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Congrats to @anickayi_studio on “Messages from the Mud” at @stormkingartcenter ! Ever since @nora__lawrence and
#adelagoldsmith told me about this project last year, I’ve been so excited to see it come to life (haha!). My “1000 Words” interview with Anicka about the installation—her first large-scale outdoor work!—is now live at @artforum, though reading it can’t quite match the experience of the wildest charcuterie display (complete with chocolate “pebbles”—which I would’ve missed out on if not for @rochkat), Adela’s nails, or romping with @avantgaertner ♥️

📸 @eanakim_ny 🙏🏻

Congrats to @anickayi_studio on “Messages from the Mud” at @stormkingartcenter ! Ever since @nora__lawrence and
#adelagoldsmith told me about this project last year, I’ve been so excited to see it come to life (haha!). My “1000 Words” interview with Anicka about the installation—her first large-scale outdoor work!—is now live at @artforum, though reading it can’t quite match the experience of the wildest charcuterie display (complete with chocolate “pebbles”—which I would’ve missed out on if not for @rochkat), Adela’s nails, or romping with @avantgaertner ♥️

📸 @eanakim_ny 🙏🏻

Congrats to @anickayi_studio on “Messages from the Mud” at @stormkingartcenter ! Ever since @nora__lawrence and
#adelagoldsmith told me about this project last year, I’ve been so excited to see it come to life (haha!). My “1000 Words” interview with Anicka about the installation—her first large-scale outdoor work!—is now live at @artforum, though reading it can’t quite match the experience of the wildest charcuterie display (complete with chocolate “pebbles”—which I would’ve missed out on if not for @rochkat), Adela’s nails, or romping with @avantgaertner ♥️

📸 @eanakim_ny 🙏🏻

Congrats to @anickayi_studio on “Messages from the Mud” at @stormkingartcenter ! Ever since @nora__lawrence and
#adelagoldsmith told me about this project last year, I’ve been so excited to see it come to life (haha!). My “1000 Words” interview with Anicka about the installation—her first large-scale outdoor work!—is now live at @artforum, though reading it can’t quite match the experience of the wildest charcuterie display (complete with chocolate “pebbles”—which I would’ve missed out on if not for @rochkat), Adela’s nails, or romping with @avantgaertner ♥️

📸 @eanakim_ny 🙏🏻

Congrats to @anickayi_studio on “Messages from the Mud” at @stormkingartcenter ! Ever since @nora__lawrence and
#adelagoldsmith told me about this project last year, I’ve been so excited to see it come to life (haha!). My “1000 Words” interview with Anicka about the installation—her first large-scale outdoor work!—is now live at @artforum, though reading it can’t quite match the experience of the wildest charcuterie display (complete with chocolate “pebbles”—which I would’ve missed out on if not for @rochkat), Adela’s nails, or romping with @avantgaertner ♥️

📸 @eanakim_ny 🙏🏻

Congrats to @anickayi_studio on “Messages from the Mud” at @stormkingartcenter ! Ever since @nora__lawrence and
#adelagoldsmith told me about this project last year, I’ve been so excited to see it come to life (haha!). My “1000 Words” interview with Anicka about the installation—her first large-scale outdoor work!—is now live at @artforum, though reading it can’t quite match the experience of the wildest charcuterie display (complete with chocolate “pebbles”—which I would’ve missed out on if not for @rochkat), Adela’s nails, or romping with @avantgaertner ♥️

📸 @eanakim_ny 🙏🏻

Congrats to @anickayi_studio on “Messages from the Mud” at @stormkingartcenter ! Ever since @nora__lawrence and
#adelagoldsmith told me about this project last year, I’ve been so excited to see it come to life (haha!). My “1000 Words” interview with Anicka about the installation—her first large-scale outdoor work!—is now live at @artforum, though reading it can’t quite match the experience of the wildest charcuterie display (complete with chocolate “pebbles”—which I would’ve missed out on if not for @rochkat), Adela’s nails, or romping with @avantgaertner ♥️

📸 @eanakim_ny 🙏🏻

Congrats to @anickayi_studio on “Messages from the Mud” at @stormkingartcenter ! Ever since @nora__lawrence and
#adelagoldsmith told me about this project last year, I’ve been so excited to see it come to life (haha!). My “1000 Words” interview with Anicka about the installation—her first large-scale outdoor work!—is now live at @artforum, though reading it can’t quite match the experience of the wildest charcuterie display (complete with chocolate “pebbles”—which I would’ve missed out on if not for @rochkat), Adela’s nails, or romping with @avantgaertner ♥️

📸 @eanakim_ny 🙏🏻

Since I wrap every art fair week with a techno cleanser:

Dopplereffekt at @mutekmontreal at @wirefestival @knockdowncenter

H/t @sacredboi ♥️ xoxox

Since I wrap every art fair week with a techno cleanser:

Dopplereffekt at @mutekmontreal at @wirefestival @knockdowncenter

H/t @sacredboi ♥️ xoxox

Since I wrap every art fair week with a techno cleanser:

Dopplereffekt at @mutekmontreal at @wirefestival @knockdowncenter

H/t @sacredboi ♥️ xoxox

See you at @artbasel

🙏🏻 @trevorpaglen

I was very lucky to come to Venice for the first time when I was seven. One of my earliest childhood memories is of my mom and I running with our luggage across the Piazzo San Marco at dawn, pigeons scattering in front of us, in the attempt to make it back to the mainland in time for our train. I brought home a small ceramic mask from that trip, and while I’m not generally a collector of souvenirs (or anything but books, really), I always go home with a new mask every time I return.

