Rebuking the Constant Rise of Mediocrity

“Technically, every work of art comes into being in the same way as the cosmos – by means of catastrophes, which ultimately create out of the cacophony of the various instruments that symphony we call the music of the spheres. The creation of the work of art is the creation of the world.” Wassily Kandinsky.

“Technically, every work of art comes into being in the same way as the cosmos – by means of catastrophes, which ultimately create out of the cacophony of the various instruments that symphony we call the music of the spheres. The creation of the work of art is the creation of the world.” Wassily Kandinsky.

“Technically, every work of art comes into being in the same way as the cosmos – by means of catastrophes, which ultimately create out of the cacophony of the various instruments that symphony we call the music of the spheres. The creation of the work of art is the creation of the world.” Wassily Kandinsky.

“Technically, every work of art comes into being in the same way as the cosmos – by means of catastrophes, which ultimately create out of the cacophony of the various instruments that symphony we call the music of the spheres. The creation of the work of art is the creation of the world.” Wassily Kandinsky.

I hate to plug my own work, but I’m going to go ahead anyway because it’s relevant and I’d love for someone to shoot it down. I wrote this essay last week during the whole Groys thing:

http://sites.google.com/site/hypotest/bigpicture

My argument is essentially that the avant-garde in art right now is content that draws from localized “fan cultures” like Youtube without falling into the trap of relying on “strong” images. With regard to “Surprised Kitty,” Groys’ method fails because he’s out of touch on where the border between “strong” and “weak” images lies nowadays.

Perhaps it’s better if we change our definition of “strong” images to include common kitsch material, like cute kittens, historical images, celebrities and corporate branding. Under that definition, the video relies on the “strong” image of the kitten, outweighing any “weak” power it may carry.

One last thought – Fountain (O holy grail of avant-garde!) was not a rebuke of culture’s mediocrity, but of the art of the time that Duchamp saw as disconnected from society. I have some thoughts in the essay about who today is really pushing the boundaries and rejecting the self-obsessed Postmodern Art mindset in a similar way.

I hate to plug my own work, but I’m going to go ahead anyway because it’s relevant and I’d love for someone to shoot it down. I wrote this essay last week during the whole Groys thing:

http://sites.google.com/site/hypotest/bigpicture

My argument is essentially that the avant-garde in art right now is content that draws from localized “fan cultures” like Youtube without falling into the trap of relying on “strong” images. With regard to “Surprised Kitty,” Groys’ method fails because he’s out of touch on where the border between “strong” and “weak” images lies nowadays.

Perhaps it’s better if we change our definition of “strong” images to include common kitsch material, like cute kittens, historical images, celebrities and corporate branding. Under that definition, the video relies on the “strong” image of the kitten, outweighing any “weak” power it may carry.

One last thought – Fountain (O holy grail of avant-garde!) was not a rebuke of culture’s mediocrity, but of the art of the time that Duchamp saw as disconnected from society. I have some thoughts in the essay about who today is really pushing the boundaries and rejecting the self-obsessed Postmodern Art mindset in a similar way.

I hate to plug my own work, but I’m going to go ahead anyway because it’s relevant and I’d love for someone to shoot it down. I wrote this essay last week during the whole Groys thing:

http://sites.google.com/site/hypotest/bigpicture

My argument is essentially that the avant-garde in art right now is content that draws from localized “fan cultures” like Youtube without falling into the trap of relying on “strong” images. With regard to “Surprised Kitty,” Groys’ method fails because he’s out of touch on where the border between “strong” and “weak” images lies nowadays.

Perhaps it’s better if we change our definition of “strong” images to include common kitsch material, like cute kittens, historical images, celebrities and corporate branding. Under that definition, the video relies on the “strong” image of the kitten, outweighing any “weak” power it may carry.

One last thought – Fountain (O holy grail of avant-garde!) was not a rebuke of culture’s mediocrity, but of the art of the time that Duchamp saw as disconnected from society. I have some thoughts in the essay about who today is really pushing the boundaries and rejecting the self-obsessed Postmodern Art mindset in a similar way.

I hate to plug my own work, but I’m going to go ahead anyway because it’s relevant and I’d love for someone to shoot it down. I wrote this essay last week during the whole Groys thing:

http://sites.google.com/site/hypotest/bigpicture

My argument is essentially that the avant-garde in art right now is content that draws from localized “fan cultures” like Youtube without falling into the trap of relying on “strong” images. With regard to “Surprised Kitty,” Groys’ method fails because he’s out of touch on where the border between “strong” and “weak” images lies nowadays.

Perhaps it’s better if we change our definition of “strong” images to include common kitsch material, like cute kittens, historical images, celebrities and corporate branding. Under that definition, the video relies on the “strong” image of the kitten, outweighing any “weak” power it may carry.

One last thought – Fountain (O holy grail of avant-garde!) was not a rebuke of culture’s mediocrity, but of the art of the time that Duchamp saw as disconnected from society. I have some thoughts in the essay about who today is really pushing the boundaries and rejecting the self-obsessed Postmodern Art mindset in a similar way.

This is a quibble but not sure if YouTube is profitable (google “youtube profitability” and you get a string of tepid predictions). The strength of the surprised kitten is its novelty (has your cat ever done that? but please, owner, spare us the audio track) and the fact that it’s free of charge to anyone with net access. Groys wasn’t very concerned with examples–he only showed one, the Francis Alys video, which could be on YouTube but not getting many hits. Artists shouldn’t care if their work is out on the Net rubbing shoulders with (other) silly junk or how popular things get. It’s up to them to declare if it’s an avant garde gesture and critic-approved, mass media-baffling “weak” sounds better than feeling bad because you don’t have the money, stamina or business acumen to put a shark in a tank or a live elephant in a gallery. It’s less an issue of quality or size, perhaps, than intent (and whether others recognize your gesture).

This is a quibble but not sure if YouTube is profitable (google “youtube profitability” and you get a string of tepid predictions). The strength of the surprised kitten is its novelty (has your cat ever done that? but please, owner, spare us the audio track) and the fact that it’s free of charge to anyone with net access. Groys wasn’t very concerned with examples–he only showed one, the Francis Alys video, which could be on YouTube but not getting many hits. Artists shouldn’t care if their work is out on the Net rubbing shoulders with (other) silly junk or how popular things get. It’s up to them to declare if it’s an avant garde gesture and critic-approved, mass media-baffling “weak” sounds better than feeling bad because you don’t have the money, stamina or business acumen to put a shark in a tank or a live elephant in a gallery. It’s less an issue of quality or size, perhaps, than intent (and whether others recognize your gesture).

