ARTBASE (1)
PORTFOLIO (3)
BIO
Marc Garrett is co-director and co-founder, with artist Ruth Catlow of the Internet arts collectives and communities – Furtherfield.org, Furthernoise.org, Netbehaviour.org, also co-founder and co-curator/director of the gallery space formerly known as 'HTTP Gallery' now called the Furtherfield Gallery in London (Finsbury Park), UK. Co-curating various contemporary Media Arts exhibitions, projects nationally and internationally. Co-editor of 'Artists Re:Thinking Games' with Ruth Catlow and Corrado Morgana 2010. Hosted Furtherfield's critically acclaimed weekly broadcast on UK's Resonance FM Radio, a series of hour long live interviews with people working at the edge of contemporary practices in art, technology & social change. Currently doing an Art history Phd at the University of London, Birkbeck College.
Net artist, media artist, curator, writer, street artist, activist, educationalist and musician. Emerging in the late 80′s from the streets exploring creativity via agit-art tactics. Using unofficial, experimental platforms such as the streets, pirate radio such as the locally popular ‘Savage Yet Tender’ alternative broadcasting 1980′s group, net broadcasts, BBS systems, performance, intervention, events, pamphlets, warehouses and gallery spaces. In the early nineties, was co-sysop (systems operator) with Heath Bunting on Cybercafe BBS with Irational.org.
Our mission is to co-create extraordinary art that connects with contemporary audiences providing innovative, engaging and inclusive digital and physical spaces for appreciating and participating in practices in art, technology and social change. As well as finding alternative ways around already dominating hegemonies, thus claiming for ourselves and our peer networks a culturally aware and critical dialogue beyond traditional hierarchical behaviours. Influenced by situationist theory, fluxus, free and open source culture, and processes of self-education and peer learning, in an art, activist and community context.
Net artist, media artist, curator, writer, street artist, activist, educationalist and musician. Emerging in the late 80′s from the streets exploring creativity via agit-art tactics. Using unofficial, experimental platforms such as the streets, pirate radio such as the locally popular ‘Savage Yet Tender’ alternative broadcasting 1980′s group, net broadcasts, BBS systems, performance, intervention, events, pamphlets, warehouses and gallery spaces. In the early nineties, was co-sysop (systems operator) with Heath Bunting on Cybercafe BBS with Irational.org.
Our mission is to co-create extraordinary art that connects with contemporary audiences providing innovative, engaging and inclusive digital and physical spaces for appreciating and participating in practices in art, technology and social change. As well as finding alternative ways around already dominating hegemonies, thus claiming for ourselves and our peer networks a culturally aware and critical dialogue beyond traditional hierarchical behaviours. Influenced by situationist theory, fluxus, free and open source culture, and processes of self-education and peer learning, in an art, activist and community context.
Re: Re: Re: dream7 piece
Hi Eryk,
I see that you have left some cranium-based reflections below for the
chewing.
> Would your problem with the Beaudrillard references have been the same if
> they piece had included references to something like Lewis Carrol or TS
> Eliot?
Not really - Lewis Carrol or TS Eliot, are not an accepted common currency
in respect of net language-mixed with jargon declarations in the art-void.
Granted they are literary examples and Beadrillard resides in the
> area of philosophy, but what if the piece quoted the Tao Te Ching or
> Revelations?
>I'm not entirely sure that quoting Beaudrillard actually is designed to
> "illustrate intellect". For many people, quoting philosophers is done for
> reasons aside from simply proving that one can quote a philosopher.
Whether it was a conscious act to 'illustrate intellect', misses the point,
for I do not feel it was informed enough to do such a thing, more an act of
tradition. For when one observes the function of the text-based, visual work
and its habitual acceptance of using such references to back up the work;
you get the sense that without it, it is nothing but design. A technically
well produced web site, but just like when one plays the guitar and wishes
to play the blues with a wholesome sense of depth, one has gotta put a
little bit of soul also into it, reasonings and the 'in between things'.
I am very much into people using and learning from
ideas/theory/literature/history (to a point) but not necessarily for
peer-wise comfort.
References sooner or later become symbols, signifiers and insipid catch
phrases.
