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/
Re: joywar: the photo that started it all
hey again Tim,
this is one of those cool moments when the artistic distinction between
the artworks dovetails with the description attempted in the
law--I noticed in my sessions with my lawyer that we were each building
our discussions in tandem--mine, an attempt to clarify just what it is
I do; his, an attempt to demonstrate that the work is "transformative" or
substantially different from the photo, and therefore not an infringement.
And the reasons you describe below are relevant to both of those discussions.
What's funny to me now is how irrelevant the Pepsi logo is to the original
photo--he could be tossing a vinegar bottle, it would make no difference;
whereas in the painting, it's pretty central. One could argue
"transformative" on that basis alone I suppose--the entire meaning of the
piece is different because of it.
cheers,
J
twhid wrote:
> there is also no sun or environs in Joy's painting -- making it much
more symbolic. the photo is very specific. a very specific struggle at
a very specific time in a very specific context. Joy's painting takes
it out of the specific context and it becomes much more a portrait of
violent, anti-corporate youth rebellion.
this is one of those cool moments when the artistic distinction between
the artworks dovetails with the description attempted in the
law--I noticed in my sessions with my lawyer that we were each building
our discussions in tandem--mine, an attempt to clarify just what it is
I do; his, an attempt to demonstrate that the work is "transformative" or
substantially different from the photo, and therefore not an infringement.
And the reasons you describe below are relevant to both of those discussions.
What's funny to me now is how irrelevant the Pepsi logo is to the original
photo--he could be tossing a vinegar bottle, it would make no difference;
whereas in the painting, it's pretty central. One could argue
"transformative" on that basis alone I suppose--the entire meaning of the
piece is different because of it.
cheers,
J
twhid wrote:
> there is also no sun or environs in Joy's painting -- making it much
more symbolic. the photo is very specific. a very specific struggle at
a very specific time in a very specific context. Joy's painting takes
it out of the specific context and it becomes much more a portrait of
violent, anti-corporate youth rebellion.
Re: found: molotov
okay Tim, you *are* a bloodhound -- you get the grand prize. Even knowing
the scant details, there are a lot of Magnum photographers... and that one
image is fairly embedded in the Nicaragua book.
Yeah, I got nothing against her; great photographs, etc. I think her
attitude is really unfortunate. What she did doesn't serve anyone really
(except of course us and our discussion).
best,
J
On Mon, 15 Mar 2004, t.whid wrote:
>
> On Mar 15, 2004, at 7:46 PM, Joy Garnett wrote:
> >
> >
> > and TWID!
> > how'd you suss it out? I gave you no hints; did someone you know point
> > you in the right direction? are you a bloodhound? do I owe you a drink
> > or
> > something? please don't anyone send her a dead rat in the mail, it's
> > not
> > worth the trouble and you might get arrested.
>
> Hi Joy,
>
> Wasn't hard. Earlier you mentioned she was a magnum photographer. Once
> I knew it was a photo of a Sandinista a simple search for 'Sandinista'
> on the Magnum site turned it up pretty easily.
>
> She also did the Carnival Stripper book. Those photos are amazing I
> must say.
>
> No dead rats from me.. My posting of the original on my site is simply
> reportage in aid of our discussion on this mailing list.
>
> cya ;-)
>
> --
> <t.whid>
> www.mteww.com
> </t.whid>
>
the scant details, there are a lot of Magnum photographers... and that one
image is fairly embedded in the Nicaragua book.
Yeah, I got nothing against her; great photographs, etc. I think her
attitude is really unfortunate. What she did doesn't serve anyone really
(except of course us and our discussion).
best,
J
On Mon, 15 Mar 2004, t.whid wrote:
>
> On Mar 15, 2004, at 7:46 PM, Joy Garnett wrote:
> >
> >
> > and TWID!
> > how'd you suss it out? I gave you no hints; did someone you know point
> > you in the right direction? are you a bloodhound? do I owe you a drink
> > or
> > something? please don't anyone send her a dead rat in the mail, it's
> > not
> > worth the trouble and you might get arrested.
>
> Hi Joy,
>
> Wasn't hard. Earlier you mentioned she was a magnum photographer. Once
> I knew it was a photo of a Sandinista a simple search for 'Sandinista'
> on the Magnum site turned it up pretty easily.
>
> She also did the Carnival Stripper book. Those photos are amazing I
> must say.
