Marisa Olson
Since the beginning
Works in Brooklyn, New York United States of America

ARTBASE (7)
PORTFOLIO (3)
BIO
Marisa Olson is an artist, writer, and media theorist. Her interdisciplinary work has been exhibited at the Venice Biennale, Centre Pompidou, Tate(s) Modern + Liverpool, the Nam June Paik Art Center, British Film Institute, Sundance Film Festival, PERFORMA Biennial; commissioned and collected by the Whitney Museum, Museum of Modern Art, Houston Center for Photography, Experimental Television Center, and PS122; and reviewed in Artforum, Art21, the NY Times, Liberation, Folha de Sao Paolo, the Village Voice, and elsewhere.

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.

Jane McGonigil


Please feed (but don't fetishize) the participation

I'm feeling a bit squeamish about a lot of the lonelygirl discussion going on this week, in the wake of the previously secret puppet masters' curtain call. As someone who designs participatory experiences, often games with a serial narrative component, I think it's really important that we stop and look at the kind of participation and engagement actually engendered by projects that purport to solicit the collaboration of the audience.

In the LA Times, the producers of the You Tube serial drama describe their goals for engaging the audience:

The intent was to allow fan response posted in the comment section of lonelygirl15's YouTube and MySpace pages to determine the direction of each subsequent episode [...] what the team calls "collaborative storytelling" [....]

Okay, fair enough. I'm all for collaborative storytelling. But I don't think it's right to accept this account of the kind of participation that happened during the lonelygirl project at face value. Today and yesterday I spent a lot of time reading through pretty much every single comment left on the lonelygirl videos, the space where the audience was purportedly invited to help decide and direct the course of the narrative. I would encourage anyone else interested in the currently much praised and hyped lonelygirl "community" to do the same. A great hub for doing this is here.

As the statistics on this traffic counter show, each lonelygirl video has roughly 1000-4000 comments, nearly all of them left before the puppet masters were unmasked. And I have to say this: the level of hate, mean-spiritendess, crudeness and often downright misogeny of the majority of them is impossible to ignore.

As we talk about the 'new art form' or 'participatory culture' aspects of this project, I ...

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From the Archives: <i>Los Angeles Times</i> review of Warhol's first solo show


Today's "From the Archives" entry is the local paper's review of Andy Warhol's first solo exhibition, held at the legendary Ferus Gallery in the summer of 1962. The review, written by one Jack Smith (how fortuitous!), was published on July 23. It's worth reading in full, as the author can't quite believe his eyes, gets quotes from Irving Blum (in a review!), makes a discovery down the street, and then, as he innitially suspects of Warhol, plants his tongue "firmly in his cheek."

My search for understanding in our times led me the other morning to the Ferus Art Gallery on La Cienega Blvd., in Beverly Hills, to examine the exhibit there of the work of the young New York artist, Andy Warhol, in the field of Campbell's Soup.

Mr. Warhol's one-man show consists of 32 paintings of cans of this veneral company's familiar product. The paintings appear to be uncompromisingly faithful to detail.

Mr. Warhol's painting, "Turkey Vegetable," for example, is the twin of his equally honest "Chicken Noodle," except for the words "turkey vegetable" and "chicken noodle."

The total effect, I thought, was one of seeing perhaps more paintings of soup cans than one might care to see. I suspected for a moment, even, that Mr. Warhol might have had his tongue in his cheek.

But Irving Blum, the proprietor of the gallery, assured me that this was not the case.

This young fellow is deadline serious," said Blum of the artist. "And fresh as this moment."

[More....]

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OGAKI BIENNALE 2006


  <p><img SRC="http://www.shift.jp.org/blog/img/ogak_raqs.jpg" width="400"><br />

Raqs Media Collective "Five Pieces of Evidence" Venice Biennale, 2003
photo: Monica Narula


The 2nd Gifu Ogaki Biennale 2006 international media art festival will be held this forthcoming Friday October 6th to Sunday October 15th.

  <p>The Biennale will be directed by media art curator and internationally active critic, Gunalan Nadarajan, and media aesthetics professor at the Institute for Advanced Media Arts and Sciences, Hiroshi Yoshioka. We present Janken as the universal theme at Biennale, reinterpreting the non-European game as a flexible and mythical idea. </p>



"False Securities 5" Collaboration with Evan Tan and Chong Li-Chuan, Singapore, 2006


This Biennale has two distinct features: First, it will be the first exhibition in Japan that focuses on Asian media artists from countries such as Singapore, Thailand, the Philippines, Indonesia, India, China and South Korea which have in recent years grown with rapid momentum, drawing global attention. Second, these exhibitions will be deployed throughout various places on the streets of Ogaki City, Gifu.

