06/13/2017

Aaron Cockle here today with The ClairFree System; Pope Hats; Blind Spot and Black Paper; The Republic of Samsung; Printer Steganography

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Jillian Tamaki, from Boundless

‘Here, she explains the inspiration behind her images and what she hopes readers to take from her work.’
Sally linked to this piece this past Friday, Claire Landsbaum asked Jillian Tamaki to dissect some of the panels from her story ‘The ClairFree System’, which is included in Tamaki’s new book, Boundless. Tamaki talks about incorporating found objects into the art-making process:

This is another sculpture from the Art Gallery of Ontario, but the original artwork was just the child — I created the rest. A lot of this story is about reframing context: taking a classical sculpture or a photograph, which is a specific instant in time, and stripping it of its information to make it universal, which is what I did here. The image itself is about someone’s hopes and dreams for their child — about everyone’s idea of a great parent, which is that they can give their kid everything they want. I’ve heard people say that a new child is a pure, unsullied human being who hasn’t ever made a bad decision — that they’re without sin. I find that extremely hopeful. I don’t have children, but I would imagine the desire to prolong that state is an emotion every parent feels.

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‘I keep returning to this notion: that the best feeling in the world is working really hard at creating something with no guarantee of a positive outcome.’
Ethan Rilly talks about his process for making Pope Hats #5, over at the AdHouse Books blog:

Enough people have asked me whether I’m a lawyer that it might be useful to answer here: No, and I never was. Never stepped foot in a law firm. This story might be autobiographical in all the regular faintly embarrassing ways but the lawyer stuff is a good distance outside of me. I did research and interviews.

Ethan Rilly, from Pope Hats #5

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Teju Cole, detail from Black Paper

‘I pray to Tarkovsky, Marker, and Hitchcock.’
Teju Cole will be exhibiting work June 15-August 11 at Stephen Kasher Gallery in NYC, photos and text from his new book, Blind Spot, as well as an installation piece, Black Paper.

The exhibition features over 30 color photographs from the series Blind Spot, each accompanied by Cole’s lyrical and evocative prose. Viewed together, these works form a multimedia diary of years of near-constant travel. In these photographs, we see what Cole has seen, from a park in Berlin to a mountain range in Switzerland, a church exterior in Lagos to a parking lot in Brooklyn; and we are drawn into the texts—which function as voiceovers—with which Cole complicates his already enigmatic images. At stake here is the question of vision, an exploration Cole began following a temporary spell of blindness in 2011, and which he presents here in a photographic sequence of novelistic intensity.

The exhibition also presents Black Paper, a visceral photographic response to Cole’s experiences following the election of November 2016. This continuously evolving, large-scale work explores buried feelings, haunted space, and all that can be seen through darkness.

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Young-hae Chang Heavy Industries, from Samsung

“ABOUT MY WORK AND MYSELF AND ALL THE REST I USED TO SAY:/,” “I HAVE NOTHING TO SAY AND I’M SAYING IT:.”
As a continuation of its online Net Art Anthology exhibition, Rhizome features and discusses Young-Hae Chang Heavy Industries’s piece, Samsung.

The piece Samsung addresses the complex nature of the corporation—its existence not only as an economic entity but also as an emotional phantom, reaching its incorporeal fingers into relationships, daydreams, and fantasies. The text of Samsung, demonstrating many of the formal qualities of poetry, is interspersed with conversational breaks that establish intimacy with the viewer. The tone becomes conspiratorial as the narrator asks, “CAN/I CONFIDE/IN YOU?” There is no option to decline. The viewer is rendered complicit in the narrator’s confession of their adoration of Samsung.

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‘The printouts contained invisible dot patterns added by the printer to identify the worker who sent the print job’
I posted about Video Steganography, the imbedding of hidden information within electronic files, a few weeks back. Recently, the Boingboing blog posted a piece about one of the ways the National Security Agency was able to determine the source of leaked information about potential hacking involving the Russians in the 2016 U.S. presidential election, by examining the hidden dot patterns that are used with color printers.

There’s been much speculation on exactly how NSA leaker Reality Winner was exposed after giving The Intercept documents that showed the extent to which the security agency suspects Russian meddling (previously) in last year’s general election. On one hand, the filing against her talks of the “creases” seen in the scans The Intercept posted, tipping them off to it being a workplace printout from an insider–an insinuation of casual sloppiness on the reporters’ part. On the other hand, it seemed clear Winner did everything at a work computer anyway and was surely doomed once the story came out and internal investigations began.

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A Cosmic Journey – 6-13-2017 – by Cameron Arthur

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Suzy and Cecil – 6-13-2017 – by Gabriella Tito

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Joanie and Jordie – 6-13-2017 – by Caleb Orecchio

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