One has to go through the process of defining what really works
conceptually, emotionally, intellectually on par with whatever skill one
possesses and communicating further than (respected & accepted) standardized
maxims. Inserted words by someone famous & mixing design into it, is not
gonna provoke anything
revelatory or forward thinking. Reliance on using such references could be
seen as an easy way out of actually really going through the process of
thinking for one's self.
Potential variations/suggestions, choices and motivations on how to produce
such a piece practically - referencing Baudrillard. (examples)
1- What did he mean? Is he just talking opinionated crap?
2- If I do find out what he means, is my own work going to put it
across into a different light?
3- Am I just producing work to an already converted audience that feels
comfortable with discussing the same accepted ideologoes (txt - based
signifiers) amongst themselves? Am I just using the usual jargon so to feel
more comfortable?
3(a)- Am I using someone else's words that do not specifically relate to my
own personal life other than via the context of art-speak?
4- If so, how can I make the writing be more relevant to other people?
5- Do I really agree with him? If I don't, can I successfuly challenge these
ideas and
words?
6- Can I say it better?
7- If so, how can I say it better? Also, in what way can I say it better? Do
I use real-life experience to give it a rooted substance?
8- Are there any other people out there writing or creating in a similar
vein? What can they introduce to my work?
Of course, the above is just an example of how to think around using
reference/ideas and always changing due to circumsatnce, influences and
situation.
> How much stuff in art do we see that actually comes from the artist and
isn't "handed
> down?" I would venture to guess the answer is not much.
This question begins with the presumption that everyone copies by default to
a large degree - I do not believe that this is a realistic position. Yes, I
know that in various degrees (large or small) that everyone is influenced,
but if we are talking about the Dream 7 piece and the txt and the
illustrative work that accompanies it - it is a Baudrillard piece, he did
it. Even though someone built a site for it...
Using an accepted currency, specifically Braudrillard; puts forward the
delusory notion that the creative individual(s) is/are informed. I am
personally more interested in a more intuitively informed act of
communication -
whatever the medium.
This duality of inserting someone else's snippets of theory-txt juxtaposed
with design, a
collection of moving illustrations representing someone else's ideas are not
forward thinking by any stretch of the imagination. If they were asked to
illustrate various 'soundbites' from the philosopher's own text by his own
suggestion, as part of a project to encourage budding thinkers, critics,
artists etc; then it is successful within that action alone.
I personally have no axe to grind in respect of reference perse, whether it
be literary, cartoon strips or science. It just so happens to be the case
that Braudrillard is used like some kind of passport for post-modern
acceptance in the clich'e ridden art world, under the guise of cutting edge.
Once, it could have been an Ace card, but now, it has been overplayed.
Of course, to presume that any artist intellectually is an island unto
themselves is a foolhardy place to hide one's mind. Yet, your presumption
can only be viewed as a stance of not recognizing the potential of people
understanding things on their own terms also. Life's a mixed bag and
academic reference is not the be all and end all as far creative function is
concerned. Although, it is true that many artists feel more secure and
comfortable using other people's ideas to back up their own.
> A lot of art is a conduit for ideas or an interaction with ideas. You can
> quote the source directly, or create a mishmash of ideas and call it
> "independant creative energy." I don't mean to say independant creative
> energy does not exist, but jamming a series of philosophies together isn't
> it.
If you advocate singular methodology, surely this stubborn stance would (and
usually does) box one's creative growth into a corner of puritanical
ghetto-mentality - a neurosis led escape route. To limit options is to close
potential realizations. Besides, this subjective fear regarding the jamming
of philosophies is not real, just a presumption and reflection of 9possibly)
your own disquiet with others being flexible in their approaches towards
their own decided processes of intutitive learning and discovering.
>A common problem with the artist these days is that in the rejection of
> "hierarchy" it has become falsely believed that we can "pick and choose"
> from areas of philosophy/religion/psychology that we "like". It's not
true.
Who cares? Are you my dad or something? People will find their direction
whatever they feel will guide them closer to making good work. We are not
all clones waiting for the right references to 'open sesame'. Not yet -
Click!
Not yet - Click!
Not yet - Click!
Not yet - Click!
Not yet - Click!
> If an actually powerful system of thought is designed from scratch it
> requires paying attention to its totality- progress happens in the bits
and
> pieces we don't "like." You should not change your therapist when they say
> some of the blame lies with the patient.
Well that depends on whether you view theory of thought as therapy - I
don't.
