Olson has served as Editor & Curator at Rhizome, the inaugural curator at Zero1, and Associate Director at SF Camerawork. She's contributed to many major journals & books and this year Cocom Press published Arte Postinternet, a Spanish translation of her texts on Postinternet Art, a movement she framed in 2006. In 2015 LINK Editions will publish a retrospective anthology of over a decade of her writings on contemporary art which have helped establish a vocabulary for the criticism of new media. Meanwhile, she has also curated programs at the Guggenheim, New Museum, SFMOMA, White Columns, Artists Space, and Bitforms Gallery. She has served on Advisory Boards for Ars Electronica, Transmediale, ISEA, the International Academy of Digital Arts & Sciences, Creative Capital, the Getty Foundation, the Rockefeller Foundation, the Kennedy Center, and the Tribeca Film Festival.
Olson studied Fine Art at Goldsmiths, History of Consciousness at UC Santa Cruz, and Rhetoric & Film Studies at UC Berkeley. She has recently been a visiting artist at Yale, SAIC, Oberlin, and VCU; a Visiting Critic at Brown; and Visiting Faculty at Bard College's Milton Avery Graduate School of the Arts and Ox-Bow. She previously taught at NYU's Tisch School of the Arts' new media graduate program (ITP) and was Assistant Professor of New Media at SUNY-Purchase's School of Film & Media Studies. She was recently an Artist-in-Residence at Eyebeam & is currently Visiting Critic at RISD.
Collectible After All: Christiane Paul on net art at the Whitney Museum
The Whitney Museum artport has been an important institutional presence in net art and new media since its launch in 2002. Created and curated by Christiane Paul, artport features online commissions as well as documentation of new media artworks from the museum's exhibitions and collections. This year, artport as a whole was made an official part of the Whitney Museum collection; to mark this occasion, participating artist Marisa Olson interviewed Paul about the program's history and evolution over thirteen years.
Douglas Davis, image from The World's First Collaborative Sentence (1994).
Collections like artport are a rare and valuable window onto a field of practice that, in some senses, was borne out of not being taken seriously. From mid-80s Eastern European game crackers to late-90s net artists, the first people working online were often isolated, by default or design, and were certainly marginalized by the art world, where few curators knew of their existence and fewer took them seriously, advocated for them, or worked to theorize and articulate the art historical precedents and currents flowing through the work. Help me fast-forward to the beginning of this century at one of the most important international art museums. Many of the US museums that funded new media projects did so with dot-com infusions that dried-up after 2000. Artport officially launched in 2001; the same year, you curated a section devoted to net art in the Whitney Biennial. What was the behind-the-scenes sequence of events that led to artport's founding?
I think artport's inception was emblematic of a wave of interest in net art in the US around the turn of the century and in the early 2000s. This more committed involvement with the art form interestingly coincided with or came shortly after the dot com bubble, which inflated from 1997–2000, had its climax on March 10, 2000 when NASDAQ peaked, and burst pretty much the next day. Net art, however, remained a very active practice and started appearing on the radar of more US art institutions. To some extent, their interest may have been sparked by European exhibitions that had begun to respond to the effects of the web on artistic practice earlier on. In 1997, Documenta X had already included web projects (that year the Documenta website was also famously "stolen"—that is, copied and archived—by Vuk Cosic in the project Documenta: done) and Net Condition, which took place at ZKM in 1999/2000, further acknowledged the importance of art on the web.
US museums increasingly began to take notice. Steve Dietz, who had started the Walker Art Center's New Media Initiatives early on, in 1996, was curating the online art Gallery 9 and digital art study collection. Jon Ippolito, in his role as Associate Curator of Media Arts at the Guggenheim, was commissioning net art in the early 2000s and in 2002, Benjamin Weil, with Joseph Rosa, unveiled a new version of SFMOMA's E-space, which had been created in 2000. This was the institutional netscape in which I created artport in 2001, since I felt that the Whitney, which had for the first time included net art in its 2000 Biennial, also needed a portal to online art. The original artport was much more of a satellite site and less integrated into whitney.org than it is now. Artist Yael Kanarek redesigned the site not too long after its initial launch and created version 1.1. Artport in its early days was sponsored by a backend storage company in New Jersey, which was then bought by HP, so HP appeared as the official sponsor. I think it is notable that sponsorship at that point did not come from a new tech company but a brand name that presumably wanted to appear more cutting edge.
booomerrranganggboobooomerranrang: Nancy Holt's networked video
Nancy Holt, Boomerang (1974), still from video.