This is a quibble but not sure if YouTube is profitable (google “youtube profitability” and you get a string of tepid predictions). The strength of the surprised kitten is its novelty (has your cat ever done that? but please, owner, spare us the audio track) and the fact that it’s free of charge to anyone with net access. Groys wasn’t very concerned with examples–he only showed one, the Francis Alys video, which could be on YouTube but not getting many hits. Artists shouldn’t care if their work is out on the Net rubbing shoulders with (other) silly junk or how popular things get. It’s up to them to declare if it’s an avant garde gesture and critic-approved, mass media-baffling “weak” sounds better than feeling bad because you don’t have the money, stamina or business acumen to put a shark in a tank or a live elephant in a gallery. It’s less an issue of quality or size, perhaps, than intent (and whether others recognize your gesture).

This is a quibble but not sure if YouTube is profitable (google “youtube profitability” and you get a string of tepid predictions). The strength of the surprised kitten is its novelty (has your cat ever done that? but please, owner, spare us the audio track) and the fact that it’s free of charge to anyone with net access. Groys wasn’t very concerned with examples–he only showed one, the Francis Alys video, which could be on YouTube but not getting many hits. Artists shouldn’t care if their work is out on the Net rubbing shoulders with (other) silly junk or how popular things get. It’s up to them to declare if it’s an avant garde gesture and critic-approved, mass media-baffling “weak” sounds better than feeling bad because you don’t have the money, stamina or business acumen to put a shark in a tank or a live elephant in a gallery. It’s less an issue of quality or size, perhaps, than intent (and whether others recognize your gesture).

tom moody,

I’m having a bit of trouble understanding the second half of your post. Are you saying that Groys came up with “weak” as a cop-out for artists to invoke when they don’t have the dough or the guts to put a shark in a tank for art? I could buy that. :)

I disagree with you on whether artists should care about popular subjects, however. I will say, though that good pop art has either drawn from an aesthetic (like Lichtenstein) or deified its subjects and made icons (Warhol). It seems that you have to take an extreme stance with “strong” images, or you lose the avant-garde gesture and end up with velvet blacklight paintings.

What do you mean by “artists shouldn’t care if their work is out on the Net rubbing shoulders with (other) silly junk?” Thanks!

tom moody,

I’m having a bit of trouble understanding the second half of your post. Are you saying that Groys came up with “weak” as a cop-out for artists to invoke when they don’t have the dough or the guts to put a shark in a tank for art? I could buy that. :)

I disagree with you on whether artists should care about popular subjects, however. I will say, though that good pop art has either drawn from an aesthetic (like Lichtenstein) or deified its subjects and made icons (Warhol). It seems that you have to take an extreme stance with “strong” images, or you lose the avant-garde gesture and end up with velvet blacklight paintings.

What do you mean by “artists shouldn’t care if their work is out on the Net rubbing shoulders with (other) silly junk?” Thanks!

tom moody,

I’m having a bit of trouble understanding the second half of your post. Are you saying that Groys came up with “weak” as a cop-out for artists to invoke when they don’t have the dough or the guts to put a shark in a tank for art? I could buy that. :)

I disagree with you on whether artists should care about popular subjects, however. I will say, though that good pop art has either drawn from an aesthetic (like Lichtenstein) or deified its subjects and made icons (Warhol). It seems that you have to take an extreme stance with “strong” images, or you lose the avant-garde gesture and end up with velvet blacklight paintings.

What do you mean by “artists shouldn’t care if their work is out on the Net rubbing shoulders with (other) silly junk?” Thanks!

tom moody,

I’m having a bit of trouble understanding the second half of your post. Are you saying that Groys came up with “weak” as a cop-out for artists to invoke when they don’t have the dough or the guts to put a shark in a tank for art? I could buy that. :)

I disagree with you on whether artists should care about popular subjects, however. I will say, though that good pop art has either drawn from an aesthetic (like Lichtenstein) or deified its subjects and made icons (Warhol). It seems that you have to take an extreme stance with “strong” images, or you lose the avant-garde gesture and end up with velvet blacklight paintings.

What do you mean by “artists shouldn’t care if their work is out on the Net rubbing shoulders with (other) silly junk?” Thanks!

Groys didn’t theorize it for me (if he read this he’d probably wish I’d stop dropping his name) and I wasn’t talking about guts, shark- and elephant-wise: by stamina I meant energy to handle the logistics and hassle. Withdrawing from the arena of large silly gestures to the domain of small, nearly invisible ones is by no means a cop-out. As Groys explained, a weak sign is not a sign of weakness (see my notes that Paddy linked to).

Groys didn’t theorize it for me (if he read this he’d probably wish I’d stop dropping his name) and I wasn’t talking about guts, shark- and elephant-wise: by stamina I meant energy to handle the logistics and hassle. Withdrawing from the arena of large silly gestures to the domain of small, nearly invisible ones is by no means a cop-out. As Groys explained, a weak sign is not a sign of weakness (see my notes that Paddy linked to).

Groys didn’t theorize it for me (if he read this he’d probably wish I’d stop dropping his name) and I wasn’t talking about guts, shark- and elephant-wise: by stamina I meant energy to handle the logistics and hassle. Withdrawing from the arena of large silly gestures to the domain of small, nearly invisible ones is by no means a cop-out. As Groys explained, a weak sign is not a sign of weakness (see my notes that Paddy linked to).

Groys didn’t theorize it for me (if he read this he’d probably wish I’d stop dropping his name) and I wasn’t talking about guts, shark- and elephant-wise: by stamina I meant energy to handle the logistics and hassle. Withdrawing from the arena of large silly gestures to the domain of small, nearly invisible ones is by no means a cop-out. As Groys explained, a weak sign is not a sign of weakness (see my notes that Paddy linked to).

beyond Kandinsky, what other avante garde artists can be used to prove out Groy’s theories. I think another example might be helpful. I suppose John Cage would fit right into that description.

beyond Kandinsky, what other avante garde artists can be used to prove out Groy’s theories. I think another example might be helpful. I suppose John Cage would fit right into that description.

beyond Kandinsky, what other avante garde artists can be used to prove out Groy’s theories. I think another example might be helpful. I suppose John Cage would fit right into that description.

beyond Kandinsky, what other avante garde artists can be used to prove out Groy’s theories. I think another example might be helpful. I suppose John Cage would fit right into that description.

