Rachel Greene
Since the beginning
Works in New York, Nebraska United States of America

BIO
Rhizome is friends and family for Rachel, who has been involved with the org. in one capacity or another since 1997 when it was rhizome.com!!
Rachel wrote a book on internet art for thames & hudson's well-known WORLD OF ART series: it was published in June 2004. She was a consultant and catalogue author for the 2004 Whitney Biennial. She has also written for publications including frieze, artforum, timeout and bomb.
Discussions (824) Opportunities (20) Events (0) Jobs (0)
DISCUSSION

2nd International DOM Conference in Linz/Austria


Begin forwarded message:

> From: Ars Electronica Center <announce@evil.aec.at>
> Date: March 1, 2004 11:37:34 AM EST
> Subject: 2nd International DOM Conference in Linz/Austria
> Reply-To: announcement@aec.at
>
> Topographies of Populism:
> Everyday Life, Media, and the City
>
> 2nd International DOM-Conference in Linz
> March 25th to 27th, 2004
> Ars Electronica Center Linz and University of Arts and Industrial
> Design/Linz
>
> Is popular architecture obliged to reflect the clients taste?
> Has a successful Design to be in line with the popular will?
> And, what determines trends and expectations of a population?
>
> Internationally well known speakers - e.g. Diller+Scofidio(USA), Bill
> Moggridge/IDEO (UK), Greg van Alstyne/Bruce Mau Design (CDN), Jeffrey
> Inaba/AMO (USA), Thomas Frank (USA) - from Cultural Theory, Media,
> Design and Architecture will focus on these questions at the
> forthcoming DOM Conference.
>
> Information and registration: www.dom.ufg.ac.at
>
>
> --------------------------------------------------------------
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> If you want to remove yourself from this mailing list,
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DISCUSSION

Fwd: 10th International Studio Program of ACC


>
> -----Original Message-----
> From:Dan Cameron
> Sent:Mon 3/1/2004 10:36 AM
> Subject:FW: 10th International Studio Program of ACC
>
> Does anyone know any artist(s) who would enjoy a residency in Weimar,
> and who don't find the concept of 'Long Live Irony!' too restrictive?
> If so, please pass this along.
>
> -----Original Message-----
> From: Frank Motz [mailto:frank.motz@gmx.de]
> Sent: Saturday, February 28, 2004 4:16 PM
> To: Dan Cameron
> Subject: 10th International Studio Program of ACC
>
>
> Dear Dan Cameron,
>
> as mentioned on the phone two days ago, the ACC Galerie Weimar and the
> City
> of Weimar are inviting artists to apply for its 10th International
> Studio
> Program 'Irony Is Dead. Long Live Irony!

DISCUSSION

Re: Paris-based journalist looking for ...


you should look up katherine moriwaki -- jonah@coin-operated.com will
know how to reach her. best, rachel

On Feb 28, 2004, at 10:39 AM, mel bernstine wrote:

> Hello, I am a paris-based journalist working with a show on a
> french-german
> station called arte ... I am trying to put together a piece about
> electronic
> clothing, so I am looking for people who do this kind of thing in new
> york
> city ... I am also interesting in doing another piece on people who are
> piecing together (usually through recuperated stuff) totally analog
> music/sound/noise/image/video/etc. Machines ... I will be in new york
> between the 23 and 30 of march ... I can be reached at
> mel1010@tiscali.fr
> Thanks,
> Mel bernstine
>
> +
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DISCUSSION

Re: Surveillance Art


Here are two names: Julia Scher and Heath Bunting

On Feb 28, 2004, at 11:16 AM, Miguel wrote:

> Hello, I am very interested in finding media art works that deal
> specifically with the theme of surveillance.
>
> Can anybody help me on this subject?
>
> Thank you.
> +
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DISCUSSION

Re: I am a pirate ?!


Joy -- Good luck with all this.

