Natural Process; Bell/Porcellino/Duchamp; More ‘R. Mutt’; More Grip
“Will you come see the ‘real’ webpage painting at the museum? Or will you see it ‘virtual’ through the web?”
Via Rhizome.org’s Net Art Anthology:
Natural Process is an installation that translates the iconic circa-2003 Google search engine home page to the form of a large-scale painting, and then back to digital media via webcam.
This double remediation, enacted by Japanese net art duo exonemo (Kensuke Sembo and Yae Akaiwa) was exhibited at the Mori Art Museum in 2004, at a moment when artists were increasingly interested in the slippage between art’s circulation online and in the gallery. The painting was purchased by Google, and has not been exhibited publicly until now; it is on view through March 10, 2019 at ICC Tokyo and as part of Net Art Anthology.
A Trip to the Museum With Cartoonist John Porcellino
Always nice to see cartoonists visiting museums.
Speaking of Marcel Duchamp…
In 1982 a letter written by Duchamp came to light. Dated 11 April 1917, it was written just a few days after that fateful exhibit. It contains one sentence that should have sent shockwaves through the world of modern art: it reveals the true creator behind Fountain – but it was not Duchamp. Instead he wrote that a female friend using a male alias had sent it in for the New York exhibition. Suddenly a few other things began to make sense. Over time Duchamp had told two different stories of how he had created Fountain, but both turned out to be untrue. An art historian who knew Duchamp admitted that he had never asked him about Fountain, he had published a standard-work on Fountain nevertheless. The place from where Fountain was sent raised more questions. That place was Philadelphia, but Duchamp had been living in New York.
Who was living in Philadelphia? Who was this ‘female friend’ that had sent the urinal using a pseudonym that Duchamp mentions? That woman was, as Duchamp wrote, the future. Art history knows her as Elsa von Freytag-Loringhoven. She was a brilliant pioneering New York dada artist, and Duchamp knew her well. This glaring truth has been known for some time in the art world, but each time it has to be acknowledged, it is met with indifference and silence.
Via Theo Paijmans.
Grip Vol. 1
If you didn’t get the chance this past Friday or over the weekend, please take some time to read Sally Ingraham’s review of Lale Westvind’s excellent new book, Grip, out now from Perfectly Acceptable Press.
Vision Box – 7-24-18 – by Cameron Arthur
Joanie and Jordie – 7-24-18 – by Caleb Orecchio