The avant garde has to go to the web, if they aren’t there already. And more specifically than “the web” as just a place to showcase, broadcast and promote their work, they have to look at social media which without a doubt is the great force in our culture. The next round of avante garde work will come from the web and be of the web, using its tool, instruments and most importantly, its philosophies.

The avant garde has to go to the web, if they aren’t there already. And more specifically than “the web” as just a place to showcase, broadcast and promote their work, they have to look at social media which without a doubt is the great force in our culture. The next round of avante garde work will come from the web and be of the web, using its tool, instruments and most importantly, its philosophies.

The avant garde has to go to the web, if they aren’t there already. And more specifically than “the web” as just a place to showcase, broadcast and promote their work, they have to look at social media which without a doubt is the great force in our culture. The next round of avante garde work will come from the web and be of the web, using its tool, instruments and most importantly, its philosophies.

The avant garde has to go to the web, if they aren’t there already. And more specifically than “the web” as just a place to showcase, broadcast and promote their work, they have to look at social media which without a doubt is the great force in our culture. The next round of avante garde work will come from the web and be of the web, using its tool, instruments and most importantly, its philosophies.

@Tom Moody This isn’t in the post, an undiscussed aspect of the “strong” image “weak” image binary, is that it places more importance on the viewer than I think all artists have interest in. That may not matter too much thouhg. As Groys describes it, a significant portion of art is defined by its relationship to the viewers. Maybe that’s the way it will be with or without the artist’s say in the matter.

@Zachary Please use examples when you talk about the avant garde and the web. Also, explain why you’re interested in the examples you cite.

@Tom Moody This isn’t in the post, an undiscussed aspect of the “strong” image “weak” image binary, is that it places more importance on the viewer than I think all artists have interest in. That may not matter too much thouhg. As Groys describes it, a significant portion of art is defined by its relationship to the viewers. Maybe that’s the way it will be with or without the artist’s say in the matter.

@Zachary Please use examples when you talk about the avant garde and the web. Also, explain why you’re interested in the examples you cite.

@Tom Moody This isn’t in the post, an undiscussed aspect of the “strong” image “weak” image binary, is that it places more importance on the viewer than I think all artists have interest in. That may not matter too much thouhg. As Groys describes it, a significant portion of art is defined by its relationship to the viewers. Maybe that’s the way it will be with or without the artist’s say in the matter.

@Zachary Please use examples when you talk about the avant garde and the web. Also, explain why you’re interested in the examples you cite.

@Tom Moody This isn’t in the post, an undiscussed aspect of the “strong” image “weak” image binary, is that it places more importance on the viewer than I think all artists have interest in. That may not matter too much thouhg. As Groys describes it, a significant portion of art is defined by its relationship to the viewers. Maybe that’s the way it will be with or without the artist’s say in the matter.

@Zachary Please use examples when you talk about the avant garde and the web. Also, explain why you’re interested in the examples you cite.

I would cite Nic Rad and Man Bartlett as early, though rough examples, of what I have begun calling Social Media Artists. I wrote a piece on Nic and just conducted an interview with Man, but usually don’t just drop links to my own sites on other people’s sites. But now that I have been given permish….I’ve also written about social media from the gallery and institution side. I’ve been called in by galleries and other institutions to brief them on social media. (Full Disclosure: I am not currently employed by anyone or thing in the Art World, but may be sometime soon. If and when that occurs I will declare that association all over the place)

I think Bill Powhida’s use of Twitter to galvanize a community is an example of social media art. I think the use and appropriation of the hashtag system embedded within Twitter to name a very ambitious project (#class) firmly delineates Bill in this camp.

But primarily I look at social media artists through the lens of the demands of the medium. The demands of the medium, as I have been able to define them so far, are that social media art be: public, real time, transparent, community oriented, oalong with a curatorial aspect. Artists who use the web to curate their own inspiration or information or who, likewise, consciously use, let’s say, an RSS feed to find, identify and sort through art that then feeds into their own production is a social media artist.

btw both Man and Nic hate the name Social Media Artist. Nic suggested “SoMe” artist. And as fitting as that might be in this post warholian world of ours, its basically garbage.

As to WHY I am interested in the examples I cite? Well, after 10 years away from art, having studied (art history, technically speaking) producing, being concerned with art, I have finally found the way back to engaging the art world. Nothing has made me happier these past two months than to meet with artists like Nic, Bill and now Man. I am interested in them because they are the first ones I found. I have now found more and am actively looking to engage the community and provide support, critique and my energy and time into building the community of social media artists.

Social media is something that has liberated me in so many ways, and to be able to combine social media with my other passion is basically thrilling for me…

also i just really love James Franco…

I would cite Nic Rad and Man Bartlett as early, though rough examples, of what I have begun calling Social Media Artists. I wrote a piece on Nic and just conducted an interview with Man, but usually don’t just drop links to my own sites on other people’s sites. But now that I have been given permish….I’ve also written about social media from the gallery and institution side. I’ve been called in by galleries and other institutions to brief them on social media. (Full Disclosure: I am not currently employed by anyone or thing in the Art World, but may be sometime soon. If and when that occurs I will declare that association all over the place)

I think Bill Powhida’s use of Twitter to galvanize a community is an example of social media art. I think the use and appropriation of the hashtag system embedded within Twitter to name a very ambitious project (#class) firmly delineates Bill in this camp.

But primarily I look at social media artists through the lens of the demands of the medium. The demands of the medium, as I have been able to define them so far, are that social media art be: public, real time, transparent, community oriented, oalong with a curatorial aspect. Artists who use the web to curate their own inspiration or information or who, likewise, consciously use, let’s say, an RSS feed to find, identify and sort through art that then feeds into their own production is a social media artist.

btw both Man and Nic hate the name Social Media Artist. Nic suggested “SoMe” artist. And as fitting as that might be in this post warholian world of ours, its basically garbage.

