originally published with ilikethisart
After downloading source material from mediafire, listening to a motivational mp3, seeing installation pictures, and playing in an interactive 3D recreation of their current exhibition at Important Projects in Oakland, it seems no surprise to me that Body by Body were â€œ[attempting] to â€˜smearâ€™ the exhibition out over time.â€ Through the multiple layers of engagement and several avenues for participation, Body By Body (otherwise known as Melissa Sachs and Cameron Soren) invest a great deal in developing lasting dialogs that can be sustained beyond the initial â€œhypeâ€ that goes along with the physical manifestation of work that primarily exists through networked exchange. As a result the pieces on display from October 29th to December 3rd take on the form of traditional gallery objects that serve as metaphorical placement holders. The allegorical â€œpaintingsâ€ and â€œvideoâ€ â€“ speaking very loosely â€“ create a bridge between the expectations of differing art communities that exists online, offline, and somewhere in between. The tension built from attempting to navigate these zones of production and distribution become focal points of criticism of attention. Each venue, be it digital or analog, acts as a comment on the other. The bouncing back and forth between these arenas creates a subtle reflection on the properties and materials that each field provides.
What Body by Body is skilled at showing is how the striking similarities between mediums are more interesting limitations to work through than around. The work accomplishes this by employing the rhetoric of an art gallery and deviantART in equal parts as a platform to question the ways in which communities and dialogs are generated dependent on, or a result of, the infrastructure from which they emerge. When viewing the work, one begins to see how context seems essential in determining the value and success of a work, since context regulates so much of the vernacular applicable for judgement or appreciation. The more one looks, the more one observes how Body by Body play within these various idioms to pose questions about the efficacy of standards or quality in art and culture.
In one particular work, a slideshow of superimposed hyper-realist sculptures aimless float in hyper-render RAY-traced fractal drawings that play on a carelessly hung consumer-grade flatscreen. The precarious installation, combined with the purposefully casual juxtaposition of high and low, question how artists define craft and skill when moving between creative/cultural platforms of distribution. Instead of prioritizing one condition over another, all methods not only seem even but necessary. One begins to see what is initially considered impromptu or accidental is instead essential and deliberate. When this knowledge starts to sink in, the otherwise immediate joke quality of blank canvasses and work made for a keychain wears off and a more sophisticated complex motivation takes its place. In other words, the work should not be judge on aesthetic, or scale, or even on quality of installation, but instead should be measured by a metric bound to the ways in which our traditional expectations dictate so much of our formulaic reading of art.
An underlying question then emerges: how can an artist immersed in the language of critical theory and fan-based image making find middle ground for both contexts to coexist? For Body by Body, the answer seems to reside in how they use their own pseudonym as a self-reflexive means to an end; a way of displacing the pressure, anxiety, and commitment to something singular and univocal. Opting for an alias, Body by Body conjure an ironically disembodied and artificial identity as another layer of abstraction to operate within. This is not to say that any more â€œlayersâ€ are particularly needed to prove any specific point, but the overuse the Body by Body brand reinforces a (self) parody at play throughout the show. This purposeful distance of personality â€“ combined with the ongoing investigation of how the conventional reading of art applied to emerging fields often overlooks content â€“ grounds the initially humble-looking show into a more cultivated dialog that extends well beyond the walls of the gallery.
In continuing a visual appraisal of works made in or around the web – be it by production, distribution, or influence – through connecting visual and/or conceptual proximity to works made in or around mid-century Modernism, Minimalism, and eventually Conceptualism, a new comparison has sparked my interest, even if it is only visual at this point.
As a coincidence, I was watching a video of Frank Stella touring the Philip Johnson glass house around the same time that the Rhizome Commissions were announced. I was pleased to see Artie Vierkant among the recipients of this year’s grant for his Image Objects project, and was immediately reminded of some works from the Polish Village series painted by Stella which were influenced by architectural drawings of now demolished synagogues. Each artist’s work are not only visually linked, but also conceptually apropos to their respective times. Stella wishes to explore the “built” aspects of painting through the architectural drawings of lost temples of the Eastern Blok, while Vierkant attempts to recapitulate the space of an online environment with a new-found physicality of “augmented documentation” found within the feedback between digital objects and analog spaces/installations.
Although I haven’t fully thought out the connections that I’d like to draw between the two artists and these specific works, I couldn’t resist juxtaposing the works to highlight the resonance of practice and aesthetics between the two.
Odelsk III (Polish Village #11), 1971
Michapol I (Polish Village Series), 1971
Pilica II, 1973
From Image Object Series 2011
From Image Objects Series, 2011
From Image Objects Series, 2011
Originally posted on The Creators Project blog
A from still from the CCHQ video by Nicolas Sassoon
Since the first post on May 2nd 2009, I have been addicted to Computers Club. The project, a group site dedicated to sharing art made with or by computers launched by Krist Wood, has been lauded as one of the preeminent locations of so-called netart and artists working with computer generated/manipulated imagery. Although the template of the site follows other previous group based projects, I’ve never been completely thrilled with the idea of calling Computers Club a blog. This is probably due in part to how the content found within Computers Club has since it’s origin been a place where artist/members have been able to share work that typically reaches beyond the standard fair of netart.