In addition to the works above, there will be artist talks, symposia, workshops, performances and exhibitions of artworks by artists from Japan and other countries, IAMAS (Institute of Advanced Media Arts and Sciences, International Academy of Media Arts and Sciences) students and graduates. This will be an event full of fresh ideas and the latest information technology such as a unique stamp collecting activity developed specifically for the Biennale and sound events from a specially customized bus.


OGAKI BIENNALE 2006
Date: October 6th - 15th, 2006
Place: Throughout Ogaki City
Admission Free
Organized by: IAMAS, Gifu Prefecture, Ogaki City, Japan Center for Local Autonomy
Directors: Hiroshi Yoshioka & Gunalan Nadarajan
Contact: IAMAC Media Culture Center
Tel: 0584-75-6606
Email: biennale06@iamac.ac.jp

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Special Things @ Fringe Exhibitions - Los Angeles


mccoyspace posted a photo:

Special Things @ Fringe Exhibitions - Los Angeles - 56

'Special Things' as installed in our solo exhibition at Fringe Exhibitions in Los Angeles, September 2006. 16 hanging models with embedded text are cut together on a large LCD display creating simple sentences word by word

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The Flattening and Opening of Space


carriebodle1.gif

and Walking/Listening/Recording

Carrie Bodle will be presenting her work at two openings in the Pacific Northwest in the upcoming weeks. Her collaboration with Margie Livingston in the New Works Laboratory 2006, jointly sponsored by 911 Media Arts Center and the Henry Art Gallery, The Flattening and Opening of Space, explores artworks at the intersections of painting and installation art to investigate the boundaries between 2-dimensionality and 3-dimensionality. Their project incorporates drawing, sound, and projected imagery to create the experience of being inside a perspective drawing. By opening what is usually flat, and flattening what is usually spatial, Bodle and Livingston challenge the viewer's preconceptions of space.

2006 New Works Laboratory at 911 Media Arts Center: Carrie Bodle and Margie Livingston: The Flattening and Opening of Space; Robert Campbell and Yuki Nakamura: Floating Plaster/City Motion.

September 12-October 27, 2006 :: Monday through Friday, 12:00 noon-6:00 p.m. :: Opening Reception: Tuesday, September 12, 2006, 6:00-9:00 p.m. :: Location: 911 Media Arts Center, 402 9th Ave. N. (at Harrison), Seattle 206.682.6552 www.911media.org

carriebodle2.gif

Walking/Listening/Recording: Tryon Creek (2006) is a 10-channel sound installation set along the Trillium Trail in Tryon Creek State Park, Portland, Oregon. Along the initial 250ft passage of the Trillium Trail, speakers from hidden locations cast layers of found sounds interwoven with poetic murmurs and field recordings from around the Red Fox Bridge area in the park. William Stafford's poem "Walking with Your Eyes Shut" inspired the use of poetry in the piece - to form a dialogue between the visual and audible experience. These layers of sound are intended to engage visitors in a sonic narrative along the trail.

Friends of Tryon Creek State Park presents: Natural Cycles: A Celebration of Art in the Forest :: Carrie Bodle's ...

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Discussions (281) Opportunities (10) Events (4) Jobs (0)
DISCUSSION

Rhizome Today: A critic, with opinions about postinternet art


Great post, Michael! What an exciting (if facebook-thread-dramatic!) couple weeks for Postinternet discussion. I appreciate your breakdown of these three (obviously not mutually exclusive) approaches. To my mind, the results of approach #1 have only had fickle results. i.e. Ed, I actually talked about Postinternet Art before I read the "internet aware" comment from Guthrie--I believe first on a Rhizome panel Michael was on at EAI--but then again, Guth & I used to gchat every day then, as we were just about to start Nasty Nets when I brought it up. But moreover, as I recently posted in an FB thread, I truly believe there was a zeitgeist around recognizing these ideas (and using whatever word or phrase to do so; not just postinternet) in 2005-2006, as expressed in writings and talks by Lev Manovich, Steve Dietz, Sarah Cook, Josephine Berry Slater, Jon Ippolito, myself & Guthrie, etc.. (Christiane Paul touched on this in her responses to Karen Archey's Ullens questionnaire.) I don't think it's productive to construct/dismantle/bash origin myths, if only because it's led to a rash of ad hominem attacks on a number of artists & writers lately, completely sacrificing the point of critical writing.