As to WHY I am interested in the examples I cite? Well, after 10 years away from art, having studied (art history, technically speaking) producing, being concerned with art, I have finally found the way back to engaging the art world. Nothing has made me happier these past two months than to meet with artists like Nic, Bill and now Man. I am interested in them because they are the first ones I found. I have now found more and am actively looking to engage the community and provide support, critique and my energy and time into building the community of social media artists.

Social media is something that has liberated me in so many ways, and to be able to combine social media with my other passion is basically thrilling for me…

also i just really love James Franco…

Zachary, an artist I knew years ago collected banal and cast-off objects and put them in Ziplock bags near railroad tracks or in alleys for homeless people to find (or anyone else that happened to be walking there). They were pretty exquisite groupings, too, like little Duchamp boxes. The only reason I know is because I found one. For all I know he’s still doing it. Agreed about the Net but it doesn’t have to be the only place for slight, mysterious gestures. I would take the objects-in-baggies over Douglas Gordon’s elephant-in-a-gallery and that surprised kitty (with the sound off) over Ryan McGinley’s recent nudes. Sort it out, people.

Zachary, an artist I knew years ago collected banal and cast-off objects and put them in Ziplock bags near railroad tracks or in alleys for homeless people to find (or anyone else that happened to be walking there). They were pretty exquisite groupings, too, like little Duchamp boxes. The only reason I know is because I found one. For all I know he’s still doing it. Agreed about the Net but it doesn’t have to be the only place for slight, mysterious gestures. I would take the objects-in-baggies over Douglas Gordon’s elephant-in-a-gallery and that surprised kitty (with the sound off) over Ryan McGinley’s recent nudes. Sort it out, people.

Zachary, an artist I knew years ago collected banal and cast-off objects and put them in Ziplock bags near railroad tracks or in alleys for homeless people to find (or anyone else that happened to be walking there). They were pretty exquisite groupings, too, like little Duchamp boxes. The only reason I know is because I found one. For all I know he’s still doing it. Agreed about the Net but it doesn’t have to be the only place for slight, mysterious gestures. I would take the objects-in-baggies over Douglas Gordon’s elephant-in-a-gallery and that surprised kitty (with the sound off) over Ryan McGinley’s recent nudes. Sort it out, people.

Every time I hear “weak gesture” I imagine early Warhol waving a limp wrist, and then I think of him reorienting the avant garde around effete swish by producing his boring, repetitious movies and paintings. Anyway, I agree that defining “avant garde” probably doesn’t need to be so complex.

Every time I hear “weak gesture” I imagine early Warhol waving a limp wrist, and then I think of him reorienting the avant garde around effete swish by producing his boring, repetitious movies and paintings. Anyway, I agree that defining “avant garde” probably doesn’t need to be so complex.

Every time I hear “weak gesture” I imagine early Warhol waving a limp wrist, and then I think of him reorienting the avant garde around effete swish by producing his boring, repetitious movies and paintings. Anyway, I agree that defining “avant garde” probably doesn’t need to be so complex.

Every time I hear “weak gesture” I imagine early Warhol waving a limp wrist, and then I think of him reorienting the avant garde around effete swish by producing his boring, repetitious movies and paintings. Anyway, I agree that defining “avant garde” probably doesn’t need to be so complex.

Wrote my last comment before seeing Zachary’s. The part of the SoMe agenda I like is “artists who use the web to curate their own inspiration or information or who, likewise, consciously use, let’s say, an RSS feed to find, identify and sort through art that then feeds into their own production.”

Wrote my last comment before seeing Zachary’s. The part of the SoMe agenda I like is “artists who use the web to curate their own inspiration or information or who, likewise, consciously use, let’s say, an RSS feed to find, identify and sort through art that then feeds into their own production.”

Wrote my last comment before seeing Zachary’s. The part of the SoMe agenda I like is “artists who use the web to curate their own inspiration or information or who, likewise, consciously use, let’s say, an RSS feed to find, identify and sort through art that then feeds into their own production.”

Wrote my last comment before seeing Zachary’s. The part of the SoMe agenda I like is “artists who use the web to curate their own inspiration or information or who, likewise, consciously use, let’s say, an RSS feed to find, identify and sort through art that then feeds into their own production.”

Tom
Thanks for that note. I will be expanding on that theme, which I agree, is the really the crux of the matter. How does one use the medium, call attention to it. RSS is part of the medium of social media art, if there is such a thing.I am not sure there is, but that is really besides the point.
The point I would like to expand on basically revolves around the idea of an artist finding the community that pushes their work forward, allowing them the resources, feedback, inspiration and dialog to deal with any issues or tensions in their work. If an artist connects with someone through their blog and they end up sharing flikr portfolios of their work and begin a correspodence, which results in one of the artists making a breakthrough in their own work, wouldn’t that constitute social media art?

I don’t think the avant garde in anyway needs to be confined to the web, i just think that is likely where it is to be found as the most “Alive” part of our culture currently.

Tom
Thanks for that note. I will be expanding on that theme, which I agree, is the really the crux of the matter. How does one use the medium, call attention to it. RSS is part of the medium of social media art, if there is such a thing.I am not sure there is, but that is really besides the point.
The point I would like to expand on basically revolves around the idea of an artist finding the community that pushes their work forward, allowing them the resources, feedback, inspiration and dialog to deal with any issues or tensions in their work. If an artist connects with someone through their blog and they end up sharing flikr portfolios of their work and begin a correspodence, which results in one of the artists making a breakthrough in their own work, wouldn’t that constitute social media art?

I don’t think the avant garde in anyway needs to be confined to the web, i just think that is likely where it is to be found as the most “Alive” part of our culture currently.

Tom
Thanks for that note. I will be expanding on that theme, which I agree, is the really the crux of the matter. How does one use the medium, call attention to it. RSS is part of the medium of social media art, if there is such a thing.I am not sure there is, but that is really besides the point.
The point I would like to expand on basically revolves around the idea of an artist finding the community that pushes their work forward, allowing them the resources, feedback, inspiration and dialog to deal with any issues or tensions in their work. If an artist connects with someone through their blog and they end up sharing flikr portfolios of their work and begin a correspodence, which results in one of the artists making a breakthrough in their own work, wouldn’t that constitute social media art?

I don’t think the avant garde in anyway needs to be confined to the web, i just think that is likely where it is to be found as the most “Alive” part of our culture currently.