This is the mask for this trip. Here’s to growing new leaves.

I was very lucky to come to Venice for the first time when I was seven. One of my earliest childhood memories is of my mom and I running with our luggage across the Piazzo San Marco at dawn, pigeons scattering in front of us, in the attempt to make it back to the mainland in time for our train. I brought home a small ceramic mask from that trip, and while I’m not generally a collector of souvenirs (or anything but books, really), I always go home with a new mask every time I return.

This is the mask for this trip. Here’s to growing new leaves.

I missed seeing @evaandfrancomattes at @foto_museum , but at least I got to see RAGE BAIT curated by @nadim.samman @autotelic_foundation , which shows the artists in fine form ;)

Case in point:

“Cursed Cat (in the Dataset)” (2025) stages a self-evolving Al model, trained on a single sculpture based on the ‘cursed cat’ internet meme. A camera attached to a robotic art continuously photographs the object, expanding the dataset of an Al system (housed in an onsite computer) that continually generates and distributes novel iterations of this figure online. The goal is to inject a new mythological figure into generative image streams—so that other Al systems, which rely on ‘scraping’ web data, incorporate this figure into their training parameters. In other words, the artists aim to corrupt or alter the imagination of future Als, so that Cursed Cat becomes a ‘ghost in the machine’-liable to appear periodically in no matter what a user’s prompt may be.”

Swipe through for my fave cat in Venice right now. And head to @artforum to read my piece on the artists from March 2020 (“No Fun”), when their pioneering net art inspired me to reflect on online intimacy, virality, and contagion in our new digital age of global pandemics…

I missed seeing @evaandfrancomattes at @foto_museum , but at least I got to see RAGE BAIT curated by @nadim.samman @autotelic_foundation , which shows the artists in fine form ;)

Case in point:

“Cursed Cat (in the Dataset)” (2025) stages a self-evolving Al model, trained on a single sculpture based on the ‘cursed cat’ internet meme. A camera attached to a robotic art continuously photographs the object, expanding the dataset of an Al system (housed in an onsite computer) that continually generates and distributes novel iterations of this figure online. The goal is to inject a new mythological figure into generative image streams—so that other Al systems, which rely on ‘scraping’ web data, incorporate this figure into their training parameters. In other words, the artists aim to corrupt or alter the imagination of future Als, so that Cursed Cat becomes a ‘ghost in the machine’-liable to appear periodically in no matter what a user’s prompt may be.”

Swipe through for my fave cat in Venice right now. And head to @artforum to read my piece on the artists from March 2020 (“No Fun”), when their pioneering net art inspired me to reflect on online intimacy, virality, and contagion in our new digital age of global pandemics…

I missed seeing @evaandfrancomattes at @foto_museum , but at least I got to see RAGE BAIT curated by @nadim.samman @autotelic_foundation , which shows the artists in fine form ;)

Case in point:

“Cursed Cat (in the Dataset)” (2025) stages a self-evolving Al model, trained on a single sculpture based on the ‘cursed cat’ internet meme. A camera attached to a robotic art continuously photographs the object, expanding the dataset of an Al system (housed in an onsite computer) that continually generates and distributes novel iterations of this figure online. The goal is to inject a new mythological figure into generative image streams—so that other Al systems, which rely on ‘scraping’ web data, incorporate this figure into their training parameters. In other words, the artists aim to corrupt or alter the imagination of future Als, so that Cursed Cat becomes a ‘ghost in the machine’-liable to appear periodically in no matter what a user’s prompt may be.”

Swipe through for my fave cat in Venice right now. And head to @artforum to read my piece on the artists from March 2020 (“No Fun”), when their pioneering net art inspired me to reflect on online intimacy, virality, and contagion in our new digital age of global pandemics…

I missed seeing @evaandfrancomattes at @foto_museum , but at least I got to see RAGE BAIT curated by @nadim.samman @autotelic_foundation , which shows the artists in fine form ;)

Case in point:

“Cursed Cat (in the Dataset)” (2025) stages a self-evolving Al model, trained on a single sculpture based on the ‘cursed cat’ internet meme. A camera attached to a robotic art continuously photographs the object, expanding the dataset of an Al system (housed in an onsite computer) that continually generates and distributes novel iterations of this figure online. The goal is to inject a new mythological figure into generative image streams—so that other Al systems, which rely on ‘scraping’ web data, incorporate this figure into their training parameters. In other words, the artists aim to corrupt or alter the imagination of future Als, so that Cursed Cat becomes a ‘ghost in the machine’-liable to appear periodically in no matter what a user’s prompt may be.”