It's not an excuse for dogma or
> fundamentalism, either, but rather, it's humility. If your "truth" about
the
> system is there it will become apparent and changes can take place. I just
> worry that a lot of faux "independant thought" is precisely the opposite,
> it's a total choosing of the easiest elements of various philosophies
which
> contributes to diluting the potency of all of them.
Yes, I agree choosing the easiest way is a docile 'sleepwalking' action
triggered by unrealized behaviour patterns.
There are some people who are actually making a change, and it is not as
negative as you would like to paint it.
>
> If this seems like rambling, it's not, in in regards to the "chinese
> whispers" effect that you talk about. I think that what you call the
> "regurgitation" of ideas can really be called a distortion of mediation,
in
> this regard the words are presented in thier totality, so there is no
> distortion of information by the medium it is departed in. Had they
> presented ideas as thier own which were half imagined and half "simulation
> and simulacra" by Jean Beaudrillard then you might have a case for
> distortion, but what's interesting is that this would usually pass for
> "independant creative thought" whereas adding color/art to a text which
> serves as a distinct and seperate *interpretation* is written off as
> pretentious.
>
> -e.
>
So, are you saying that we are not allowed to have our own ideas unless we
can have them as referential currency - ie that of which is issued by the
establishment that produces the references in the first place? Sounds
rather frightening...
marc
I see that you have left some cranium-based reflections below for the
chewing.
> Would your problem with the Beaudrillard references have been the same if
> they piece had included references to something like Lewis Carrol or TS
> Eliot?
Not really - Lewis Carrol or TS Eliot, are not an accepted common currency
in respect of net language-mixed with jargon declarations in the art-void.
Granted they are literary examples and Beadrillard resides in the
> area of philosophy, but what if the piece quoted the Tao Te Ching or
> Revelations?
>I'm not entirely sure that quoting Beaudrillard actually is designed to
> "illustrate intellect". For many people, quoting philosophers is done for
> reasons aside from simply proving that one can quote a philosopher.
Whether it was a conscious act to 'illustrate intellect', misses the point,
for I do not feel it was informed enough to do such a thing, more an act of
tradition. For when one observes the function of the text-based, visual work
and its habitual acceptance of using such references to back up the work;
you get the sense that without it, it is nothing but design. A technically
well produced web site, but just like when one plays the guitar and wishes
to play the blues with a wholesome sense of depth, one has gotta put a
little bit of soul also into it, reasonings and the 'in between things'.
I am very much into people using and learning from
ideas/theory/literature/history (to a point) but not necessarily for
peer-wise comfort.
References sooner or later become symbols, signifiers and insipid catch
phrases.
One has to go through the process of defining what really works
conceptually, emotionally, intellectually on par with whatever skill one
possesses and communicating further than (respected & accepted) standardized
maxims. Inserted words by someone famous & mixing design into it, is not
gonna provoke anything
revelatory or forward thinking. Reliance on using such references could be
seen as an easy way out of actually really going through the process of
thinking for one's self.
Potential variations/suggestions, choices and motivations on how to produce
such a piece practically - referencing Baudrillard. (examples)
1- What did he mean? Is he just talking opinionated crap?
2- If I do find out what he means, is my own work going to put it
across into a different light?
3- Am I just producing work to an already converted audience that feels
comfortable with discussing the same accepted ideologoes (txt - based
signifiers) amongst themselves? Am I just using the usual jargon so to feel
more comfortable?
3(a)- Am I using someone else's words that do not specifically relate to my
own personal life other than via the context of art-speak?
4- If so, how can I make the writing be more relevant to other people?
5- Do I really agree with him? If I don't, can I successfuly challenge these
ideas and
words?
6- Can I say it better?
7- If so, how can I say it better? Also, in what way can I say it better? Do
I use real-life experience to give it a rooted substance?
8- Are there any other people out there writing or creating in a similar
vein? What can they introduce to my work?
Of course, the above is just an example of how to think around using
reference/ideas and always changing due to circumsatnce, influences and
situation.
> How much stuff in art do we see that actually comes from the artist and
isn't "handed
> down?" I would venture to guess the answer is not much.