Tom
Thanks for that note. I will be expanding on that theme, which I agree, is the really the crux of the matter. How does one use the medium, call attention to it. RSS is part of the medium of social media art, if there is such a thing.I am not sure there is, but that is really besides the point.
The point I would like to expand on basically revolves around the idea of an artist finding the community that pushes their work forward, allowing them the resources, feedback, inspiration and dialog to deal with any issues or tensions in their work. If an artist connects with someone through their blog and they end up sharing flikr portfolios of their work and begin a correspodence, which results in one of the artists making a breakthrough in their own work, wouldn’t that constitute social media art?

I don’t think the avant garde in anyway needs to be confined to the web, i just think that is likely where it is to be found as the most “Alive” part of our culture currently.

Heh. I like “SoMe,” mostly for the pun. “This painting speaks to me, it’s SoMe!” Social Media is all about the individual and their choices in filtering content, and that is something that artists do to produce new content.

Heh. I like “SoMe,” mostly for the pun. “This painting speaks to me, it’s SoMe!” Social Media is all about the individual and their choices in filtering content, and that is something that artists do to produce new content.

Heh. I like “SoMe,” mostly for the pun. “This painting speaks to me, it’s SoMe!” Social Media is all about the individual and their choices in filtering content, and that is something that artists do to produce new content.

Heh. I like “SoMe,” mostly for the pun. “This painting speaks to me, it’s SoMe!” Social Media is all about the individual and their choices in filtering content, and that is something that artists do to produce new content.

Zachary: trying to get a grip on your definition of social media art. Let me recast:

If an artist connects with someone in the studio next door and they end up sharing pics of their work and begin a conversation which results in one of the artists making a breakthrough in their own work, wouldn’t that constitute social (media) art?

I would say not. It’s the give an take of intellectual discussion, be it art or science or whatever. So then, what constitutes SoMe art?

Zachary: trying to get a grip on your definition of social media art. Let me recast:

If an artist connects with someone in the studio next door and they end up sharing pics of their work and begin a conversation which results in one of the artists making a breakthrough in their own work, wouldn’t that constitute social (media) art?

I would say not. It’s the give an take of intellectual discussion, be it art or science or whatever. So then, what constitutes SoMe art?

Zachary: trying to get a grip on your definition of social media art. Let me recast:

If an artist connects with someone in the studio next door and they end up sharing pics of their work and begin a conversation which results in one of the artists making a breakthrough in their own work, wouldn’t that constitute social (media) art?

I would say not. It’s the give an take of intellectual discussion, be it art or science or whatever. So then, what constitutes SoMe art?

Zachary: trying to get a grip on your definition of social media art. Let me recast:

If an artist connects with someone in the studio next door and they end up sharing pics of their work and begin a conversation which results in one of the artists making a breakthrough in their own work, wouldn’t that constitute social (media) art?

I would say not. It’s the give an take of intellectual discussion, be it art or science or whatever. So then, what constitutes SoMe art?

It’s not my question but “social media” means blogs, networking sites, sharing sites, etc. The shift is from studio specific works (painting, sculpture, photos) to electronic media objects that can not only be shared but actively remixed and edited. Plus whatever conversations happen about them in a public arena of blog comments, etc.

It’s not my question but “social media” means blogs, networking sites, sharing sites, etc. The shift is from studio specific works (painting, sculpture, photos) to electronic media objects that can not only be shared but actively remixed and edited. Plus whatever conversations happen about them in a public arena of blog comments, etc.

It’s not my question but “social media” means blogs, networking sites, sharing sites, etc. The shift is from studio specific works (painting, sculpture, photos) to electronic media objects that can not only be shared but actively remixed and edited. Plus whatever conversations happen about them in a public arena of blog comments, etc.

Tom: I’m with you on the definition of social media. I’m just wondering what, then, is “social media art”? From your comment, it seems to be fundamentally digital.

If the future is digital, does that mean that studio specific works will be “invalid” or ignored or brand as just so reactionary as not to be worth consideration? I hope not, since I find myself retreating from the screen back to paper these days. :-)

Tom: I’m with you on the definition of social media. I’m just wondering what, then, is “social media art”? From your comment, it seems to be fundamentally digital.

If the future is digital, does that mean that studio specific works will be “invalid” or ignored or brand as just so reactionary as not to be worth consideration? I hope not, since I find myself retreating from the screen back to paper these days. :-)

Tom: I’m with you on the definition of social media. I’m just wondering what, then, is “social media art”? From your comment, it seems to be fundamentally digital.

If the future is digital, does that mean that studio specific works will be “invalid” or ignored or brand as just so reactionary as not to be worth consideration? I hope not, since I find myself retreating from the screen back to paper these days. :-)

Amos, I think here is the best place to start…and feel free to reach out to me afterwards..

http://www.zacharyadamcohen.com/the-art-world/nic-rad-the-1st-social-media-artist/

Amos, I think here is the best place to start…and feel free to reach out to me afterwards..

http://www.zacharyadamcohen.com/the-art-world/nic-rad-the-1st-social-media-artist/

Amos, I think here is the best place to start…and feel free to reach out to me afterwards..

http://www.zacharyadamcohen.com/the-art-world/nic-rad-the-1st-social-media-artist/

Amos, I think here is the best place to start…and feel free to reach out to me afterwards..

http://www.zacharyadamcohen.com/the-art-world/nic-rad-the-1st-social-media-artist/

Tom I agree with you on your last point. I think even a traditional studio painter or sculptor could be a social media artist. It just depends on if they are using the tools of social media, be they blogs, twitter, facebook, flickr, online conversations that (and Amos, here I am thinking of you as well) could NOT have occurred without social networks acting as connector and or lubricator between an artist and some form of community.

I think its more likely that a social media artist, again if such a thing exists, is more likely to be found on the web, someone who is publicly committing their work to the community open to collaboration, communication, dialogue.

This conversation is really helping me consolidate my thinking. I look forward to taking a stab and continuing to define social media art and artists.

Tom I agree with you on your last point. I think even a traditional studio painter or sculptor could be a social media artist. It just depends on if they are using the tools of social media, be they blogs, twitter, facebook, flickr, online conversations that (and Amos, here I am thinking of you as well) could NOT have occurred without social networks acting as connector and or lubricator between an artist and some form of community.

I think its more likely that a social media artist, again if such a thing exists, is more likely to be found on the web, someone who is publicly committing their work to the community open to collaboration, communication, dialogue.