I saw your amazing painting show and am so surprised to learn that it
was somehow illegal for you to derive a work, loosely, from a
photograph. What about Richter's famous October 77 series? He doesn't
acknowledge the photographer who took the news photos of Gudrun Esslin
et al. Perhaps German law is different on this count. But what about
Richard Prince or Sherrie Levine? Anyway, just riffing because I am in
shock. Please keep me posted on what happens. -- Rachel

On Feb 27, 2004, at 3:07 PM, Joy Garnett wrote:

> Mm, Lee, interesting:
>
> actually this person--it's a woman btw--has nothing to gain by this.
> She's already world-famous--fanTASTically, ridiculously famous in fact.
> She gains everything by having this remain private. Actually, she
> really
> made a mistake, since her claim is spurious and I'm not at all
> infringing
> upon her copyright, as I have recently come to understand. It's all
> about
> control; it's not about fairness or anything like that. And because I'm
> going to stand my ground. It's so not worth her while no matter how
> it's
> sliced.
>
> The thing is, I never seek famous photographs to rip off or derive
> (that
> would be an entirely different project) -- I only want little-seen,
> unknown, hopefully anonymous ones. And then I change them in different
> degrees: ripping away their context; replacing their narrative with
> mine, etc. The idea behind it doesn't originate with the found work.
>
> In the case of this photo, I had found a detail of it, uncredited,
> pirated
> on a website. Had I known it was a "seminal" work I wouldn't have gone
> near it because it doesn't serve my concept.
>
> what it really comes down to is this: photojournalists produce
> reportage--they may fall closer to fine art photography than do
> commercial
> photographers, but they are still recording events as opposed to
> constructing them (the "construction" comes later, with publishing, re-
> contextualizations, spin, etc.). Because they go out to war-torn
> regions
> often risking life and limb to tell a story, they tend to feel they
> occupy
> the moral high ground. But otoh they also--especially this woman--
> must rely on the willingness of "the natives" to be photographed. Do
> these
> people/subjects get anything from this? Hard to say. so, this person
> has
> made a career from photographing poor people and dying and dead and
> exploding people and basically indigent disenfranchized people in the
> field. The reporter is supposed to be telling someone else's story--not
> trying to own it.
>
> anyway, I haven't stolen this person's thunder (this image was taken in
> 1978!). And I've decided to agree to an abridged credit line, out of
> courtesy. But as Pall pointed out, she could have emailed me and asked
> for
> it. Instead, she's committed an act of aggression against an unknown
> artist who occupies an entirely different market and artworld, who
> happens
> to be excersizing their first amendment rights.
>
> The most interesting thing you say--the one that makes me smile a LOT
> and
> would make any photojournalist cringe--is "its all popart to me
> anyways."
>
> I love it!
>
> best,
> Joy
>
>
> On Fri, 27 Feb 2004, Lee Wells wrote:
>
>> Ride this thing a little bit and it could be some good attention for
>> the both of you. Get you to the next level and re-ignite his
>> career....
>> but now that you know the individual that shot the photo is an artist
>> as well, he deserves the credit for being the one with the balls to
>> be
>> shooting photos in a riot situation. I don't know if you have tried it
>> before but when there is a lot going on ...i.e. cops, scared kids,
>> black blockers and regulars. and your main concentration is on getting
>> the perfect photo (just like the one in your painting) its easy to get
>> caught up in the crossfire. I think you created a one of a kind
>> artwork