My own effort in talking about Postinternet, at least in those early instances, as on the panel, was to (a) expand Rhizome's mission--I was then Editor & Curator--to cover and support a wider variety of practices; and (b) just to describe my own work and how a project like my Monitor Tracings (totally "offline" drawings) could be contextualized as internet art, or art 'after' the internet (i.e. In the style of & made after I log-off.) I think Michael puts it *perfectly* when he says, "we should understand all our gestures, 'online' and 'offline,' as actions in a network that is mediated and administered by computers." Perhaps this is obvious, but I'd say this applies to all of waking life, not just art production+reception.

I've personally moved from discussing Postinternet Art as "art after the internet" toward discussing Postinternet as "the symptoms of network culture." I am less interested in discussing PI Art specifically/exclusively, now that people have brow-beaten and/or branded the term into something far different than what I originally meant, and much more interested in discussing the social affects around the production of postinternet conditions and their manifestations. And, meanwhile, I have said (particularly in the Ullens catalogue & also in an interview in the Art and the Internet book put out by Black Dog) that, to me, Postinternet is just a 'placeholder' term around which to convene in having conversations around the latter symptoms. (I've started working on spelling these out more explicitly in recent & forthcoming writing-- including the keynote lecture I just gave at Pratt's UPLOAD conference, entitled "Postinternet is Dead. Long Live Postinternet.")

Likes/Dislikes around the word, aside, I hope this very long-running conversation around art and the internet can continue to incorporate careful consideration of the affects of network culture, as networks themselves evolve.


DISCUSSION

Breaking the Ice


Hi, everyone! Wow, I've got to say, it's nice to see some familiar names here! Michael, Congratulations on your new job. As someone who held that same title (and various permutations of it) for several years, I know you are in for a heavy load and I also know that you are also more than up to the task.

Like most of the folks above, I too am a "forever member," from the days of the Rhizome Communications ascii RAW listserv and, later, fancy Dreamweaver/Flash "Splash Pages," to the present. Reena Jana and I were the first two paid writers (poached from Wired!), when Alex Galloway was running "content," which at that time meant programming and editorial--though Rhizome was declaratively non-editorial, so they just commissioned book & exhibition reviews, and some interviews from us that were fed into the RAW stream and included in the Digest as Features. Oy vey, I can still remember the cross-eyed weekly ritual of trying to untangle parallel conversations to reassemble them into a coherent thread for the Digest, when I was editing it--and the race to get it out by noon one day each week!!

I've seen Rhizome go through so many changes, and I've been a part of the back channel conversations on years of them, including huge ones that we decided not to go through with. I have to say that it's always hard to serve a membership-based organization, which is what Rhizome has always thought of itself as. But I can say that every change in content or form has been discussed critically, at length, and typically not without a degree of passion.

I am also biting my tongue because I *really* do not want to put words in any staff member's mouth (past or present), but I can say that I believe everyone who's ever worked there has taken their position as a labor of love, with users/reader/members/community (everyone has their favorite self-identification; semantics trolls please don't hate today!) in mind, and everyone has collaborated with the staff to bring a unique take on how best to serve you in the current creative and technological climate. For instance, I remember that my big objective coming in the door was wanting to change the mission statement to reflect not only net art and not only highly technological art, but also art that "reflects" on technology in a meaningful way. In fact, I think contemplating this change was very much a part of my conceptualizing Postinternet.

There is so much to say here, but I think I'd best sign off. This is not my soap box, and in some way, it feels weird to comment so much. I used to be a Superusing Megaposter, but as soon as I became Editor & Curator, I stepped back to focus on trying to facilitate and amplify other voices, which I do believe every Rhizome Editor has done in their own way.

I'll end with this, then. I'd be surprised if every reader, writer, or editor loved everything that ever appeared (structurally or content-wise) in their newspaper of choice. I'd be surprised if every curator or museumgoer loved every artwork shown (or every exhibition design decision) in their favorite museum. But it's the day we stop reading, stop going to look at art that disappoints me. It's the day Rhizome stops experimenting that scares me. And I wish them well on this new experiment.

DISCUSSION

Conference Report: NET.ART (SECOND EPOCH)


Hi, Josephine.

Thank you for these points of clarification. I actually tried to convey (and forgive me if I failed) that your presentation was unique in identifying multiple generations of networked artists, and I particularly liked the way you talked about artists working before the internet in ways that anticipated network culture.