This conversation is really helping me consolidate my thinking. I look forward to taking a stab and continuing to define social media art and artists.

Tom I agree with you on your last point. I think even a traditional studio painter or sculptor could be a social media artist. It just depends on if they are using the tools of social media, be they blogs, twitter, facebook, flickr, online conversations that (and Amos, here I am thinking of you as well) could NOT have occurred without social networks acting as connector and or lubricator between an artist and some form of community.

I think its more likely that a social media artist, again if such a thing exists, is more likely to be found on the web, someone who is publicly committing their work to the community open to collaboration, communication, dialogue.

This conversation is really helping me consolidate my thinking. I look forward to taking a stab and continuing to define social media art and artists.

Tom I agree with you on your last point. I think even a traditional studio painter or sculptor could be a social media artist. It just depends on if they are using the tools of social media, be they blogs, twitter, facebook, flickr, online conversations that (and Amos, here I am thinking of you as well) could NOT have occurred without social networks acting as connector and or lubricator between an artist and some form of community.

I think its more likely that a social media artist, again if such a thing exists, is more likely to be found on the web, someone who is publicly committing their work to the community open to collaboration, communication, dialogue.

This conversation is really helping me consolidate my thinking. I look forward to taking a stab and continuing to define social media art and artists.

It’s not a question of excluding or ignoring “old media” but more a practical issue of the sharing medium. You might start out talking about paintings but you are really talking about jpegs. At a certain point someone makes a point by altering the image (darkening, adding a collage element). Now you are in a hybrid realm and eventually you stop pretending that it’s a studio visit and start dealing with that thing in front of you on the screen. There is still the possibly of interplay with tangible space and forms but you are moving to the virtual realm because that’s the discussion vehicle. (And if you want to hook up at a bar that’s OK too.) What I’m seeing on tumblr blogs has some of this methodology–remixed animations etc–but it is extremely ephemeral and hard to document–”weak.”

It’s not a question of excluding or ignoring “old media” but more a practical issue of the sharing medium. You might start out talking about paintings but you are really talking about jpegs. At a certain point someone makes a point by altering the image (darkening, adding a collage element). Now you are in a hybrid realm and eventually you stop pretending that it’s a studio visit and start dealing with that thing in front of you on the screen. There is still the possibly of interplay with tangible space and forms but you are moving to the virtual realm because that’s the discussion vehicle. (And if you want to hook up at a bar that’s OK too.) What I’m seeing on tumblr blogs has some of this methodology–remixed animations etc–but it is extremely ephemeral and hard to document–”weak.”

It’s not a question of excluding or ignoring “old media” but more a practical issue of the sharing medium. You might start out talking about paintings but you are really talking about jpegs. At a certain point someone makes a point by altering the image (darkening, adding a collage element). Now you are in a hybrid realm and eventually you stop pretending that it’s a studio visit and start dealing with that thing in front of you on the screen. There is still the possibly of interplay with tangible space and forms but you are moving to the virtual realm because that’s the discussion vehicle. (And if you want to hook up at a bar that’s OK too.) What I’m seeing on tumblr blogs has some of this methodology–remixed animations etc–but it is extremely ephemeral and hard to document–”weak.”

It’s not a question of excluding or ignoring “old media” but more a practical issue of the sharing medium. You might start out talking about paintings but you are really talking about jpegs. At a certain point someone makes a point by altering the image (darkening, adding a collage element). Now you are in a hybrid realm and eventually you stop pretending that it’s a studio visit and start dealing with that thing in front of you on the screen. There is still the possibly of interplay with tangible space and forms but you are moving to the virtual realm because that’s the discussion vehicle. (And if you want to hook up at a bar that’s OK too.) What I’m seeing on tumblr blogs has some of this methodology–remixed animations etc–but it is extremely ephemeral and hard to document–”weak.”

ephemerality is a key condition of social media art no? how many links do we click a day, how much information do we scan? How many tweets go out into the ether never to be interacted with or even seen?

You could blow it up even further to bring up issues of the ephemerality of business models that sustained our culture for the past 50 years and which have been laid naked and destroyed over the past decade or so.

ephemerality is a key condition of social media art no? how many links do we click a day, how much information do we scan? How many tweets go out into the ether never to be interacted with or even seen?

You could blow it up even further to bring up issues of the ephemerality of business models that sustained our culture for the past 50 years and which have been laid naked and destroyed over the past decade or so.

ephemerality is a key condition of social media art no? how many links do we click a day, how much information do we scan? How many tweets go out into the ether never to be interacted with or even seen?

You could blow it up even further to bring up issues of the ephemerality of business models that sustained our culture for the past 50 years and which have been laid naked and destroyed over the past decade or so.

ephemerality is a key condition of social media art no? how many links do we click a day, how much information do we scan? How many tweets go out into the ether never to be interacted with or even seen?

You could blow it up even further to bring up issues of the ephemerality of business models that sustained our culture for the past 50 years and which have been laid naked and destroyed over the past decade or so.

I’m going to throw “Full Media Artist” into the ring. I can’t stand SoMe, for a lot of reasons.

Tom: “There is still the possibly of interplay with tangible space and forms but you are moving to the virtual realm because that’s the discussion vehicle.” Yes.

More on all this soon. Just saw this via Google Alert cause my name was dropped, but I’m in the middle of 3 other things. :/

The strong/weak image conversation is important. Even if we’re only rising against mediocrity anyway…

P.S. I was about 14 million users ahead of NicRad. No disrespect, just sayin! ;)

I’m going to throw “Full Media Artist” into the ring. I can’t stand SoMe, for a lot of reasons.

Tom: “There is still the possibly of interplay with tangible space and forms but you are moving to the virtual realm because that’s the discussion vehicle.” Yes.

More on all this soon. Just saw this via Google Alert cause my name was dropped, but I’m in the middle of 3 other things. :/

The strong/weak image conversation is important. Even if we’re only rising against mediocrity anyway…

P.S. I was about 14 million users ahead of NicRad. No disrespect, just sayin! ;)

I’m going to throw “Full Media Artist” into the ring. I can’t stand SoMe, for a lot of reasons.

Tom: “There is still the possibly of interplay with tangible space and forms but you are moving to the virtual realm because that’s the discussion vehicle.” Yes.