Swipe through for my fave cat in Venice right now. And head to @artforum to read my piece on the artists from March 2020 (“No Fun”), when their pioneering net art inspired me to reflect on online intimacy, virality, and contagion in our new digital age of global pandemics…

I missed seeing @evaandfrancomattes at @foto_museum , but at least I got to see RAGE BAIT curated by @nadim.samman @autotelic_foundation , which shows the artists in fine form ;)

Case in point:

“Cursed Cat (in the Dataset)” (2025) stages a self-evolving Al model, trained on a single sculpture based on the ‘cursed cat’ internet meme. A camera attached to a robotic art continuously photographs the object, expanding the dataset of an Al system (housed in an onsite computer) that continually generates and distributes novel iterations of this figure online. The goal is to inject a new mythological figure into generative image streams—so that other Al systems, which rely on ‘scraping’ web data, incorporate this figure into their training parameters. In other words, the artists aim to corrupt or alter the imagination of future Als, so that Cursed Cat becomes a ‘ghost in the machine’-liable to appear periodically in no matter what a user’s prompt may be.”

Swipe through for my fave cat in Venice right now. And head to @artforum to read my piece on the artists from March 2020 (“No Fun”), when their pioneering net art inspired me to reflect on online intimacy, virality, and contagion in our new digital age of global pandemics…

I missed seeing @evaandfrancomattes at @foto_museum , but at least I got to see RAGE BAIT curated by @nadim.samman @autotelic_foundation , which shows the artists in fine form ;)

Case in point:

“Cursed Cat (in the Dataset)” (2025) stages a self-evolving Al model, trained on a single sculpture based on the ‘cursed cat’ internet meme. A camera attached to a robotic art continuously photographs the object, expanding the dataset of an Al system (housed in an onsite computer) that continually generates and distributes novel iterations of this figure online. The goal is to inject a new mythological figure into generative image streams—so that other Al systems, which rely on ‘scraping’ web data, incorporate this figure into their training parameters. In other words, the artists aim to corrupt or alter the imagination of future Als, so that Cursed Cat becomes a ‘ghost in the machine’-liable to appear periodically in no matter what a user’s prompt may be.”

Swipe through for my fave cat in Venice right now. And head to @artforum to read my piece on the artists from March 2020 (“No Fun”), when their pioneering net art inspired me to reflect on online intimacy, virality, and contagion in our new digital age of global pandemics…

I missed seeing @evaandfrancomattes at @foto_museum , but at least I got to see RAGE BAIT curated by @nadim.samman @autotelic_foundation , which shows the artists in fine form ;)

Case in point:

“Cursed Cat (in the Dataset)” (2025) stages a self-evolving Al model, trained on a single sculpture based on the ‘cursed cat’ internet meme. A camera attached to a robotic art continuously photographs the object, expanding the dataset of an Al system (housed in an onsite computer) that continually generates and distributes novel iterations of this figure online. The goal is to inject a new mythological figure into generative image streams—so that other Al systems, which rely on ‘scraping’ web data, incorporate this figure into their training parameters. In other words, the artists aim to corrupt or alter the imagination of future Als, so that Cursed Cat becomes a ‘ghost in the machine’-liable to appear periodically in no matter what a user’s prompt may be.”

Swipe through for my fave cat in Venice right now. And head to @artforum to read my piece on the artists from March 2020 (“No Fun”), when their pioneering net art inspired me to reflect on online intimacy, virality, and contagion in our new digital age of global pandemics…

I missed seeing @evaandfrancomattes at @foto_museum , but at least I got to see RAGE BAIT curated by @nadim.samman @autotelic_foundation , which shows the artists in fine form ;)

Case in point:

“Cursed Cat (in the Dataset)” (2025) stages a self-evolving Al model, trained on a single sculpture based on the ‘cursed cat’ internet meme. A camera attached to a robotic art continuously photographs the object, expanding the dataset of an Al system (housed in an onsite computer) that continually generates and distributes novel iterations of this figure online. The goal is to inject a new mythological figure into generative image streams—so that other Al systems, which rely on ‘scraping’ web data, incorporate this figure into their training parameters. In other words, the artists aim to corrupt or alter the imagination of future Als, so that Cursed Cat becomes a ‘ghost in the machine’-liable to appear periodically in no matter what a user’s prompt may be.”

