Marisa olson we make money not art

History and Context. Criticism and Philosophy. The crisis of postinternet art is often characterized as a question of how the inherently intangible and democratized work resulting from internet content-creation paradigms can be monetized, and in this sense postinternet art is sometimes negatively described as the image of network-native art repackaged for the gallery or for sale. Interview with Marisa Olson. Notable Artists:. Marisa Olson B. Gold spray paint on mobile phone. You are here: ilson after the internet. Its future therefore remains, to some extent at least, in our hands.

Their efforts, knowledge and belief in the project are what make it grow. We want to carry on being independent, remaining open to more ideas and opinions. You can now participate in the project by supporting it. You can choose how much you want to contribute to the project. Until that point, and even up until now, art related to the internet is by default perceived as art that only exists in the digital world. Initially, this can seem like a compelling logic. The true reach of internet is hard to measure. In the case of art, its effects also transcend the frontiers of the virtual. In a manner of speaking a truly contemporary art. An art that has been affected and mediated by the internet and everything that surrounds it.

But as Olson made clear in an interview for the web We Make Money Not Art , the imprint of the internet can also exist and manifest itself offline. One way of exploring the effects of internet offline through art is by incorporating the very language of internet within a pictorial discourse. On a first encounter, his work seems cryptic and close to a delirious reality, where colours and forms reproduce, in juxtapositions of repeated patterns. However, something in the compositions ends up being familiar, close to a delirious reality and even stemming from a language distant from that of canvas. A closer look at the work, with the help of the explanatory texts and we begin to understand the pictorial imaginary that Swaney has created, based on a careful exploration of the space between the online world and the reality offline. The artist appropriates them, mutilating their structures to convert them into colourful, abstract, geometric forms with a markedly playful character. His work arouses an interesting reflection. These elements pass almost unnoticed, decorating an intangible world, configuring its architecture and making its mere existence possible.

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Now that the internet has drowned in social networks and commercial channels, it makes sense to look back at the experiences of net art in the s. This was an era of innocence, eagerness and heroes of a kind, when networks as art were brand new. Net art was both ironic and self-critical. The essential difference is that the internet environment back then was something special and new, and now it is banal and everyday. In the s, culture and art had to be, figuratively speaking, brought to the internet, settled there and only then was it possible to see how the environment influenced the content, whereas in the current post-digital and post-internet era, the internet environment is like nature: it surrounds us. It has become a channel through which the world reaches us, but it has also become an environment where people live their everyday lives, communicate and express themselves. It has turned into a dominating environment. The authors of net art projects experienced the birth of a new wave, which gradually flowed into the normality of events. Alexei Shulgin and Olia Lialina are the two most important names, the two who introduced themselves as Moscow born Russians and maintained their identities as Eastern-Europeans in the international history of 90s net art. Rhizome archives present this as Netscape Navigator Gold 3 browser emulation 3. If you use an Apple Mac, the manipulation is even easier: move two fingers along the trackpad horizontally or vertically.

Nonetheless, there were many important artists I did not have the space to highlight, and one important term I still have the yet to elucidate: Postinternet. I lay out the history of this discussion in this way for Certainly, art history is not without its Posts. Watch full video below!. Eyebeam Arts and entertainment. An interview with graphic designer Ruben Pater — we make money not art. By Helena Barranha. Delicious feeds. October 21, is an important date for the geek world.

A ‘Deconstruction’ of Traditional Modes of Portraiture| BA (Hons) FINE ART

These two have already become reality more or lessthanks to Lexus and Nike. See actions taken by the people who manage and post content. See all. Just as easily as it writes itself, art history so ing posthistorically — that is, to be critically aware of the often leaves out the women or ethnic minorities or less- cool-kids that were left out in previous iterations, and of historiographic sediment, then we c problems historically reenacted with each new o n s strata might really get its readers all too often accept these new narratives as. But an Ignorant Historiographer. Not Now. KLOK, the kg bungee jumping church bell — we make money not art feeds. By sheer virtue of making things, the critically given that Walter Benjamin schooled us on the collapse self-aware internet user makes postinternet art. Terrazza: Artists, Histories, Places in Italy in the s — we make money not art feeds. Eyebeam Arts and entertainment.

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Michael Rakowitz. The invisible enemy should not exist. I talked to the founder of a school where students learn new skills, manipulate new tools but also get to inquire the political and human dimensions of technology. See all. See .

Marisa Olson’s parallel universe

Remember Me. Nt Hirsch, Twelve, Courtesy: the artist. A world olsob privatized knowledge patrolled and defended by rating agencies. Internet art often narrativizes its production as a pozzy, optimistic, even utopian engagement with followers and friends on the corporate web, a not-so-bad playground of free de, following the happy regime that demands we always like and reblog or else suffer obscurity. Inthe only measure noot quality is likes.

Mar 3, 2009

Despite the supposed mariwa of social media interfaces, art made and distributed through these networks is critically subject to their terms and conditions. As this incident highlights, these seemingly open, friendly networks—iTunes, Facebook, Tumblr. And if it fails to accumulate enough likes, it recedes from the newsfeed. Yet distaste remains a definitive aesthetic response, and central in many cases to the artists who use social media. How do I dislike your stupid profile picture? Or a jpg of your shitty politics? I share them widely. Sometime in the mids, net art began to keep a second home off the web, in the real space of galleries and associated venues. As such, art increased its attention to how Internet-native communities also form offline. Photo: Oresti Tsonopoulos. With some exceptions, Post-Internet art has adopted an even less critical pose—however difficult it remains to assess what is intentionally or unintentionally critical in net and Post-Internet art—in incorporating and aestheticizing accelerationist capitalist strategies of branded production on social networks. I would characterize much of Post-Internet as neither optimistic nor pessimistic, but rather as fixed in a critical holding pattern that highlights the machinations of semiocapitalism, but not its effects. Politics and ecology as interior design.