This question begins with the presumption that everyone copies by default to
a large degree - I do not believe that this is a realistic position. Yes, I
know that in various degrees (large or small) that everyone is influenced,
but if we are talking about the Dream 7 piece and the txt and the
illustrative work that accompanies it - it is a Baudrillard piece, he did
it. Even though someone built a site for it...
Using an accepted currency, specifically Braudrillard; puts forward the
delusory notion that the creative individual(s) is/are informed. I am
personally more interested in a more intuitively informed act of
communication -
whatever the medium.
This duality of inserting someone else's snippets of theory-txt juxtaposed
with design, a
collection of moving illustrations representing someone else's ideas are not
forward thinking by any stretch of the imagination. If they were asked to
illustrate various 'soundbites' from the philosopher's own text by his own
suggestion, as part of a project to encourage budding thinkers, critics,
artists etc; then it is successful within that action alone.
I personally have no axe to grind in respect of reference perse, whether it
be literary, cartoon strips or science. It just so happens to be the case
that Braudrillard is used like some kind of passport for post-modern
acceptance in the clich'e ridden art world, under the guise of cutting edge.
Once, it could have been an Ace card, but now, it has been overplayed.
Of course, to presume that any artist intellectually is an island unto
themselves is a foolhardy place to hide one's mind. Yet, your presumption
can only be viewed as a stance of not recognizing the potential of people
understanding things on their own terms also. Life's a mixed bag and
academic reference is not the be all and end all as far creative function is
concerned. Although, it is true that many artists feel more secure and
comfortable using other people's ideas to back up their own.
> A lot of art is a conduit for ideas or an interaction with ideas. You can
> quote the source directly, or create a mishmash of ideas and call it
> "independant creative energy." I don't mean to say independant creative
> energy does not exist, but jamming a series of philosophies together isn't
> it.
If you advocate singular methodology, surely this stubborn stance would (and
usually does) box one's creative growth into a corner of puritanical
ghetto-mentality - a neurosis led escape route. To limit options is to close
potential realizations. Besides, this subjective fear regarding the jamming
of philosophies is not real, just a presumption and reflection of 9possibly)
your own disquiet with others being flexible in their approaches towards
their own decided processes of intutitive learning and discovering.
>A common problem with the artist these days is that in the rejection of
> "hierarchy" it has become falsely believed that we can "pick and choose"
> from areas of philosophy/religion/psychology that we "like". It's not
true.
Who cares? Are you my dad or something? People will find their direction
whatever they feel will guide them closer to making good work. We are not
all clones waiting for the right references to 'open sesame'. Not yet -
Click!
Not yet - Click!
Not yet - Click!
Not yet - Click!
Not yet - Click!
> If an actually powerful system of thought is designed from scratch it
> requires paying attention to its totality- progress happens in the bits
and
> pieces we don't "like." You should not change your therapist when they say
> some of the blame lies with the patient.
Well that depends on whether you view theory of thought as therapy - I
don't.
It's not an excuse for dogma or
> fundamentalism, either, but rather, it's humility. If your "truth" about
the
> system is there it will become apparent and changes can take place. I just
> worry that a lot of faux "independant thought" is precisely the opposite,
> it's a total choosing of the easiest elements of various philosophies
which
> contributes to diluting the potency of all of them.
Yes, I agree choosing the easiest way is a docile 'sleepwalking' action
triggered by unrealized behaviour patterns.
There are some people who are actually making a change, and it is not as
negative as you would like to paint it.
>
> If this seems like rambling, it's not, in in regards to the "chinese
> whispers" effect that you talk about. I think that what you call the
> "regurgitation" of ideas can really be called a distortion of mediation,
in
> this regard the words are presented in thier totality, so there is no
> distortion of information by the medium it is departed in. Had they
> presented ideas as thier own which were half imagined and half "simulation
> and simulacra" by Jean Beaudrillard then you might have a case for
> distortion, but what's interesting is that this would usually pass for
> "independant creative thought" whereas adding color/art to a text which
> serves as a distinct and seperate *interpretation* is written off as
> pretentious.
>
> -e.