Swipe through for my fave cat in Venice right now. And head to @artforum to read my piece on the artists from March 2020 (“No Fun”), when their pioneering net art inspired me to reflect on online intimacy, virality, and contagion in our new digital age of global pandemics…

I missed seeing @evaandfrancomattes at @foto_museum , but at least I got to see RAGE BAIT curated by @nadim.samman @autotelic_foundation , which shows the artists in fine form ;)

Case in point:

“Cursed Cat (in the Dataset)” (2025) stages a self-evolving Al model, trained on a single sculpture based on the ‘cursed cat’ internet meme. A camera attached to a robotic art continuously photographs the object, expanding the dataset of an Al system (housed in an onsite computer) that continually generates and distributes novel iterations of this figure online. The goal is to inject a new mythological figure into generative image streams—so that other Al systems, which rely on ‘scraping’ web data, incorporate this figure into their training parameters. In other words, the artists aim to corrupt or alter the imagination of future Als, so that Cursed Cat becomes a ‘ghost in the machine’-liable to appear periodically in no matter what a user’s prompt may be.”

Swipe through for my fave cat in Venice right now. And head to @artforum to read my piece on the artists from March 2020 (“No Fun”), when their pioneering net art inspired me to reflect on online intimacy, virality, and contagion in our new digital age of global pandemics…

I missed seeing @evaandfrancomattes at @foto_museum , but at least I got to see RAGE BAIT curated by @nadim.samman @autotelic_foundation , which shows the artists in fine form ;)

Case in point:

“Cursed Cat (in the Dataset)” (2025) stages a self-evolving Al model, trained on a single sculpture based on the ‘cursed cat’ internet meme. A camera attached to a robotic art continuously photographs the object, expanding the dataset of an Al system (housed in an onsite computer) that continually generates and distributes novel iterations of this figure online. The goal is to inject a new mythological figure into generative image streams—so that other Al systems, which rely on ‘scraping’ web data, incorporate this figure into their training parameters. In other words, the artists aim to corrupt or alter the imagination of future Als, so that Cursed Cat becomes a ‘ghost in the machine’-liable to appear periodically in no matter what a user’s prompt may be.”

Swipe through for my fave cat in Venice right now. And head to @artforum to read my piece on the artists from March 2020 (“No Fun”), when their pioneering net art inspired me to reflect on online intimacy, virality, and contagion in our new digital age of global pandemics…

I missed seeing @evaandfrancomattes at @foto_museum , but at least I got to see RAGE BAIT curated by @nadim.samman @autotelic_foundation , which shows the artists in fine form ;)

Case in point:

“Cursed Cat (in the Dataset)” (2025) stages a self-evolving Al model, trained on a single sculpture based on the ‘cursed cat’ internet meme. A camera attached to a robotic art continuously photographs the object, expanding the dataset of an Al system (housed in an onsite computer) that continually generates and distributes novel iterations of this figure online. The goal is to inject a new mythological figure into generative image streams—so that other Al systems, which rely on ‘scraping’ web data, incorporate this figure into their training parameters. In other words, the artists aim to corrupt or alter the imagination of future Als, so that Cursed Cat becomes a ‘ghost in the machine’-liable to appear periodically in no matter what a user’s prompt may be.”

Swipe through for my fave cat in Venice right now. And head to @artforum to read my piece on the artists from March 2020 (“No Fun”), when their pioneering net art inspired me to reflect on online intimacy, virality, and contagion in our new digital age of global pandemics…

I missed seeing @evaandfrancomattes at @foto_museum , but at least I got to see RAGE BAIT curated by @nadim.samman @autotelic_foundation , which shows the artists in fine form ;)

Case in point:

“Cursed Cat (in the Dataset)” (2025) stages a self-evolving Al model, trained on a single sculpture based on the ‘cursed cat’ internet meme. A camera attached to a robotic art continuously photographs the object, expanding the dataset of an Al system (housed in an onsite computer) that continually generates and distributes novel iterations of this figure online. The goal is to inject a new mythological figure into generative image streams—so that other Al systems, which rely on ‘scraping’ web data, incorporate this figure into their training parameters. In other words, the artists aim to corrupt or alter the imagination of future Als, so that Cursed Cat becomes a ‘ghost in the machine’-liable to appear periodically in no matter what a user’s prompt may be.”

Swipe through for my fave cat in Venice right now. And head to @artforum to read my piece on the artists from March 2020 (“No Fun”), when their pioneering net art inspired me to reflect on online intimacy, virality, and contagion in our new digital age of global pandemics…

A couple of years ago I used an invitation to write about the group AES+F to get down some thoughts on what I called the digital baroque—by which I meant the surprisingly widespread phenomenon of digital artists explicitly riffing on Baroque artworks, buildings, and themes. What better source of inspiration for artists dealing with inherently mutable forms and elastic scale than an artistic movement defined by movement and metamorphosis? So of course I was intrigued to see @julian.charriere’s installation “Spiral Economy” (the spiral being the Baroque shape par excellence) in the Canova rooms of the Museo Correr. (Yes yes, Canova is not technically Baroque, but…he certainly reveals those influenceshere, in the dramatic confrontations between Canova’s sculptures and Charriere’s pulsing installations…)

Here’s the postcard text, which emphasizes the idea of geological time scales embedded in Canova’s marble:

“Charrière meets Canova’s idealized forms:
marole as body and phantom, a vessel of beauty and a witness to profound time. The material itself takes center stage: every fissure, vein, and geological texture carries within it the memory of ancient seas and metamorphic pressures. Where Canova’s marble leans toward the semblance of human flesh, Charrière evokes another truth: stone as a living body in its own right, needing no human likeness to exist.
Spiral Economy invites visitors to reflect on every attempt to measure or master time and to ultimately be absorbed into deeper, planetary durations, where matter itself becomes the supreme guardian of time. In the historic Canova Galleries of the Museo Correr, the exhibition uncovers Canova’s luminous bodies, where marble emerges as an avatar of time, bearing the traces of the Earth’s slow transformations.”