You also made that great point (via Hal Foster) about the ways in which critics' work is influenced by what is/ was happening at the moment they entered the art world. I admire how you helped pioneer new media criticism and yet have continued to stay on the pulse of new work. This is what I had in mind when recalling your point about your relationship to a previous generation of net-dot-artists, versus the artists of the era Inclusiva was calling the "second epoch." I just really liked the way you fleshed out more than two epochs and I wanted to highlight your catalyzing role in the net-dot-art scene, in particular.

In my own presentation, my intent absolutely was not to dismiss any previous artists, movements, practices, etc. It was simply to flesh-out one niche of new media art practice. In fact, I really liked the pointed questions that the audience asked afterwards, because it helped us have a really meaningful discussion about the problematic relationship of pro surfer work to art historical discourse, and my calls to action revolved around getting those artists to participate in learning about their own pre-histories and writing historiographies that situate their own trajectories on their own terms.

So I don't think we're in disagreement. But I appreciate your call to fine-tune my articulation of these scenarios.

DISCUSSION

Go Ahead, Touch Her


Why are vocal remixes different than video? This is a very interesting distinction. Can you please say more about this and why one is ok and one isn't, beyond the rubric of industry standards? I think that remix and parody have the potential to be very useful and viable political tools. The best-known examples of such efforts would be the work of the Yes Men, but examples of parasitic media within the field abound. In your comments (i.e. "Here it seems the remix does imply ridicule") it seems as if you think that remixing automatically equals mockery but I don't agree and don't see that implied in the project. Laric's video simply shows us (or arguably amplifies) what's already there and gives both fans and critics a chance to say what they will. This is the pact that all artists make with their audience when they release their work into the world--that people will interpret it as they will, whether that means reading it a certain way, hearing it a certain way, or incorporating it into their lives in a certain way. This is how the popular preconscious works. I don't think it's fair to call this project a senseless derision of Carey, but I do still think that your vehement apprehension towards remixes says something interesting about the ways that certain corners of the cultural community (particularly academia) perceive the effects of these acts. I just think they need fleshing-out. There is a big difference between real violence towards women and perceived theoretical misdeeds towards a celebrity's highly-guarded public image. If this is the true issue, I think our energies are best directed toward prevention of the former rather than scandalizing the latter.

DISCUSSION

Go Ahead, Touch Her


Hi, Brittany.

I'm sorry that you found my article objectionable. I didn't intend to make the implications you suggest, but I believe your response cuts to the most interesting aspect of Laric's piece, which is the effect of remixing.

For those who care to review the lyrics to this song, they are here:
http://www.azlyrics.com/lyrics/mariahcarey/touchmybody.html

They include the refrain:

Touch my body
Put me on the floor
Wrestle me around
Play with me some more
Touch my body
Throw me on the bed


So, in fact, I do think that Carey's lyrics (and video) invite sexual fantasy, but my article doesn't say that she is asking to be violated, it says that she's asking to be remixed. Of course, the slippage between the two that you identify is what's so interesting.

In an interview with Laric, he told me that he noticed that the video takes-on an increased sexual tone when all but Carey is masked out. He was interested in how this first-person invitation to "touch my body" could be construed as an invitation to remix the visage of her body (and/or the voice emitted from it), particularly given (a) the implicit link to digital culture embodied by both the lyrics and video, and (b) the fact that the remix is now such an important part of the media ecology of pop culture.

In the last 25+ years of pop music, lining-up celebrity remixes and making singles remix-ready has been an important part of the production cycle, often preceding the release of the original recording. Almost all historical accounts of Madonna's rise to fame cite her relationship with DJs and openness to remixing as a key factor in her success. So while you may see the remix as a violent act, clearly those participating in this industry see it as an imperative.

Discussions of why a remix is or isn't violent are interesting, as they get to questions of the status of the digital reproduction. Are we remixing a person or "just" her image, and what's the difference when thinking about how a person's identity--particularly a famous person's identity--hinges upon their image? Carey's image was already manipulated before it came to us. In the interview with Laric, he pointed to a segment in the original video in which the shape of a cup becomes distorted as a result of distorting the footage to make the singer standing behind the cup appear slimmer. So this is already not her. If you listen closely, I believe there is also a question as to whether all of the voiced parts of the song are her, so the audio issue adds another layer to the phenomenological question of the brute force of the remix.

These issues of the import of the remix, the relationship to broader pop culture (rather than an insular art world), collective authorship, and the nature of Carey's invitation are what I hoped to address in this article.