More on all this soon. Just saw this via Google Alert cause my name was dropped, but I’m in the middle of 3 other things. :/

The strong/weak image conversation is important. Even if we’re only rising against mediocrity anyway…

P.S. I was about 14 million users ahead of NicRad. No disrespect, just sayin! ;)

its not about being ahead or behind, its about who is using the tools and responding to the demands of the medium.

An Xiao is my new principessa anyway, Nic Rad is a punk

its not about being ahead or behind, its about who is using the tools and responding to the demands of the medium.

An Xiao is my new principessa anyway, Nic Rad is a punk

Well hello there.

14 million users?

Man, you can be the first Social Media artist! Conceded!

Or the first Full Media Artist. That evokes a description of ‘a guy that does stuff,’ to me. It’s only a little bit better than Social Media Artist which sounds like a transitional resume line into managing press junkets for Ashton Kutcher.

But I thought your first sentiment was right on-which questioned the value of naming something from inside the blizzard. You said something to the effect of “what’s wrong with the simple phrase ‘artist?’” And we yammered on about something else for a minute.

Within 24 hours of us having spoken about all of this, Salinger died. Does this weigh on your conscience like it does on mine? Oh the horror.

I can be a jocular and sarcastic fellow but let me remove all doubt and say that Man Bartlet is better at the internet than me.

I also like him quite a bit. He’s charming.

The point of trying for a name is vanity, of course. It’s nice to think of ourselves as accomplishing something… When I suggested “So Me,” it was a joke- directed mostly at myself. Your strong dislike did encourage me. Can’t lie!

The other night I was at an art opening sponsored by Diesel and Diesel’s campaign is: Be Stupid. It employs a lot of “weak” images. And Helvetica fonts (like this site!).

Diesel has more users than you and me combined. Fuck.

We are losing this war to cats and to the Mediocre and to Diesel. So eh. I opt out. I don’t care about Boris Groys. I just don’t. Glad that Paddy and Tom and other smarts do. Although I felt like Both of them seemed a bit underwhelmed at the thesis.

Zach’s post that he linked here was well intended, and again, it’s nice when anyone notices you, but I thought his content was more or less insane. I think I’d prefer to be considered the last Social Media artist if it meant that the phrase was dead.

Curse you google alerts. Until this evening I didn’t realize I was 14 million users behind!

Well hello there.

14 million users?

Man, you can be the first Social Media artist! Conceded!

Or the first Full Media Artist. That evokes a description of ‘a guy that does stuff,’ to me. It’s only a little bit better than Social Media Artist which sounds like a transitional resume line into managing press junkets for Ashton Kutcher.

But I thought your first sentiment was right on-which questioned the value of naming something from inside the blizzard. You said something to the effect of “what’s wrong with the simple phrase ‘artist?’” And we yammered on about something else for a minute.

Within 24 hours of us having spoken about all of this, Salinger died. Does this weigh on your conscience like it does on mine? Oh the horror.

I can be a jocular and sarcastic fellow but let me remove all doubt and say that Man Bartlet is better at the internet than me.

I also like him quite a bit. He’s charming.

The point of trying for a name is vanity, of course. It’s nice to think of ourselves as accomplishing something… When I suggested “So Me,” it was a joke- directed mostly at myself. Your strong dislike did encourage me. Can’t lie!

The other night I was at an art opening sponsored by Diesel and Diesel’s campaign is: Be Stupid. It employs a lot of “weak” images. And Helvetica fonts (like this site!).

Diesel has more users than you and me combined. Fuck.

We are losing this war to cats and to the Mediocre and to Diesel. So eh. I opt out. I don’t care about Boris Groys. I just don’t. Glad that Paddy and Tom and other smarts do. Although I felt like Both of them seemed a bit underwhelmed at the thesis.

Zach’s post that he linked here was well intended, and again, it’s nice when anyone notices you, but I thought his content was more or less insane. I think I’d prefer to be considered the last Social Media artist if it meant that the phrase was dead.

Curse you google alerts. Until this evening I didn’t realize I was 14 million users behind!

Well hello there.

14 million users?

Man, you can be the first Social Media artist! Conceded!

Or the first Full Media Artist. That evokes a description of ‘a guy that does stuff,’ to me. It’s only a little bit better than Social Media Artist which sounds like a transitional resume line into managing press junkets for Ashton Kutcher.

But I thought your first sentiment was right on-which questioned the value of naming something from inside the blizzard. You said something to the effect of “what’s wrong with the simple phrase ‘artist?’” And we yammered on about something else for a minute.

Within 24 hours of us having spoken about all of this, Salinger died. Does this weigh on your conscience like it does on mine? Oh the horror.

I can be a jocular and sarcastic fellow but let me remove all doubt and say that Man Bartlet is better at the internet than me.

I also like him quite a bit. He’s charming.

The point of trying for a name is vanity, of course. It’s nice to think of ourselves as accomplishing something… When I suggested “So Me,” it was a joke- directed mostly at myself. Your strong dislike did encourage me. Can’t lie!

The other night I was at an art opening sponsored by Diesel and Diesel’s campaign is: Be Stupid. It employs a lot of “weak” images. And Helvetica fonts (like this site!).

Diesel has more users than you and me combined. Fuck.

We are losing this war to cats and to the Mediocre and to Diesel. So eh. I opt out. I don’t care about Boris Groys. I just don’t. Glad that Paddy and Tom and other smarts do. Although I felt like Both of them seemed a bit underwhelmed at the thesis.

Zach’s post that he linked here was well intended, and again, it’s nice when anyone notices you, but I thought his content was more or less insane. I think I’d prefer to be considered the last Social Media artist if it meant that the phrase was dead.

Curse you google alerts. Until this evening I didn’t realize I was 14 million users behind!

Well hello there.

14 million users?

Man, you can be the first Social Media artist! Conceded!

Or the first Full Media Artist. That evokes a description of ‘a guy that does stuff,’ to me. It’s only a little bit better than Social Media Artist which sounds like a transitional resume line into managing press junkets for Ashton Kutcher.

But I thought your first sentiment was right on-which questioned the value of naming something from inside the blizzard. You said something to the effect of “what’s wrong with the simple phrase ‘artist?’” And we yammered on about something else for a minute.

Within 24 hours of us having spoken about all of this, Salinger died. Does this weigh on your conscience like it does on mine? Oh the horror.

I can be a jocular and sarcastic fellow but let me remove all doubt and say that Man Bartlet is better at the internet than me.