A couple of years ago I used an invitation to write about the group AES+F to get down some thoughts on what I called the digital baroque—by which I meant the surprisingly widespread phenomenon of digital artists explicitly riffing on Baroque artworks, buildings, and themes. What better source of inspiration for artists dealing with inherently mutable forms and elastic scale than an artistic movement defined by movement and metamorphosis? So of course I was intrigued to see @julian.charriere’s installation “Spiral Economy” (the spiral being the Baroque shape par excellence) in the Canova rooms of the Museo Correr. (Yes yes, Canova is not technically Baroque, but…he certainly reveals those influenceshere, in the dramatic confrontations between Canova’s sculptures and Charriere’s pulsing installations…)

Here’s the postcard text, which emphasizes the idea of geological time scales embedded in Canova’s marble:

“Charrière meets Canova’s idealized forms:
marole as body and phantom, a vessel of beauty and a witness to profound time. The material itself takes center stage: every fissure, vein, and geological texture carries within it the memory of ancient seas and metamorphic pressures. Where Canova’s marble leans toward the semblance of human flesh, Charrière evokes another truth: stone as a living body in its own right, needing no human likeness to exist.
Spiral Economy invites visitors to reflect on every attempt to measure or master time and to ultimately be absorbed into deeper, planetary durations, where matter itself becomes the supreme guardian of time. In the historic Canova Galleries of the Museo Correr, the exhibition uncovers Canova’s luminous bodies, where marble emerges as an avatar of time, bearing the traces of the Earth’s slow transformations.”

A couple of years ago I used an invitation to write about the group AES+F to get down some thoughts on what I called the digital baroque—by which I meant the surprisingly widespread phenomenon of digital artists explicitly riffing on Baroque artworks, buildings, and themes. What better source of inspiration for artists dealing with inherently mutable forms and elastic scale than an artistic movement defined by movement and metamorphosis? So of course I was intrigued to see @julian.charriere’s installation “Spiral Economy” (the spiral being the Baroque shape par excellence) in the Canova rooms of the Museo Correr. (Yes yes, Canova is not technically Baroque, but…he certainly reveals those influenceshere, in the dramatic confrontations between Canova’s sculptures and Charriere’s pulsing installations…)

Here’s the postcard text, which emphasizes the idea of geological time scales embedded in Canova’s marble:

“Charrière meets Canova’s idealized forms:
marole as body and phantom, a vessel of beauty and a witness to profound time. The material itself takes center stage: every fissure, vein, and geological texture carries within it the memory of ancient seas and metamorphic pressures. Where Canova’s marble leans toward the semblance of human flesh, Charrière evokes another truth: stone as a living body in its own right, needing no human likeness to exist.
Spiral Economy invites visitors to reflect on every attempt to measure or master time and to ultimately be absorbed into deeper, planetary durations, where matter itself becomes the supreme guardian of time. In the historic Canova Galleries of the Museo Correr, the exhibition uncovers Canova’s luminous bodies, where marble emerges as an avatar of time, bearing the traces of the Earth’s slow transformations.”

A couple of years ago I used an invitation to write about the group AES+F to get down some thoughts on what I called the digital baroque—by which I meant the surprisingly widespread phenomenon of digital artists explicitly riffing on Baroque artworks, buildings, and themes. What better source of inspiration for artists dealing with inherently mutable forms and elastic scale than an artistic movement defined by movement and metamorphosis? So of course I was intrigued to see @julian.charriere’s installation “Spiral Economy” (the spiral being the Baroque shape par excellence) in the Canova rooms of the Museo Correr. (Yes yes, Canova is not technically Baroque, but…he certainly reveals those influenceshere, in the dramatic confrontations between Canova’s sculptures and Charriere’s pulsing installations…)

Here’s the postcard text, which emphasizes the idea of geological time scales embedded in Canova’s marble:

“Charrière meets Canova’s idealized forms:
marole as body and phantom, a vessel of beauty and a witness to profound time. The material itself takes center stage: every fissure, vein, and geological texture carries within it the memory of ancient seas and metamorphic pressures. Where Canova’s marble leans toward the semblance of human flesh, Charrière evokes another truth: stone as a living body in its own right, needing no human likeness to exist.
Spiral Economy invites visitors to reflect on every attempt to measure or master time and to ultimately be absorbed into deeper, planetary durations, where matter itself becomes the supreme guardian of time. In the historic Canova Galleries of the Museo Correr, the exhibition uncovers Canova’s luminous bodies, where marble emerges as an avatar of time, bearing the traces of the Earth’s slow transformations.”