When I talked with many members of the course of several weeks, they discussed how previous engagements with other group projects and/or personal blog-based sites had influenced the kind of experience they expected or hoped for with Computers Club (henceforth abbreviated to CC). Members discussed how these former outlets served as a way of showing work, but some members felt as though those projects didn’t offer avenues to push member’s practices beyond some self-induced restricting labeling of being considered a netartist. As a way to combat these anxieties, CC members found ways to address more broad artistic concerns that were not solely located in computer-based art by creating works that could be conceptually considered through the lens of illustration, painting, performance, experimental video, and even music. The passion and willingness to explore how the computer as medium can filter and influence the production of artwork found amongst CC members shows how this site provided a shared context for visually sophisticated work to mature beyond the scope of the screen.
When asked how joining CC influenced and engaged this desire to challenge standard receptions of so-called netart, Laura Brothers commented:
I was well aware of the implicit restrictions that I have placed on myself when making work for out4pizza [Brothers’ live-journal that acts as her main art-publication site]. Basically, it began very carefree and natural and fun and overtime, I felt that I had established unforeseen rules for myself that I attempt to adhere to. Tiny things – like even the consistent desire to post on black. So, I figured I could try and make my contributions to CC a way to branch out from my own invisible boundaries – a place for personal explorations that to me were something slightly different.
Disco Drown by Laura Brothers
I think that a result of the exploration of ideas and techniques that occur within the many pages of CC provides striking evidence of a dramatic step towards expanding the scope of what netart can visually undertake and encompass. Much discussion around this topic has emerged in simultaneity to CC growing and developing over the past two years and I feel as though the work that members have created on CC has played no small part in enabling a discourse about how the net can be viewed as a viable space for developing exhibition platforms. Many members, for instance, have shown in various web-based exhibition platforms including jstchillin, The State, and recently a newer project called bubblebyte. In tandem with these online projects, members of the club have also had numerous physical mountings of work both domestically and abroad both of digital objects and physical fabrications of works. This is not to say that Wood and the starting members had this in mind when the project launched, but instead the development of the community of artists and enthusiasts around the site have seen how that push for self-discovery has informed an opening up of curatorial and traditional gallery rigidity (at least this is the case for myself).
I think I should stress here that these developments and new considerations of the influence of these makers and CC as a project is not necessarily a dominant focal point for those involved. Instead a guiding sentiment that Duncan Malashock shared with me seems more apropos:
When it comes to how it affects me to have my work presented and shared in the midst of the rest of the work in the group, I’d say if anything it creates an unspoken reinforcement of our status as “amateurs”, meant in the most positive sense â€“ that we are making what we make because we love to. If I had to guess, that’s probably a lot of what brought us together in the first place… In my opinion, the common link is that participation in the group sets up the expectation that you ought to post what you’ve put care into, which doesn’t bother me at all as an ideology â€“ I think care is the mark of good work anyway.
Still from itsalwaystimetochillforever by Duncan Malashock
I agree that the use of amateur as a non-pejorative term – a sentiment borrowed from an essay by Ed Halter – is an essential part of understanding the power of CC as a whole, as well as individual works displayed. Even if there isn’t an inherent â€œtogethernessâ€ of the group â€“ an expectation I had assumed but didn’t find direct affirmation of from members â€“ the affinities the work and members have for one another can be addressed through this deep sense of exploration of the computer as a making and sharing portal. That process of discovery, or re-investment, of tools and applications of the computer for art making and the net as a site of distribution has been a revelation for many members including Nicolas Sassoon:
â€¦ the main influence working on CC had on my work was to make me consider websites more as spaces to discover, more than [spaces with] restrictions. On another level, discovering the work of the other artists was a huge influence… especially because of the variety of practice. In Vancouver there is this idea that an artist is someone that works locally, that becomes involved with communities as well as an observer of its own surroundings. Being in CC was making these notions completely obsolete or reductive. I don’t think its necessarily an obsolete notion for everyone, but for me and my work it is, since now I’ve got two local hangouts.
Recently CC decided to expand its digital property by creating the Computers Club Drawing Society (CCDS) as a way for original members and newly asked participants to create work using in-browser custom drawing software. An initial exciting component of CCDS is that this platform welcomes artists to submit drawings to be considered for potential membership. This more open environment for artists to share work and sketches is no longer limited to the hand-picked membership of the original club, which I hope will create more a sense of community and affinity amongst computer artists. Another fascinating part of CCDS to consider is that all participating artists are restricted to same limited tools to create their work. By preventing artists from resorting to the familiar tactics, tools, and filtrations of their regular practice, CCDS challenges drawers to maintain a personal aesthetic even in the face of a limited and shared tool palette. With this knowledge in mind, the variety of drawings from CCDS members show the strength of each artist’s visual style and how these aesthetics can still transcend any technical barriers imposed by a shared light-weight software. Robert Lorayn put it well when discussing some intention behind the design of this platform:
I feel it all drapes a core desire to see someone’s character clearly. As clear as that can be shown over this medium. And to be honest, I feel the computer (or the internet) gives us the opportunity to see a person a bit differently. That being the case, I think Computers Club gives space for its members to project those voices–to show that character. And the Drawing Society takes another approach by its necessitating the same tools. In that environment every member creates alongside the other members with tools and practices that might be unfamiliar to them. Those challenges and explorations, then, become a shared experience, yet the end result is a unique one–their unique voice. In my opinion, that feels like the backbone of CC.
Syn -, Conscious Drift by Robert Lorayn (made on CCDS)
As a recent inductee into the CCDS, I personally feel as though the Computers Club project as a whole does provide a unique and valuable site and community for computer artists to be able develop their voice. Seeing how my own personal artistic practice has developed and been influenced by the content of the Drawing Society in combination with my efforts to bring together voices from participants of Computers Club into this article can hopefully be evidence of the significance of this project for others to also appreciate.