>> based on his photograph. its all popart to me anyways. His photograph
>> is just a bit more real.
>>
>> Keep doing what you are doing.
>>
>> Cheers,
>> Lee
>>
>>
>> On Friday, February 27, 2004, at 10:26 AM, Joy Garnett wrote:
>>
>>> yay for pirate commies; maybe someone should set up an art law blog
>>> --
>>> other than lawrence lessig's I mean. or perhaps there's one out there
>>> and
>>> I haven't seen it?
>>>
>>> btw here's a funny last paragraph to my monthly horoscope, tee hee:
>>>
>>> "That silver wanderer, the moon, is new on the 20th in Pisces and
>>> this
>>> an
>>> auspicious time for travel and revelation of a philosophical or
>>> metaphysical sort, and if thinking about litigation issues and
>>> rights,
>>> this is a time to get heard successfully."
>>>
>>> indeed!
>>>
>>> best,
>>> j
>>>
>>>
>>>
>>> On Fri, 27 Feb 2004, Pall Thayer wrote:
>>>
>>>> Communication? Isn't that where the term 'commie' came from?;)
>>>>
>>>> I'm sure you have nothing to worry about and when it's all over you
>>>> can turn
>>>> around and sue them for causing you grief and emotional distress.
>>>>
>>>> Maybe we should all have our lawyers post to the list for us from
>>>> now
>>>> on.
>>>> Highly self-destructive behaviour this.
>>>>
>>>> Pall Thayer
>>>> artist/teacher
>>>> Fjolbrautaskolinn vid Armula
>>>> http://www.this.is/pallit
>>>> http://www.this.is/pallit/isjs
>>>> http://www.this.is/pallit/harmony
>>>> http://130.208.220.190/panse
>>>>
>>>>
>>>> ----- Original Message -----
>>>> From: "Joy Garnett" <joyeria@walrus.com>
>>>> To: "Pall Thayer" <palli@pallit.lhi.is>
>>>> Cc: <list@rhizome.org>
>>>> Sent: Friday, February 27, 2004 3:33 PM
>>>> Subject: Re: RHIZOME_RAW: I am a pirate ?!
>>>>
>>>>
>>>>> funny Pall, good point: I'd simply email the artist about the work
>>>>> in
>>>>> question and have a conversation. it's called
>>>>> c-o-m-m-u-n-i-c-a-t-i-o-n,
>>>>> right? anyway, I was just told by a photo curator I know that this
>>>>> photojournalist and her lawyer (yah, both are women) are well-known
>>>>> for
>>>>> being horrible bitches from hell. looks like I'm stuck with a
>>>>> couple
>>>>> of
>>>>> winners...
>>>>>
>>>>> thanks much for the fair use link. I can't tell you how good it
>>>>> feels to
>>>>> have a fair use champion lawyer backing me.
>>>>>
>>>>> stay tuned,
>>>>> Joy
>>>>>
>>>>>
>>>>>
>>>>> On Thu, 26 Feb 2004, Pall Thayer wrote:
>>>>>
>>>>>> Probably the reason they're not asking you for money is that from
>>>>>> the
>>>> sound
>>>>>> of it you could come up with a pretty good "fair use" argument and
>>>>>> they
>>>>>> wouldn't get any money anyway out of a costly lawsuit.
>>>>>>
>>>>>> http://fairuse.stanford.edu/
>>>>>>
>>>>>> Since the photographer has obviously already talked to his lawyer,
>>>>>> he's
>>>>>> probably aware of this and if you were in a similar position and
>>>>>> all you
>>>>>> wanted was credit, would you do it through your lawyer?
>>>>>>
>>>>>> Pall Thayer
>>>>>> artist/teacher
>>>>>> Fjolbrautaskolinn vid Armula
>>>>>> http://www.this.is/pallit
>>>>>> http://www.this.is/pallit/isjs
>>>>>> http://www.this.is/pallit/harmony
>>>>>> http://130.208.220.190/panse
>>>>>>
>>>>>> ----- Original Message -----
>>>>>> From: "Joy Garnett" <joyeria@walrus.com>
>>>>>> To: <list@rhizome.org>
>>>>>> Sent: Thursday, February 26, 2004 6:22 PM
>>>>>> Subject: RHIZOME_RAW: I am a pirate ?!
>>>>>>
>>>>>>
>>>>>>> friends,
>>>>>>>
>>>>>>> the most interesting thing just happened: I'm being sued for
>>>>>>> copyright
>>>>>>> infringement (does it mean I'm finally a grown-up?). the joke is
>>>>>>> I
>>>>>>> was
>>>>>>> served the letter the day after I met with an arts funding rep
>>>>>>> who
>>>>>>> encouraged me to list "sampling" on my grant application as part
>>>>>>> of my
>>>>>>> painting practice. It made the whole thing seem almost funny.
>>>>>>>
>>>>>>> the plaintiff is a world-famous photojournalist who takes pics in