A couple of years ago I used an invitation to write about the group AES+F to get down some thoughts on what I called the digital baroque—by which I meant the surprisingly widespread phenomenon of digital artists explicitly riffing on Baroque artworks, buildings, and themes. What better source of inspiration for artists dealing with inherently mutable forms and elastic scale than an artistic movement defined by movement and metamorphosis? So of course I was intrigued to see @julian.charriere’s installation “Spiral Economy” (the spiral being the Baroque shape par excellence) in the Canova rooms of the Museo Correr. (Yes yes, Canova is not technically Baroque, but…he certainly reveals those influenceshere, in the dramatic confrontations between Canova’s sculptures and Charriere’s pulsing installations…)

Here’s the postcard text, which emphasizes the idea of geological time scales embedded in Canova’s marble:

“Charrière meets Canova’s idealized forms:
marole as body and phantom, a vessel of beauty and a witness to profound time. The material itself takes center stage: every fissure, vein, and geological texture carries within it the memory of ancient seas and metamorphic pressures. Where Canova’s marble leans toward the semblance of human flesh, Charrière evokes another truth: stone as a living body in its own right, needing no human likeness to exist.
Spiral Economy invites visitors to reflect on every attempt to measure or master time and to ultimately be absorbed into deeper, planetary durations, where matter itself becomes the supreme guardian of time. In the historic Canova Galleries of the Museo Correr, the exhibition uncovers Canova’s luminous bodies, where marble emerges as an avatar of time, bearing the traces of the Earth’s slow transformations.”

A couple of years ago I used an invitation to write about the group AES+F to get down some thoughts on what I called the digital baroque—by which I meant the surprisingly widespread phenomenon of digital artists explicitly riffing on Baroque artworks, buildings, and themes. What better source of inspiration for artists dealing with inherently mutable forms and elastic scale than an artistic movement defined by movement and metamorphosis? So of course I was intrigued to see @julian.charriere’s installation “Spiral Economy” (the spiral being the Baroque shape par excellence) in the Canova rooms of the Museo Correr. (Yes yes, Canova is not technically Baroque, but…he certainly reveals those influenceshere, in the dramatic confrontations between Canova’s sculptures and Charriere’s pulsing installations…)

Here’s the postcard text, which emphasizes the idea of geological time scales embedded in Canova’s marble:

“Charrière meets Canova’s idealized forms:
marole as body and phantom, a vessel of beauty and a witness to profound time. The material itself takes center stage: every fissure, vein, and geological texture carries within it the memory of ancient seas and metamorphic pressures. Where Canova’s marble leans toward the semblance of human flesh, Charrière evokes another truth: stone as a living body in its own right, needing no human likeness to exist.
Spiral Economy invites visitors to reflect on every attempt to measure or master time and to ultimately be absorbed into deeper, planetary durations, where matter itself becomes the supreme guardian of time. In the historic Canova Galleries of the Museo Correr, the exhibition uncovers Canova’s luminous bodies, where marble emerges as an avatar of time, bearing the traces of the Earth’s slow transformations.”

A couple of years ago I used an invitation to write about the group AES+F to get down some thoughts on what I called the digital baroque—by which I meant the surprisingly widespread phenomenon of digital artists explicitly riffing on Baroque artworks, buildings, and themes. What better source of inspiration for artists dealing with inherently mutable forms and elastic scale than an artistic movement defined by movement and metamorphosis? So of course I was intrigued to see @julian.charriere’s installation “Spiral Economy” (the spiral being the Baroque shape par excellence) in the Canova rooms of the Museo Correr. (Yes yes, Canova is not technically Baroque, but…he certainly reveals those influenceshere, in the dramatic confrontations between Canova’s sculptures and Charriere’s pulsing installations…)

Here’s the postcard text, which emphasizes the idea of geological time scales embedded in Canova’s marble:

“Charrière meets Canova’s idealized forms:
marole as body and phantom, a vessel of beauty and a witness to profound time. The material itself takes center stage: every fissure, vein, and geological texture carries within it the memory of ancient seas and metamorphic pressures. Where Canova’s marble leans toward the semblance of human flesh, Charrière evokes another truth: stone as a living body in its own right, needing no human likeness to exist.
Spiral Economy invites visitors to reflect on every attempt to measure or master time and to ultimately be absorbed into deeper, planetary durations, where matter itself becomes the supreme guardian of time. In the historic Canova Galleries of the Museo Correr, the exhibition uncovers Canova’s luminous bodies, where marble emerges as an avatar of time, bearing the traces of the Earth’s slow transformations.”