I also like him quite a bit. He’s charming.

The point of trying for a name is vanity, of course. It’s nice to think of ourselves as accomplishing something… When I suggested “So Me,” it was a joke- directed mostly at myself. Your strong dislike did encourage me. Can’t lie!

The other night I was at an art opening sponsored by Diesel and Diesel’s campaign is: Be Stupid. It employs a lot of “weak” images. And Helvetica fonts (like this site!).

Diesel has more users than you and me combined. Fuck.

We are losing this war to cats and to the Mediocre and to Diesel. So eh. I opt out. I don’t care about Boris Groys. I just don’t. Glad that Paddy and Tom and other smarts do. Although I felt like Both of them seemed a bit underwhelmed at the thesis.

Zach’s post that he linked here was well intended, and again, it’s nice when anyone notices you, but I thought his content was more or less insane. I think I’d prefer to be considered the last Social Media artist if it meant that the phrase was dead.

Curse you google alerts. Until this evening I didn’t realize I was 14 million users behind!

This thread came to mind again today after seeing Eye Teeth’s post that had this image: bit.ly/c7HOpI. I should have tweeted this image first as (potential) weak/mediocre: http://manbartlett.com/images/production/911_weak.jpg

Point I’m trying to make is that in this newly released image from 9/11, the smoke is what gives the horror (strong) away, and creates the narrative. The *idea* of the image is ingrained in us, but not the image itself. When we see the smoke, we immediately get it. So the logical iteration for me becomes the following animation: http://manbartlett.com/images/production/911_weak_strong.gif

I may not be adding anything, but I’m fascinated by this concept. Because the next level is our actual physical experience of similar images in/as real life, in real time.

Kudos to AFC for promoting Internet/Tech art to the larger public, and the context within which to understand it!

P.S. An Xiao really does rock.

P.P.S. Nic Rad, all good. 14mil was a joke in poor taste. It’s really not important, and yes, Diesel trumps us both. But also the audience is completely different. I don’t think they can really be compared. And if it’s So Me, so be it. Everyone can call themselves whatever they want! Yes!

This thread came to mind again today after seeing Eye Teeth’s post that had this image: bit.ly/c7HOpI. I should have tweeted this image first as (potential) weak/mediocre: http://manbartlett.com/images/production/911_weak.jpg

Point I’m trying to make is that in this newly released image from 9/11, the smoke is what gives the horror (strong) away, and creates the narrative. The *idea* of the image is ingrained in us, but not the image itself. When we see the smoke, we immediately get it. So the logical iteration for me becomes the following animation: http://manbartlett.com/images/production/911_weak_strong.gif

I may not be adding anything, but I’m fascinated by this concept. Because the next level is our actual physical experience of similar images in/as real life, in real time.

Kudos to AFC for promoting Internet/Tech art to the larger public, and the context within which to understand it!

P.S. An Xiao really does rock.

P.P.S. Nic Rad, all good. 14mil was a joke in poor taste. It’s really not important, and yes, Diesel trumps us both. But also the audience is completely different. I don’t think they can really be compared. And if it’s So Me, so be it. Everyone can call themselves whatever they want! Yes!

This thread came to mind again today after seeing Eye Teeth’s post that had this image: bit.ly/c7HOpI. I should have tweeted this image first as (potential) weak/mediocre: http://manbartlett.com/images/production/911_weak.jpg

Point I’m trying to make is that in this newly released image from 9/11, the smoke is what gives the horror (strong) away, and creates the narrative. The *idea* of the image is ingrained in us, but not the image itself. When we see the smoke, we immediately get it. So the logical iteration for me becomes the following animation: http://manbartlett.com/images/production/911_weak_strong.gif

I may not be adding anything, but I’m fascinated by this concept. Because the next level is our actual physical experience of similar images in/as real life, in real time.

Kudos to AFC for promoting Internet/Tech art to the larger public, and the context within which to understand it!

P.S. An Xiao really does rock.

P.P.S. Nic Rad, all good. 14mil was a joke in poor taste. It’s really not important, and yes, Diesel trumps us both. But also the audience is completely different. I don’t think they can really be compared. And if it’s So Me, so be it. Everyone can call themselves whatever they want! Yes!

This thread came to mind again today after seeing Eye Teeth’s post that had this image: bit.ly/c7HOpI. I should have tweeted this image first as (potential) weak/mediocre: http://manbartlett.com/images/production/911_weak.jpg

Point I’m trying to make is that in this newly released image from 9/11, the smoke is what gives the horror (strong) away, and creates the narrative. The *idea* of the image is ingrained in us, but not the image itself. When we see the smoke, we immediately get it. So the logical iteration for me becomes the following animation: http://manbartlett.com/images/production/911_weak_strong.gif

I may not be adding anything, but I’m fascinated by this concept. Because the next level is our actual physical experience of similar images in/as real life, in real time.

Kudos to AFC for promoting Internet/Tech art to the larger public, and the context within which to understand it!

P.S. An Xiao really does rock.

P.P.S. Nic Rad, all good. 14mil was a joke in poor taste. It’s really not important, and yes, Diesel trumps us both. But also the audience is completely different. I don’t think they can really be compared. And if it’s So Me, so be it. Everyone can call themselves whatever they want! Yes!

Animated GIF version of the “surprised kitten”: http://i.imgur.com/uZFaU.gif

Animated GIF version of the “surprised kitten”: http://i.imgur.com/uZFaU.gif

Animated GIF version of the “surprised kitten”: http://i.imgur.com/uZFaU.gif

Animated GIF version of the “surprised kitten”: http://i.imgur.com/uZFaU.gif

Human reenactment of the “surprised kitten”: http://livedoor.blogimg.jp/waranote/imgs/8/6/86838f8b.gif (now *that* is a weak repetitive gesture).

Human reenactment of the “surprised kitten”: http://livedoor.blogimg.jp/waranote/imgs/8/6/86838f8b.gif (now *that* is a weak repetitive gesture).

Human reenactment of the “surprised kitten”: http://livedoor.blogimg.jp/waranote/imgs/8/6/86838f8b.gif (now *that* is a weak repetitive gesture).

Human reenactment of the “surprised kitten”: http://livedoor.blogimg.jp/waranote/imgs/8/6/86838f8b.gif (now *that* is a weak repetitive gesture).