>>>>>>> war-torn regions; the pirated image is a detail of a photograph
>>>>>>> taken in 1978. Months back while trolling the Web for news images
>>>>>>> and
>>>>>>> such, I found the cropped detail w/ no credit line, probably on
>>>>>>> some
>>>>>>> anti-NAFTA/anarchist solidarity website, printed it out and stuck
>>>>>>> it
>>>> in a
>>>>>>> folder to paint later. I had no idea it was a detail of a pic by
>>>>>>> a
>>>> Magnum
>>>>>>> photographer or that it was from their most seminal series and
>>>>>>> book.
>>>> The
>>>>>>> joke is definitely on me.
>>>>>>>
>>>>>>> To my mind of course my derivative artwork has very little to do
>>>>>>> with
>>>> the
>>>>>>> original photo. First of all it's a painting; it also happens to
>>>>>>> be
>>>>>>> 6-feet tall and rather decontextualized from whatever its
>>>>>>> original
>>>> context
>>>>>>> was. And it's wildly cropped and brushy and all that painterly
>>>>>>> stuff.
>>>> But
>>>>>>> apparently the use of a different medium doesn't make it any more
>>>>>>> justifyable to "derive" under the present copyright law.
>>>>>>>
>>>>>>> how did the plaintif find out about it? I was ratted out by a
>>>>>>> supposed
>>>>>>> friend, also a photojournalist, who recognized the image--they
>>>>>>> stick
>>>>>>> together. also: the painting was in my solo show that just came
>>>>>>> down
>>>> last
>>>>>>> week; the image was used for my announcement card and is on the
>>>> gallery's
>>>>>>> and my websites. The show was reviewed in the New Yorker and the
>>>>>>> derivative artwork in question was praised. Basically I'm screwed
>>>>>>> in
>>>>>>> terms of wanting to fight it--the plaintif is wholly within their
>>>> rights.
>>>>>>>
>>>>>>> Here's the thing: for all that my dander is up, the plaintiff is
>>>>>>> being
>>>>>>> pretty cool considering their permissions-centered world-view:
>>>>>>> they are basically asking only that I supply a credit line, and
>>>>>>> that I
>>>> ask
>>>>>>> for permission in writing to exhibit/reproduce in the future.
>>>>>>> They
>>>> don't
>>>>>>> want $$ for this particular infringement. basically they chose to
>>>> license
>>>>>>> the image to me for my exhibition after the fact. It seems
>>>>>>> reasonable
>>>> and
>>>>>>> rather decent.
>>>>>>>
>>>>>>> However being sued does bring up the whole issue for me in a
>>>>>>> weird
>>>> way. I
>>>>>>> mean, my work is ABOUT the fact that images are uncontrollable
>>>> entities.
>>>>>>> It's about what happens when you remove context and framing
>>>>>>> devices.
>>>>>>> my work is derivative by definition, and thoroughly reflective of
>>>>>>> this
>>>> age
>>>>>>> of sampling and remixing. This will no doubt happen to me again.
>>>>>>> And
>>>>>> although
>>>>>>> the permissions people--photojournalists, the recording industry,
>>>>>>> etc.
>>>>>>> --are fighting a losing battle, you can bet they are going to
>>>>>>> fight
>>>> til
>>>>>>> the death. I may be getting off easy this time, but it seems that
>>>>>>> when
>>>>>>> your aquaintances lie and then turn you in for copyright
>>>>>>> infringement,
>>>>>>> the climate of creativity--not to mention general decency--is in
>>>> serious
>>>>>>> danger.
>>>>>>>
>>>>>>> I see an art lawyer later today.
>>>>>>>
>>>>>>> all the best,
>>>>>>> Joy
>>>>>>>
>>>>>>> http://www.firstpulseprojects.net
>>>>>>>
>>>>>>>
>>>>>>> +
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>>>>>>> non-members
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>>>>>>
>>>>>> +
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>>>>>> +
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>>>>>>
>>>>>
>>>>>
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>>>
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>>>
>> _________
>>
>> Lee A Wells
>> mobile: 917 723 2524
>> studio: 718 349 7951
>>
>> lee@leewells.org
>> http://www.leewells.org
>>
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CURATED EXHIBITIONS (1)