A couple of years ago I used an invitation to write about the group AES+F to get down some thoughts on what I called the digital baroque—by which I meant the surprisingly widespread phenomenon of digital artists explicitly riffing on Baroque artworks, buildings, and themes. What better source of inspiration for artists dealing with inherently mutable forms and elastic scale than an artistic movement defined by movement and metamorphosis? So of course I was intrigued to see @julian.charriere’s installation “Spiral Economy” (the spiral being the Baroque shape par excellence) in the Canova rooms of the Museo Correr. (Yes yes, Canova is not technically Baroque, but…he certainly reveals those influenceshere, in the dramatic confrontations between Canova’s sculptures and Charriere’s pulsing installations…)

Here’s the postcard text, which emphasizes the idea of geological time scales embedded in Canova’s marble:

“Charrière meets Canova’s idealized forms:
marole as body and phantom, a vessel of beauty and a witness to profound time. The material itself takes center stage: every fissure, vein, and geological texture carries within it the memory of ancient seas and metamorphic pressures. Where Canova’s marble leans toward the semblance of human flesh, Charrière evokes another truth: stone as a living body in its own right, needing no human likeness to exist.
Spiral Economy invites visitors to reflect on every attempt to measure or master time and to ultimately be absorbed into deeper, planetary durations, where matter itself becomes the supreme guardian of time. In the historic Canova Galleries of the Museo Correr, the exhibition uncovers Canova’s luminous bodies, where marble emerges as an avatar of time, bearing the traces of the Earth’s slow transformations.”

A couple of years ago I used an invitation to write about the group AES+F to get down some thoughts on what I called the digital baroque—by which I meant the surprisingly widespread phenomenon of digital artists explicitly riffing on Baroque artworks, buildings, and themes. What better source of inspiration for artists dealing with inherently mutable forms and elastic scale than an artistic movement defined by movement and metamorphosis? So of course I was intrigued to see @julian.charriere’s installation “Spiral Economy” (the spiral being the Baroque shape par excellence) in the Canova rooms of the Museo Correr. (Yes yes, Canova is not technically Baroque, but…he certainly reveals those influenceshere, in the dramatic confrontations between Canova’s sculptures and Charriere’s pulsing installations…)

Here’s the postcard text, which emphasizes the idea of geological time scales embedded in Canova’s marble:

“Charrière meets Canova’s idealized forms:
marole as body and phantom, a vessel of beauty and a witness to profound time. The material itself takes center stage: every fissure, vein, and geological texture carries within it the memory of ancient seas and metamorphic pressures. Where Canova’s marble leans toward the semblance of human flesh, Charrière evokes another truth: stone as a living body in its own right, needing no human likeness to exist.
Spiral Economy invites visitors to reflect on every attempt to measure or master time and to ultimately be absorbed into deeper, planetary durations, where matter itself becomes the supreme guardian of time. In the historic Canova Galleries of the Museo Correr, the exhibition uncovers Canova’s luminous bodies, where marble emerges as an avatar of time, bearing the traces of the Earth’s slow transformations.”

A couple of years ago I used an invitation to write about the group AES+F to get down some thoughts on what I called the digital baroque—by which I meant the surprisingly widespread phenomenon of digital artists explicitly riffing on Baroque artworks, buildings, and themes. What better source of inspiration for artists dealing with inherently mutable forms and elastic scale than an artistic movement defined by movement and metamorphosis? So of course I was intrigued to see @julian.charriere’s installation “Spiral Economy” (the spiral being the Baroque shape par excellence) in the Canova rooms of the Museo Correr. (Yes yes, Canova is not technically Baroque, but…he certainly reveals those influenceshere, in the dramatic confrontations between Canova’s sculptures and Charriere’s pulsing installations…)

Here’s the postcard text, which emphasizes the idea of geological time scales embedded in Canova’s marble:

“Charrière meets Canova’s idealized forms:
marole as body and phantom, a vessel of beauty and a witness to profound time. The material itself takes center stage: every fissure, vein, and geological texture carries within it the memory of ancient seas and metamorphic pressures. Where Canova’s marble leans toward the semblance of human flesh, Charrière evokes another truth: stone as a living body in its own right, needing no human likeness to exist.
Spiral Economy invites visitors to reflect on every attempt to measure or master time and to ultimately be absorbed into deeper, planetary durations, where matter itself becomes the supreme guardian of time. In the historic Canova Galleries of the Museo Correr, the exhibition uncovers Canova’s luminous bodies, where marble emerges as an avatar of time, bearing the traces of the Earth’s slow transformations.”

#latergram from the opening of SoiL Thornton‘s first institutional solo show in NYC at @swissinstitute, which is literally fragranced by a bed of dried lavender equivalent to the weight of the show’s curator @steffihessler and metaphorically infused with institutional critique: “Crossing boundaries of media, Thornton’s work grapples with identity, systems of order, and regulative apparatuses. “Topping” implies relations of control and power, which unfold here in the dynamics and negotiations between artist and curator, artist and institution, artist and city, as well as between the artist, their peers, and their own artistic production. It is both a method and a condition. Within this framework, meaning is broken down, processed, and transformed through lived circumstances shaped by precarious systems. The exhibition thus traces the fragile entanglements of life, labor, health, and property, reflecting on what can be made and upheld in their wake.”