>
So, are you saying that we are not allowed to have our own ideas unless we
can have them as referential currency - ie that of which is issued by the
establishment that produces the references in the first place? Sounds
rather frightening...
marc
Re: RHIZOME_RARE: Mirapaul on Dietz Departure
Hi Mark,
It seems, looking from over here in the UK that 'Net Art' in America is
moving into the dark ages. A power hungry governmental administration that
is gradually closing many portals/doors for creative net adventurers
nationally and of course internationally. May be business indicatives (not
necessarily corporate or Rockefeller based) and separate from funding
demands can offer new answers...
marc
> To view this entire thread, click here:
> http://rhizome.org/thread.rhiz?thread
It seems, looking from over here in the UK that 'Net Art' in America is
moving into the dark ages. A power hungry governmental administration that
is gradually closing many portals/doors for creative net adventurers
nationally and of course internationally. May be business indicatives (not
necessarily corporate or Rockefeller based) and separate from funding
demands can offer new answers...
marc
> To view this entire thread, click here:
> http://rhizome.org/thread.rhiz?thread
Re: Re: Re: Mirapaul on Dietz Departure
Now that is funny...
marc
> In a daring and innovative move, the Walker Art Center will now keep their
online projects online, but only as thumbnail .gif screenshots of the actual
projects. To keep costs down, each image will not be larger than 80x60
pixels and none will contain more than 16 colors, regardless of the original
palette. All previously commissioned works will, however, be available in
full at an onsite, intranet terminal, situated permanently in the Walker's
gift shop. The local terminal will thus be accessible during normal opening
hours, from 9am-5pm Monday through Thursday and until 8 pm on special-event
Fridays. A nominal admission, or access fee, will be charged. The Walker
director explains: 'This new move shows our outstanding commitment to new
media, and it brings with it the added benefit of only exposing these
masterpieces, all in the Walker collection, to a safe and secure computing
environment free of malfunctions and technical mishaps.
marc
> In a daring and innovative move, the Walker Art Center will now keep their
online projects online, but only as thumbnail .gif screenshots of the actual
projects. To keep costs down, each image will not be larger than 80x60
pixels and none will contain more than 16 colors, regardless of the original
palette. All previously commissioned works will, however, be available in
full at an onsite, intranet terminal, situated permanently in the Walker's
gift shop. The local terminal will thus be accessible during normal opening
hours, from 9am-5pm Monday through Thursday and until 8 pm on special-event
Fridays. A nominal admission, or access fee, will be charged. The Walker
director explains: 'This new move shows our outstanding commitment to new
media, and it brings with it the added benefit of only exposing these
masterpieces, all in the Walker collection, to a safe and secure computing
environment free of malfunctions and technical mishaps.
Re: Re: Re: dream7 piece
I have no issue with the medium used really, each to their own creative
process - yet I have a problem much more with the clich'e Baudrillard
references.
Using such references instantly declares an almost illustrational intellect,
using ideas/notions handed down via educational protocol is not necessarily
an imaginative thing to do. In fact, it works to show more what one has been
informed of by other people, rather than what one carries as a creative
entity; thus chinese whispers being regurtitated and displayed as art/design
= information.
What I also find is interesting is what is not being communicated in their
work. The function or act of their 'Exformation', what they are not saying
or doing. For therin lies a more interesting set of ideas and 'embodied'
experience that connects them, their true essence.
marc
> i hate to disagree here, but this piece is just okay---nothing
fabulous----
>
> it's a bit simple and predictable, and the flashwork---aggghh!! i'm not
usually a big fan of overly-smooth cinematic flash, but this is like flash
101 when it comes to animation and code...and conceptually, it treads the
same very tired track...
>
>
> great discussion arising out of it, though...
>
> bliss
>
>
>
> l
>
>
>
>
>
>
>
> > Yes it's a nice piece.
> > I like the way that it feels net idiomatic but without
> > recourse to having the viewer click for the sake of
> > it.
> > There is a kind of genre of
> > noninteractive-"movies"-for-the-net which don't seem
> > to have the kudos amongst the big hitters of things
> > like pieces about surveillance cameras and the like
> > and which hence feel a bit marginal, but which I find
> > consistently exciting and interesting and which I
> > suspect will turn out in the big scheme of things to
> > have rather more importance than they are accorded
> > now.
> > The visuals in themselves are very satisfying
> > -obviously thought and care went into them.
> > I do wonder whether the Baudrillard text adds anything
> > at all though- it feels like a belated nod to
> > orthodoxy.
