiment, he said. If
it works, more publishers will push to release books free online.
Lessig is not the first author to release his book in an online format.
Others have released their works online, and science fiction author Cory
Doctorow was one of the first to use the creative commons license that
Lessig champions. Doctorows Down and Out in the Magic Kingdom published
by Tor Publishing was received as a mainstream book, despite its novel
license.
Under the creative commons copyright license (the same license that Free
Culture is released under), not only could people download this book in
its entirety online, they could make as many copies as they wanted and
distribute them, as long as they credited the work to Doctorow. Down and
Out in the Magic Kingdom shows the potential successes that book
experiments such as this can have. Doctorows book, despite being available
for free on the web, sold well and garnered great reviews from mainstream
outlets such as The New York Times and Entertainment Weekly.
While Lessig used Doctorows case and his own projections to sell his
experimental idea to the publisher, the real motive behind the free online
version of the book was to be true to the works title.
I want to put the information out there, said Lessig.
Within the first launch day there were nine different formats of Free
Culture available on the Internet. There are versions of the book that act
as an editable PDF file, with readers being able to modify whatever they
would like in the text.
The work is spreading, Lessig said. These are creative reuses of the book,
some of them I didnt expect.
Free Culture is Lessigs third book, following his other successful works
Code and The Future of Ideas. The new book discusses the consequences of a
war against creativity on the Internet, being waged through litigation and
legislation. According to Lessigs Web site, this is an argument about our
freedom to create, freedom to build, and ultimately, freedom to imagine.
The content and context of this debate includes, but is not limited to,
issues of file sharing, music remixes and original written content.
According to Lessig, The copyright wars are causing harm to the
opportunity of creativity in the Internet and we need to find a way to
peace for the Internet that supports decentralized creativity. Thats not
what Washington understands.
+
-
Re: file sharing/ Prelinger archives
Summing up:
File Sharing and Sales
Published: April 12, 2004
NYTimes/Op-Ed [Letters]
http://www.nytimes.com/2004/04/12/opinion/L12FILE.html
Music Sales Strong Despite Digital Piracy
By THE ASSOCIATED PRESS
Published: April 12, 2004; Filed at 9:54 a.m. ET
NYTimes/AP
http://www.nytimes.com/aponline/arts/AP-Music-Industry.html
LOS ANGELES (AP) -- Online file-sharing and other digital piracy persist,
but a gradual turnaround in U.S. music sales that began last fall picked
up in the first quarter of this year, resulting in the industry's best
domestic sales in years.
Valenti Fades to Black as Movie Booster
By TODD S. PURDUM
Published: April 11, 2004
NYTimes/Movies
http://www.nytimes.com/2004/04/11/movies/11VALE.html
It's My Music and I'll Buy if I Want to . . .(2 Letters)
Published: April 8, 2004
NYTimes/Op-Ed [Letters]
http://www.nytimes.com/2004/04/08/opinion/L08FILE.html
BUSINESS/FINANCIAL DESK | April 5, 2004, Monday
A Heretical View of File Sharing
By JOHN SCHWARTZ (NYT) 1399 words
Late Edition - Final , Section C , Page 1 , Column 2
http://query.nytimes.com/gst/abstract.html?reso0813F83A5D0C768CDDAD0894DC404482
ABSTRACT - Music industry, which leads drive against Internet file sharing
of copyrighted work on premise that downloading hurts sales, reacts with
flustered consternation to study by economists Felix Oberholzer-Gee and
Koleman S Strumpf that found downloading has no impact on CD sales; study
compared direct data of music downloaders with music purchases during same
period; found spikes in downloading had almost no discernible effect on
sales; Oberholzer-Gee says previous research wrongly assumed that every
download could be thought of as lost sale, while most downloaders would
not have paid for music, interview; graphs of recording releases, sales
and downloading (M)
File Sharing and Sales
Published: April 12, 2004
NYTimes/Op-Ed [Letters]
http://www.nytimes.com/2004/04/12/opinion/L12FILE.html
Music Sales Strong Despite Digital Piracy
By THE ASSOCIATED PRESS
Published: April 12, 2004; Filed at 9:54 a.m. ET
NYTimes/AP
http://www.nytimes.com/aponline/arts/AP-Music-Industry.html
LOS ANGELES (AP) -- Online file-sharing and other digital piracy persist,
but a gradual turnaround in U.S. music sales that began last fall picked
up in the first quarter of this year, resulting in the industry's best
domestic sales in years.