>
> No dead rats from me.. My posting of the original on my site is simply
> reportage in aid of our discussion on this mailing list.
>
> cya ;-)
>
> --
> <t.whid>
> www.mteww.com
> </t.whid>
>
Art Star Breaks Out In Rash!
Art's 'Star Search'
This year's Whitney Biennial is unusually cheery--
but it can still be a do-or-die deal
By Peter Plagens
NEWSWEEK
http://msnbc.msn.com/id/4522510/
March 22 issue - "I'm so nervous, I gave myself a rash," says Cory
Arcangel, 26. Arcangel is a video and performance artist; in a week he's
got to do the performance part of his gig in the Whitney Museum's
just-opened Biennial exhibit of contemporary art. Meanwhile, he's also
fretting as a technician tweaks the background blue in his
video-projection piece, "Super Mario Clouds v2k3," a riff on the old
videogame. With electronic art you never know when the machinery might
conk out.
But the real reason young artists like Arcangel are getting butterflies is
that the Whitney Biennial, which runs through May 30, is their biggest
stage yet: the buzz-heavy Manhattan museum's biannual survey of the
alleged best of the latest stuff. There are 100-plus artists in the 2004
Biennial, almost half of them 35 or younger, all of them aware that
gallery owners and collectors are on the prowl. For some artists, the
Whitney pixie dust has worked. Painter Annette Lawrence, class of '97, who
teaches at North Texas State, has had 14 shows since that Biennial, "and
it probably helped me get tenure." Yet Indianapolis painter Kevin Wolff,
'93, remembers the Biennial as "disorienting and disquieting. I felt as
though I was absorbed, digested and disgorged by the publicity maw." An
even worse outcome? No publicity. "If you don't see a lot of activity with
an artist," says gallery owner Elizabeth Dee, "it seems like his or her
career is over."
If we were playing "Star Search" this year, we'd go with Erick Swenson,
whose eerily realistic hybrid animal--an antlered white deer that looks
like a whippet--demonstrates the staying power of figurative sculpture.
Robyn O'Neil's huge, faux-naif pencil drawing of a Bruegel-like winter
ritual is terrific, as are Catherine Opie's decidedly un-"Blue Crush"
photographs of distant surfers waiting for waves in a cold gray fog. In the
film-and-video categorywhose total running time must amount to
years--Catherine Sullivan's enigmatic, multiscreen epic, "Ice Floes of
Franz Joseph Land," cleverly suggests some avant-garde theater troupe from the
1920s. The big disappointment is the painting. It was supposed to be
resurgent this time around, but Cecily Brown's hyperexpressionist nudes
have become fluffy and polite, while Elizabeth Peyton's switch from
watercolor to oil-on-board makes her slackeresque portraits less
convincing than ever.
But dealers and collectors make careers--not us. If they consider
cheerfulness and techno-professionalism marketable, then some artists have
liftoff. This Biennial is the buoyant opposite of the notoriously angry
'93 exhibition with its I CAN'T IMAGINE WANTING TO BE WHITE admission
buttons. The snarkiest political artworks here are red plastic NO SMOKING
signs by Aleksandra Mir. The show is one comic "Biennials 'R' Us"
installation-art piece after another, from Glenn Kaino's sand castle to
Christian Holstad's array with a sleeping bag and Patty Hearst's face on a
pillow.
Holstad says he's probably as nervous as anybody else here. "But I haven't
really thought about it because right now I'm working on a lot of shows at
once. I didn't even know when the Whitney opening was." Good attitude. And
perhaps somedaylooking back from big museum solo shows and sky-high
pricesHolstad and a few of his classmates from the audience-friendly '04
Biennial will remember it well.
2004 Newsweek, Inc.
This year's Whitney Biennial is unusually cheery--
but it can still be a do-or-die deal
By Peter Plagens
NEWSWEEK
http://msnbc.msn.com/id/4522510/
March 22 issue - "I'm so nervous, I gave myself a rash," says Cory
Arcangel, 26. Arcangel is a video and performance artist; in a week he's
got to do the performance part of his gig in the Whitney Museum's
just-opened Biennial exhibit of contemporary art. Meanwhile, he's also
fretting as a technician tweaks the background blue in his
video-projection piece, "Super Mario Clouds v2k3," a riff on the old
videogame. With electronic art you never know when the machinery might
conk out.