> > best
> > michael
> >
> > --- Eryk Salvaggio <eryk@maine.rr.com> wrote:
> > > http://www.dream7.com/bioready/
> > >
> > >
> > > Some good work I haven't seen mentioned here, dream7
> > > and fakeshop.
> > >
> > > -e.
> > >
> >
> >
> > =====
> > *DISCLAIMER:This email any advice it contains is for the use is that
> > of the sender and does not bind the precautions to minimise authority
> > in any way. If you copy or distribute this by software viruses email.
> > We have taken the risk of transmitting software viruses, but we advise
> > that you carry out your own virus attachment to this message. Internet
> > email that you observe this lack is not a secure communication
> > medium, and we advise of security when emailing us. District
> > Postmaster. http://www.somedancersandmusicians.com/ *
> >
> > __________________________________
> > Do you Yahoo!?
> > The New Yahoo! Search - Faster. Easier. Bingo.
> > http://search.yahoo.com
> + ti esrever dna ti pilf nwod gniht ym tup
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>
process - yet I have a problem much more with the clich'e Baudrillard
references.
Using such references instantly declares an almost illustrational intellect,
using ideas/notions handed down via educational protocol is not necessarily
an imaginative thing to do. In fact, it works to show more what one has been
informed of by other people, rather than what one carries as a creative
entity; thus chinese whispers being regurtitated and displayed as art/design
= information.
What I also find is interesting is what is not being communicated in their
work. The function or act of their 'Exformation', what they are not saying
or doing. For therin lies a more interesting set of ideas and 'embodied'
experience that connects them, their true essence.
marc
> i hate to disagree here, but this piece is just okay---nothing
fabulous----
>
> it's a bit simple and predictable, and the flashwork---aggghh!! i'm not
usually a big fan of overly-smooth cinematic flash, but this is like flash
101 when it comes to animation and code...and conceptually, it treads the
same very tired track...
>
>
> great discussion arising out of it, though...
>
> bliss
>
>
>
> l
>
>
>
>
>
>
>
> > Yes it's a nice piece.
> > I like the way that it feels net idiomatic but without
> > recourse to having the viewer click for the sake of
> > it.
> > There is a kind of genre of
> > noninteractive-"movies"-for-the-net which don't seem
> > to have the kudos amongst the big hitters of things
> > like pieces about surveillance cameras and the like
> > and which hence feel a bit marginal, but which I find
> > consistently exciting and interesting and which I
> > suspect will turn out in the big scheme of things to
> > have rather more importance than they are accorded
> > now.
> > The visuals in themselves are very satisfying
> > -obviously thought and care went into them.
> > I do wonder whether the Baudrillard text adds anything
> > at all though- it feels like a belated nod to
> > orthodoxy.
> > best
> > michael
> >
> > --- Eryk Salvaggio <eryk@maine.rr.com> wrote:
> > > http://www.dream7.com/bioready/
> > >
> > >
> > > Some good work I haven't seen mentioned here, dream7
> > > and fakeshop.
> > >
> > > -e.
> > >
> >
> >
> > =====
> > *DISCLAIMER:This email any advice it contains is for the use is that
> > of the sender and does not bind the precautions to minimise authority
> > in any way. If you copy or distribute this by software viruses email.
> > We have taken the risk of transmitting software viruses, but we advise
> > that you carry out your own virus attachment to this message. Internet
> > email that you observe this lack is not a secure communication
> > medium, and we advise of security when emailing us. District
> > Postmaster. http://www.somedancersandmusicians.com/ *
> >
> > __________________________________
> > Do you Yahoo!?
> > The New Yahoo! Search - Faster. Easier. Bingo.
> > http://search.yahoo.com
> + ti esrever dna ti pilf nwod gniht ym tup
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>
Re: Walker Art Center lays off 7 employees, freezes wages
Another excellent reason to gain some position as independent groups, rather
than relying on centralized pyramid based structures in relation to
traditional insitutions. Many D.IY. cultures will falso all of course, (many
do) but if linked & networked vigorously with such lessons in mind; the
breakage will not be as damaging as the centralized example of The Walker
Arts Center situation.