Valenti Fades to Black as Movie Booster
By TODD S. PURDUM
Published: April 11, 2004
NYTimes/Movies
http://www.nytimes.com/2004/04/11/movies/11VALE.html
It's My Music and I'll Buy if I Want to . . .(2 Letters)
Published: April 8, 2004
NYTimes/Op-Ed [Letters]
http://www.nytimes.com/2004/04/08/opinion/L08FILE.html
BUSINESS/FINANCIAL DESK | April 5, 2004, Monday
A Heretical View of File Sharing
By JOHN SCHWARTZ (NYT) 1399 words
Late Edition - Final , Section C , Page 1 , Column 2
http://query.nytimes.com/gst/abstract.html?reso0813F83A5D0C768CDDAD0894DC404482
ABSTRACT - Music industry, which leads drive against Internet file sharing
of copyrighted work on premise that downloading hurts sales, reacts with
flustered consternation to study by economists Felix Oberholzer-Gee and
Koleman S Strumpf that found downloading has no impact on CD sales; study
compared direct data of music downloaders with music purchases during same
period; found spikes in downloading had almost no discernible effect on
sales; Oberholzer-Gee says previous research wrongly assumed that every
download could be thought of as lost sale, while most downloaders would
not have paid for music, interview; graphs of recording releases, sales
and downloading (M)
file sharing/ Prelinger archives
File Sharing and Sales
Letters/Op-Ed
NYTimes, Published: April 12, 2004
To the Editor:
While the Recording Industry Association of America pursues its
heavy-handed offensive against music downloading and file sharing
(Business Day, April 5), other owners of cultural content have found ways
to live (and flourish) with emerging technologies.
I have operated a small family-owned historical film archives for 20
years. Several years ago, we digitized the most sought-after images in our
collection and placed them online for free downloading and nearly
unrestricted reuse.
Our experience may seem counterintuitive, but it has been overwhelmingly
positive: the more we give away, the more we actually sell.
File sharing and free downloading have increased the ubiquity and
prominence of our collection and have given it ample publicity at very
little cost, resulting in increased income.
Might there be a lesson here for the music industry?
RICK PRELINGER
San Francisco, April 5, 2004
/////////////////////////
more:
Rebel Archivist
Stay Free! talks to film historian Rick Prelinger
http://www.stayfreemagazine.org/archives/20/prelinger.html
+
-
Letters/Op-Ed
NYTimes, Published: April 12, 2004
To the Editor:
While the Recording Industry Association of America pursues its
heavy-handed offensive against music downloading and file sharing
(Business Day, April 5), other owners of cultural content have found ways
to live (and flourish) with emerging technologies.
I have operated a small family-owned historical film archives for 20
years. Several years ago, we digitized the most sought-after images in our
collection and placed them online for free downloading and nearly
unrestricted reuse.
Our experience may seem counterintuitive, but it has been overwhelmingly
positive: the more we give away, the more we actually sell.
File sharing and free downloading have increased the ubiquity and
prominence of our collection and have given it ample publicity at very
little cost, resulting in increased income.
Might there be a lesson here for the music industry?
RICK PRELINGER
San Francisco, April 5, 2004
/////////////////////////
more:
Rebel Archivist
Stay Free! talks to film historian Rick Prelinger
http://www.stayfreemagazine.org/archives/20/prelinger.html
+
-
TACTICAL ACTION : at Gigantic ArtSpace (GAS)
04/12/04 : FOR IMMEDIATE RELEASE
TACTICAL ACTION : at Gigantic ArtSpace (GAS)
<http://www.firstpulseprojects.com/joy.html>Tactical Action (Image)
<http://www.giganticartspace.com/index.html>
TACTICAL ACTION <http://www.giganticartspace.com>
Curated by Lea Rekow
April 14 - June 10, 2004
Gigantic ArtSpace [GAS]
59 Franklin Street, New York, NY, 10013
T 212 226-6762 F 212 226-6505
OPENING RECEPTION WEDNESDAY APRIL 14, 7-9PM
Gigantic ArtSpace <http://www.giganticartspace.com/index.html>
[GAS] loudly presents Tactical
Action, a group exhibition that asks the question 'how
can we be heard?'
Artists investigate the sociological and the political as
they are assimilated into artistic context. Individual
perspectives examine "public opinion" and "political
process", exploring the collection, dissemination and
expression of information defined not by any specific
medium, but by an attitude toward the media. An
exhibition catalogue will be available.
Dissidents include:
Kenseth Armstead
TACTICAL ACTION : at Gigantic ArtSpace (GAS)
<http://www.firstpulseprojects.com/joy.html>Tactical Action (Image)
<http://www.giganticartspace.com/index.html>
TACTICAL ACTION <http://www.giganticartspace.com>
Curated by Lea Rekow
April 14 - June 10, 2004
Gigantic ArtSpace [GAS]
59 Franklin Street, New York, NY, 10013
T 212 226-6762 F 212 226-6505
OPENING RECEPTION WEDNESDAY APRIL 14, 7-9PM
Gigantic ArtSpace <http://www.giganticartspace.com/index.html>
[GAS] loudly presents Tactical
Action, a group exhibition that asks the question 'how
can we be heard?'
Artists investigate the sociological and the political as
they are assimilated into artistic context. Individual
perspectives examine "public opinion" and "political
process", exploring the collection, dissemination and
expression of information defined not by any specific
medium, but by an attitude toward the media. An
exhibition catalogue will be available.
Dissidents include:
Kenseth Armstead