In her time on this planet, Nancy Holt came to be known as a great American Land Artist, and certainly her brilliant installations, like Utah's Sun Tunnels and collaborations with her partner Robert Smithson and their peers, are profoundly significant, but it was her work in film & video that has had the greatest personal impact on me.
I somehow didn't see Boomerang, her 1974 video performance usually credited to her collaborator Richard Serra, until I was a Ph.D. student in Linda Williams's Phenomenology of Film seminar at UC Berkeley's Rhetoric program, but the time delay was more than made up for by the work's formative resonance. In the video, made during Serra's residency at a Texas television station, a young Holt is seen sitting in an anchor's chair before a staid blue background. Despite brief station ID graphic overlays and one minute of silence in the midst of the ten-minute piece (announced as audio trouble and reminding viewers of the work's live TV origin), the work is in many ways sound-centric.
Sound and Image in Electronic Harmony

On Saturday, April 11th, New York's School of Visual Arts will co-present the 2009 Visual Music Marathon with the New York Digital Salon and Northeastern University. Promising genre-bending work from fifteen countries, the lineup crams 120 works by new media artists and digital composers into 12 hours. If it's true, as is often said, that MTV killed the attention spans of Generations X and Y, this six-minute-per-piece average ought to suit most festivalgoers' minds, and the resultant shuffling on and off stage will surely be a spectacle in its own rite. In all seriousness, this annual event is a highlight of New York's already thriving electronic music scene and promises many a treat for your eyes and ears. The illustrious organizers behind the marathon know their visual music history and want to remind readers that, "The roots of the genre date back more than two hundred years to the ocular harpsichords and color-music scales of the 18th century," and "the current art form came to fruition following the emergence of film and video in the 20th century." The remarkable ten dozen artists participating in this one-day event will bring us work incorporating such diverse materials as hand-processed film, algorithmically-generated video, visual interpretations of music, and some good old fashioned music-music. From luminaries like Oskar Fischinger, Hans Richter, and Steina Vasulka to emerging artists Joe Tekippe and Chiaki Watanabe, the program will be another star on the map that claims NYC as fertile territory for sonic exploration. - Marisa Olson
Tagalicious

The National Museum of Contemporary Art (EMST) in Athens, Greece, has committed itself to curating a number of recent exhibitions of internet art. Their current show, "Tag Ties and Affective Spies," features contributions from both net vets and emerging surfers, including Christophe Bruno, Gregory Chatonsky, Paolo Cirio, JODI, Jonathan Harris and Sep Kamvar, Les Liens Invisibles, Personal Cinema and The Erasers, Ramsay Stirling, and Wayne Clements. The online exhibition takes an antagonistic approach to Web 2.0, citing a constant balance "between order and chaos, democracy and adhocracy." Curator Daphne Dragona raises the question of whether the social web is a preexisting platform on which people connect, or whether it is indeed constructed in the act of uploading, tagging, and disclosing previously private information about ourselves on sites like Flickr, YouTube, and Facebook. Dragona asks whether we are truly connecting and interacting, or merely broadcasting. While her curatorial statement doesn't address the issue directly, the show's title hints at the level of self-surveillance in play on these sites. Accordingly, many of the selected works take a critical, if not DIY, approach to the internet. The collective Les Liens Invisibles tends to create works that make an ironic mash-up of the often divergent mantras of tactical media, culture jamming, surrealism, and situationism. In their Subvertr, they encourage Flickr users to "subverTag" their posted images, creating an intentional disassociation between an image's content and its interpretion, with the aim of "breaking the strict rules of significance that characterize the mainstream collective imaginary..." JODI's work, Del.icio.us/ winning information (2008) exploits the limited stylistic parameters of the social bookmarking site. Using ASCII and Unicode page titles to form visual marks, a cryptic tag vocabulary, and a recursive taxonomy, their fun-to-follow site critiques the broader content of the web ...