It reminds me of when I met Andy Deck in New York in , who suggested that
Net Art will have more of a chance of surviving and keeping its dignity by
consciously forming 'many weak forces' as opposed to 'few forces', the
singualr centralist way. I've probably twisted what he said and turned into
my own words but I'm sure you get the drift...
marc
Walker Art Center lays off 7 employees, freezes wages
Mary Abbe
Star Tribune
Published 05/08/2003
In another sign of the weak economy's impact on the arts, the Walker
Art Center laid off seven people Tuesday and announced that it will
impose a one-year staffwide wage freeze as of June 1.
The cutbacks, which include the dismissal of prominent new-media
curator Steve Dietz , are expected to save the center about $1
million in the fiscal year beginning July 1, said Ann Bitter,
administrative director.
The center's $90 million expansion program, on which construction
already has begun, is not affected.
"We have always had a balanced budget for the past two decades, and
intend to continue that," said Bitter. "Our challenge is not for this
year but for the long term."
Because of severance packages and other obligations, the personnel
cuts -- which reduced the staff from 149 to 142 people -- will not
save any money this fiscal year. They will help trim the operating
budget from $15.5 million this year to about $14 million in 2004. The
added savings come in programs being scaled back because of
construction.
The new-media initiatives department, which Dietz headed, was
considered a key element in the Walker's new building and its efforts
to attract younger, more media-savvy visitors. The department will
survive, Bitter said, but its five remaining employees will focus
more on the Walker's Web site and educational and audience-service
programs instead of the ambitious curatorial initiatives that Dietz
led. Most recently he folded myriad Web-based artists from around the
world into the show "How Latitudes Become Forms."
Walker director Kathy Halbreich said that all the cutbacks are
"painful" but that reshaping the new-media department is
"philosophically and programatically the most challenging." The
Walker hopes to continue independent projects with Dietz, whom
Halbreich praised as an "enormously talented leader in his field."
The layoffs follow similar cutbacks at other Twin Cities cultural
institutions, including the Guthrie Theater, the Ordway Center for
the Performing Arts and the St. Paul Chamber Orchestra.
Mary Abbe is at mabbe@startribune.com .
than relying on centralized pyramid based structures in relation to
traditional insitutions. Many D.IY. cultures will falso all of course, (many
do) but if linked & networked vigorously with such lessons in mind; the
breakage will not be as damaging as the centralized example of The Walker
Arts Center situation.
It reminds me of when I met Andy Deck in New York in , who suggested that
Net Art will have more of a chance of surviving and keeping its dignity by
consciously forming 'many weak forces' as opposed to 'few forces', the
singualr centralist way. I've probably twisted what he said and turned into
my own words but I'm sure you get the drift...
marc
Walker Art Center lays off 7 employees, freezes wages
Mary Abbe
Star Tribune
Published 05/08/2003
In another sign of the weak economy's impact on the arts, the Walker
Art Center laid off seven people Tuesday and announced that it will
impose a one-year staffwide wage freeze as of June 1.
The cutbacks, which include the dismissal of prominent new-media
curator Steve Dietz , are expected to save the center about $1
million in the fiscal year beginning July 1, said Ann Bitter,
administrative director.
The center's $90 million expansion program, on which construction
already has begun, is not affected.
"We have always had a balanced budget for the past two decades, and
intend to continue that," said Bitter. "Our challenge is not for this
year but for the long term."
Because of severance packages and other obligations, the personnel
cuts -- which reduced the staff from 149 to 142 people -- will not
save any money this fiscal year. They will help trim the operating
budget from $15.5 million this year to about $14 million in 2004. The
added savings come in programs being scaled back because of
construction.
The new-media initiatives department, which Dietz headed, was
considered a key element in the Walker's new building and its efforts
to attract younger, more media-savvy visitors. The department will
survive, Bitter said, but its five remaining employees will focus
more on the Walker's Web site and educational and audience-service
programs instead of the ambitious curatorial initiatives that Dietz
led. Most recently he folded myriad Web-based artists from around the
world into the show "How Latitudes Become Forms."
Walker director Kathy Halbreich said that all the cutbacks are
"painful" but that reshaping the new-media department is
"philosophically and programatically the most challenging." The
Walker hopes to continue independent projects with Dietz, whom
Halbreich praised as an "enormously talented leader in his field."
The layoffs follow similar cutbacks at other Twin Cities cultural
institutions, including the Guthrie Theater, the Ordway Center for
the Performing Arts and the St. Paul Chamber Orchestra.
Mary Abbe is at mabbe@startribune.com .