But the real reason young artists like Arcangel are getting butterflies is
that the Whitney Biennial, which runs through May 30, is their biggest
stage yet: the buzz-heavy Manhattan museum's biannual survey of the
alleged best of the latest stuff. There are 100-plus artists in the 2004
Biennial, almost half of them 35 or younger, all of them aware that
gallery owners and collectors are on the prowl. For some artists, the
Whitney pixie dust has worked. Painter Annette Lawrence, class of '97, who
teaches at North Texas State, has had 14 shows since that Biennial, "and
it probably helped me get tenure." Yet Indianapolis painter Kevin Wolff,
'93, remembers the Biennial as "disorienting and disquieting. I felt as
though I was absorbed, digested and disgorged by the publicity maw." An
even worse outcome? No publicity. "If you don't see a lot of activity with
an artist," says gallery owner Elizabeth Dee, "it seems like his or her
career is over."
If we were playing "Star Search" this year, we'd go with Erick Swenson,
whose eerily realistic hybrid animal--an antlered white deer that looks
like a whippet--demonstrates the staying power of figurative sculpture.
Robyn O'Neil's huge, faux-naif pencil drawing of a Bruegel-like winter
ritual is terrific, as are Catherine Opie's decidedly un-"Blue Crush"
photographs of distant surfers waiting for waves in a cold gray fog. In the
film-and-video categorywhose total running time must amount to
years--Catherine Sullivan's enigmatic, multiscreen epic, "Ice Floes of
Franz Joseph Land," cleverly suggests some avant-garde theater troupe from the
1920s. The big disappointment is the painting. It was supposed to be
resurgent this time around, but Cecily Brown's hyperexpressionist nudes
have become fluffy and polite, while Elizabeth Peyton's switch from
watercolor to oil-on-board makes her slackeresque portraits less
convincing than ever.
But dealers and collectors make careers--not us. If they consider
cheerfulness and techno-professionalism marketable, then some artists have
liftoff. This Biennial is the buoyant opposite of the notoriously angry
'93 exhibition with its I CAN'T IMAGINE WANTING TO BE WHITE admission
buttons. The snarkiest political artworks here are red plastic NO SMOKING
signs by Aleksandra Mir. The show is one comic "Biennials 'R' Us"
installation-art piece after another, from Glenn Kaino's sand castle to
Christian Holstad's array with a sleeping bag and Patty Hearst's face on a
pillow.
Holstad says he's probably as nervous as anybody else here. "But I haven't
really thought about it because right now I'm working on a lot of shows at
once. I didn't even know when the Whitney opening was." Good attitude. And
perhaps somedaylooking back from big museum solo shows and sky-high
pricesHolstad and a few of his classmates from the audience-friendly '04
Biennial will remember it well.
2004 Newsweek, Inc.
Re: found: molotov
Isn't it funny? Harold Pinter, an old lefty of the third kind, calling it
an "emblematic" image but not crediting the photog. and cropping the
original no less.
I think it's perfectly fine; I think it's all so overblown, as an issue. i
think I need a vacation from crazy hysterical people... can I go lie on a
beach and read something stupid like Vogue now? why do I never get to do
that? don't pirates get to go to the beach and relax?
let's help this whole thing die, there are other fish to fry... i have
more paintings to make (YES: from photographs). busy busy pirate.
and TWID!
how'd you suss it out? I gave you no hints; did someone you know point
you in the right direction? are you a bloodhound? do I owe you a drink or
something? please don't anyone send her a dead rat in the mail, it's not
worth the trouble and you might get arrested.
peace,
j
On Mon, 15 Mar 2004, Michael Szpakowski wrote:
> hmmm...I wonder whether it'd be worth you mailing
> Pinter, Joy.
> He's an extremely good bloke - very prominent, for
> example, in opposing the war.
> I don't know him, not moving in those exalted circles,
> so I can't speak from personal experience & I do know
> that he's been pretty ill of late plus I doubt he
> answers his own e mails, but it might be worth a shot
> -you know, changing coincidence into solidarity
> perhaps?
> best
> michael
> --- Joy Garnett <joyeria@walrus.com> wrote:
> >
> >
> >
> > just found (uncredited):
> >
> >
> http://www.haroldpinter.org/politics/politics_america.shtml
> >
> >
> >
> > +
> > -> post: list@rhizome.org
> > -> questions: info@rhizome.org
> > -> subscribe/unsubscribe:
> > http://rhizome.org/preferences/subscribe.rhiz
> > -> give: http://rhizome.org/support
> > -> visit: on Fridays the Rhizome.org web site is
> > open to non-members
> > +
> > Subscribers to Rhizome are subject to the terms set
> > out in the
> > Membership Agreement available online at
> http://rhizome.org/info/29.php
>
>
> __________________________________
> Do you Yahoo!?