Reappearance of the Undead

In 1997, internet art hall-of-famer Olia Lialina made a "net drama" called Agatha Appears that was written for Netscape 3 and 4 in HTML 3.2. One of the main features of the interactive narrative was the travel of the eponymous avatar across the internet. Let's just say the girl got around. But the magical illusion of the piece was that she appeared to stay still, even when links in the narrative were clicked and the viewer's address bar indicated movement to another server. But in time, both the browser and code in which the story was written became defunct and the piece unraveled as the sites previously hosting the links and files upon which Agatha was dependent disappeared or cleaned house. Such a scenario is common to early internet art (and will no doubt continue to plague the field), as ours is an upgrade culture constantly driving towards new tools, platforms, and codes. Many have debated whether to let older works whither or how it might be possible to update these works, making them compatible with new systems. For those who are interested, some of the best research on the subject has been performed by the folks affiliated with the Variable Media Initiative. Meanwhile, luddites and neophiles alike are now in luck because Agatha Appears has just undergone rejuvenation. Ela Wysocka, a restorer working at Budapest's Center for Culture & Communication Foundation has worked to overcome the sound problems, code incompatibilities, and file corruption and disappearance issues, and she's written a fascinating report about the process, here. And new collaborating hosts have jumped in line to bring the piece back to life, so that like a black and white boyfriend coming home from war, Agatha now offers us a shiny new webring as a token of ...
Re: [ann][work] internet art for poor people
I'm intrigued by your use of a 404 (or 404-like) page to convey this
info. Was it just a formal and/or conceptual way to encapsulate an
external link? A comment on the lost (ie people/ sites) and/or loss
(financial/ informational)?
I like the irony of this page being used in an art project, and
referring to itself (it, an external component of the artwork) as "The
Big Picture." :)
I guess I'm just also interested in 404 pages, in general. Patrick May
and I were comparing notes on this older project, today:
http://www.linkoln.net/4z4/
Anyway, wanna tell us more? I'm typing this while listening to the MP3
from the Net Aesthetics 2.0 panel (
http://www.eai.org/download/net_aesth.mp3 ), which frequently came
back to questions of what is/ isn't art and how external objects are
used & referenced by artists, so I'm tempted to ask what the
difference is between building the page that you did vs straight up
linking to it... Or maybe that's what you feel you did...?
marisa
On 2/10/06, carlos katastrofsky <carlos.katastrofsky@gmx.net> wrote:
> http://aqua.subnet.at/carlos/projekte/netart/404_poor/
>
> thinking about some statistics regarding internet access and wealth...
> +
> -> 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: Fwd: Wappening #2
middle-dot--very 1.0:) also requires "'special' knowledge some contend
one needs to appreciate some forms of contemporary art," in order to
be appreciated.
What's wrong with "net performance"? To me, that's what this is & what
MTAA has done, in same/different ways. It's open & clear. And I love
that it points out the fact that the internet can be used in online &
offline performance...
I can feel the heroic excitement you must have felt at seeing the kid.
Did you say something epic to him?
Marisa
On 2/10/06, T.Whid <twhid@twhid.com> wrote:
> Hi all,
>
> I made it. I had a strange sort of elation when I exited the subway
> and saw him still standing there freezing and knowing that I had his
> salvation bulging in my coat pocket.
>
> Lee's pieces along this line are a weird sort of flash anti-mob where
> only a few 'in-the-know' even know there's art happening. A sly
> statement on the 'special' knowledge some contend one needs to
> appreciate some forms of contemporary art?
>
> Also we need to coin a phrase for this type of work (MTAA has also
> made work along these lines): net.flux anybody?
>
> On 2/10/06, Sal Randolph <sal@highlala.com> wrote:
> > I'm getting ready to head over there, but is anybody closer? It
> > would take me 45 min or so to get there.
> >
> >
> > On Feb 10, 2006, at 12:34 PM, Marisa Olson wrote:
> >
> > > These are some of Lee Walton's best projects...
> > >
> > > Will someone in NY please get to the 23rd street NRW & give this dude
> > > an orange? :)
> > >
> > > ---------- Forwarded message ----------
> > > From: Lee Walton <lee@leewalton.com>
> > > Date: Feb 10, 2006 9:15 AM
> > >
> > > FRIDAY, FEBRUARY 10TH 2006
> > >
> > > Greetings,
> > >
> > > At this very moment Rob Bohn is standing on a corner in NYC and
> > > desperately
> > > needs your help.
> > >
> > > http://www.leewalton.com/
> > >
> > > Utilize your vast networks and resources. He is depending on you...
> > >
> > > +
> > > -> 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
> > >
> >
> > +
> > -> 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
> >
>
>
> --
> <twhid>www.mteww.com</twhid>
>
> +
> -> 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
>
Fwd: Wappening #2
Will someone in NY please get to the 23rd street NRW & give this dude
an orange? :)
---------- Forwarded message ----------
From: Lee Walton <lee@leewalton.com>
Date: Feb 10, 2006 9:15 AM
FRIDAY, FEBRUARY 10TH 2006
Greetings,
At this very moment Rob Bohn is standing on a corner in NYC and desperately
needs your help.
http://www.leewalton.com/
Utilize your vast networks and resources. He is depending on you...
Fwd: ANAT Media Release::Media State Program Announced
Date: Feb 9, 2006 10:26 PM
Subject: ANAT Media Release::Media State Program Announced
To: Marisa <marisa@rhizome.org>
MEDIA RELEASE
For immediate release: 10 Feb 2006
MEDIA STATE
The Australian Network for Art and Technology is proud to present Media
State, a series of media art exhibitions, events, forums and workshops,
which explore the connection between, and intervention of, media arts in
our lives.
[www.anat.org.au/projects/mediastate]
[Media States Forum]
An in-depth investigation of Media Arts intervention into public debates
and spaces - focusing thematically on projects, perspectives and networks
that intersect urban, regional and biological arenas. Media artists work
in public through mobile phone artwork, guerilla style projections,
bio-art performances, architecturally embedded sound bytes and video in
transportation nodes. Supporting these practices is a tapestry of Media
Arts residential networking projects in the Asia Pacific region. Speakers
include Alison Carroll, Deborah Kelly, Roger Malina, and Steve Kurtz.
[Hard Copy]
Hard Copy is a professional, strategic workshop on publishing the
outcomes of, and criticism about, interdisciplinary creative art
practices. Hardcopy is facilitated by Roger Malina, Executive Editor of
Leonardo Publications. Participants include key organsiations such as the
Fibreculture Network, MC Journal, RealTime, Australia Council for the
Arts, Australian Research Council, Smart Internet Technology CRC, and
Creativity and Cognition Studios. ANAT invite professionals in art
criticism and interdisciplinary creative work to join the discussion. Pre
registration is essential.
[Mobile Journeys]
Mobile Journeys is an exhibition of art made for mobile phones, which
will both inspire you and challenge the way you think about and use your
phone. These portable artworks are created by eight of Australia's best
known and emerging artists: Ian Andrews, Rebecca Cannon, Chris Fulham,
Tina Gonsalves, Ian Haig, Shane Ingram, Megan Heyward and Mark Simpson.
Their videos, games and wallpapers will be available for free
distribution to your mp3 players, PDAs, and mobile phones. Bring your
mobile - forget your wallet!
[Partner Projects]
ANAT's Media State program has been developed in partnership with the
Adelaide Bank Festival of Arts 2006, to showcase large-scale, engaging
and unique media arts projects and events. ANAT supported projects are:
Fwd: [Autonogram] Free reading (from the bonds of oppression!)
Date: Feb 9, 2006 1:19 PM
Subject: [Autonogram] Free reading (from the bonds of oppression!)
To: autonogram@lists.interactivist.net
Dear Autonomedia readers and supporters --
We've recently made the contents of our latest books available for
browsing online as part of the Google Print program. If you've been
curious about any of our recent titles, please check them out with the
links provided below. We'll probably be getting more titles into the
Google program over the next few weeks, too, so stay tuned!
bests,
Ben / Autonomedia
I Am Not a Man, I am Dynamite! Friedrich Nietzsche and the Anarchist
Tradition
John Moore, editor
http://books.google.com/books?vid=ISBN1570271216
Caliban and the Witch: Women, the Body, and Primitive Accumulation
Silvia Federici
http://books.google.com/books?vid=ISBN1570270597
Conversations with Durito: Stories of Zapatistas and Neoliberalism
Subcomandante Marcos
http://books.google.com/books?vid=ISBN1570271186
The Devil's Anarchy: Studies in Dutch Pirate Utopias
Stephen Snelders
http://books.google.com/books?vid=ISBN1570271615
The Taqwacores
Michael Muhammad Knight
http://books.google.com/books?vid=ISBN1570271674
Anarchitexts: Voices from the Global Digital Resistance
Joanne Richardson, editor
http://books.google.com/books?vid=ISBN1570271429
Data Browser 02: Engineering Culture
Joasia Krysa and Geoff Cox, editors
http://books.google.com/books?vid=ISBN1570271704
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