> Yahoo! Mail - More reliable, more storage, less spam
> http://mail.yahoo.com
>
an "emblematic" image but not crediting the photog. and cropping the
original no less.
I think it's perfectly fine; I think it's all so overblown, as an issue. i
think I need a vacation from crazy hysterical people... can I go lie on a
beach and read something stupid like Vogue now? why do I never get to do
that? don't pirates get to go to the beach and relax?
let's help this whole thing die, there are other fish to fry... i have
more paintings to make (YES: from photographs). busy busy pirate.
and TWID!
how'd you suss it out? I gave you no hints; did someone you know point
you in the right direction? are you a bloodhound? do I owe you a drink or
something? please don't anyone send her a dead rat in the mail, it's not
worth the trouble and you might get arrested.
peace,
j
On Mon, 15 Mar 2004, Michael Szpakowski wrote:
> hmmm...I wonder whether it'd be worth you mailing
> Pinter, Joy.
> He's an extremely good bloke - very prominent, for
> example, in opposing the war.
> I don't know him, not moving in those exalted circles,
> so I can't speak from personal experience & I do know
> that he's been pretty ill of late plus I doubt he
> answers his own e mails, but it might be worth a shot
> -you know, changing coincidence into solidarity
> perhaps?
> best
> michael
> --- Joy Garnett <joyeria@walrus.com> wrote:
> >
> >
> >
> > just found (uncredited):
> >
> >
> http://www.haroldpinter.org/politics/politics_america.shtml
> >
> >
> >
> > +
> > -> post: list@rhizome.org
> > -> questions: info@rhizome.org
> > -> subscribe/unsubscribe:
> > http://rhizome.org/preferences/subscribe.rhiz
> > -> give: http://rhizome.org/support
> > -> visit: on Fridays the Rhizome.org web site is
> > open to non-members
> > +
> > Subscribers to Rhizome are subject to the terms set
> > out in the
> > Membership Agreement available online at
> http://rhizome.org/info/29.php
>
>
> __________________________________
> Do you Yahoo!?
> Yahoo! Mail - More reliable, more storage, less spam
> http://mail.yahoo.com
>
Re: joywar: the photo that started it all
so if anyone rats out harold pinter I'll just have to beat them up.
;)
On Mon, 15 Mar 2004, Pall Thayer wrote:
> I'm proud to say that I've never heard of Susan Meiselas.
>
> pall
> ----- Original Message -----
> From: "liza sabater" <liza@culturekitchen.com>
> To: <list@rhizome.org>
> Sent: Monday, March 15, 2004 11:20 PM
> Subject: Re: RHIZOME_RAW: joywar: the photo that started it all
>
>
> > OH!
> >
> > So Pinter had it but Susan Meiselas is the actual copyright holder. I
> > wonder if Pinter paid for the right to have it on his web site.
> >
> >
> > On Monday, March 15, 2004, at 04:34 PM, t.whid wrote:
> >
> > > might need a log-in...
> > >
> > > http://www.magnumphotos.com/c/htm/
> > > CSearchZ_MAG.aspx?Stat=SearchThumb_SearchZoom&o=&Total
;)
On Mon, 15 Mar 2004, Pall Thayer wrote:
> I'm proud to say that I've never heard of Susan Meiselas.
>
> pall
> ----- Original Message -----
> From: "liza sabater" <liza@culturekitchen.com>
> To: <list@rhizome.org>
> Sent: Monday, March 15, 2004 11:20 PM
> Subject: Re: RHIZOME_RAW: joywar: the photo that started it all
>
>
> > OH!
> >
> > So Pinter had it but Susan Meiselas is the actual copyright holder. I
> > wonder if Pinter paid for the right to have it on his web site.
> >
> >
> > On Monday, March 15, 2004, at 04:34 PM, t.whid wrote:
> >
> > > might need a log-in...
> > >
> > > http://www.magnumphotos.com/c/htm/
> > > CSearchZ_MAG.aspx?Stat=SearchThumb_SearchZoom&o=&Total