Amidst the lavender is a new video: “Upon entering the gallery, viewers encounter realization suppression / Rihanna_work.mp3 (2026), a large-scale video installation composed of digital rips from YouTube recordings of 79 artist lectures and interviews, excerpted at the moment when the speaker says the word “work.” Each instance corresponds to an utterance of the word in Rihanna’s 2016 hit single Work, with every clip slowed by the same percentage. “Work” hovers between effort and object, verb and noun, insistence and refrain. Through its rhythmic accumulation, the cadence of the pop anthem becomes legible even as the meaning of the references to labor or the art it manifests dissolves. The video is projected onto an existing film setup left in place from the previous exhibition, an “assist.” These remains are used as is. Support is neither neutral nor hidden.”

#latergram from the opening of SoiL Thornton‘s first institutional solo show in NYC at @swissinstitute, which is literally fragranced by a bed of dried lavender equivalent to the weight of the show’s curator @steffihessler and metaphorically infused with institutional critique: “Crossing boundaries of media, Thornton’s work grapples with identity, systems of order, and regulative apparatuses. “Topping” implies relations of control and power, which unfold here in the dynamics and negotiations between artist and curator, artist and institution, artist and city, as well as between the artist, their peers, and their own artistic production. It is both a method and a condition. Within this framework, meaning is broken down, processed, and transformed through lived circumstances shaped by precarious systems. The exhibition thus traces the fragile entanglements of life, labor, health, and property, reflecting on what can be made and upheld in their wake.”

Amidst the lavender is a new video: “Upon entering the gallery, viewers encounter realization suppression / Rihanna_work.mp3 (2026), a large-scale video installation composed of digital rips from YouTube recordings of 79 artist lectures and interviews, excerpted at the moment when the speaker says the word “work.” Each instance corresponds to an utterance of the word in Rihanna’s 2016 hit single Work, with every clip slowed by the same percentage. “Work” hovers between effort and object, verb and noun, insistence and refrain. Through its rhythmic accumulation, the cadence of the pop anthem becomes legible even as the meaning of the references to labor or the art it manifests dissolves. The video is projected onto an existing film setup left in place from the previous exhibition, an “assist.” These remains are used as is. Support is neither neutral nor hidden.”

#latergram from the opening of SoiL Thornton‘s first institutional solo show in NYC at @swissinstitute, which is literally fragranced by a bed of dried lavender equivalent to the weight of the show’s curator @steffihessler and metaphorically infused with institutional critique: “Crossing boundaries of media, Thornton’s work grapples with identity, systems of order, and regulative apparatuses. “Topping” implies relations of control and power, which unfold here in the dynamics and negotiations between artist and curator, artist and institution, artist and city, as well as between the artist, their peers, and their own artistic production. It is both a method and a condition. Within this framework, meaning is broken down, processed, and transformed through lived circumstances shaped by precarious systems. The exhibition thus traces the fragile entanglements of life, labor, health, and property, reflecting on what can be made and upheld in their wake.”

Amidst the lavender is a new video: “Upon entering the gallery, viewers encounter realization suppression / Rihanna_work.mp3 (2026), a large-scale video installation composed of digital rips from YouTube recordings of 79 artist lectures and interviews, excerpted at the moment when the speaker says the word “work.” Each instance corresponds to an utterance of the word in Rihanna’s 2016 hit single Work, with every clip slowed by the same percentage. “Work” hovers between effort and object, verb and noun, insistence and refrain. Through its rhythmic accumulation, the cadence of the pop anthem becomes legible even as the meaning of the references to labor or the art it manifests dissolves. The video is projected onto an existing film setup left in place from the previous exhibition, an “assist.” These remains are used as is. Support is neither neutral nor hidden.”

#latergram from the opening of SoiL Thornton‘s first institutional solo show in NYC at @swissinstitute, which is literally fragranced by a bed of dried lavender equivalent to the weight of the show’s curator @steffihessler and metaphorically infused with institutional critique: “Crossing boundaries of media, Thornton’s work grapples with identity, systems of order, and regulative apparatuses. “Topping” implies relations of control and power, which unfold here in the dynamics and negotiations between artist and curator, artist and institution, artist and city, as well as between the artist, their peers, and their own artistic production. It is both a method and a condition. Within this framework, meaning is broken down, processed, and transformed through lived circumstances shaped by precarious systems. The exhibition thus traces the fragile entanglements of life, labor, health, and property, reflecting on what can be made and upheld in their wake.”

Amidst the lavender is a new video: “Upon entering the gallery, viewers encounter realization suppression / Rihanna_work.mp3 (2026), a large-scale video installation composed of digital rips from YouTube recordings of 79 artist lectures and interviews, excerpted at the moment when the speaker says the word “work.” Each instance corresponds to an utterance of the word in Rihanna’s 2016 hit single Work, with every clip slowed by the same percentage. “Work” hovers between effort and object, verb and noun, insistence and refrain. Through its rhythmic accumulation, the cadence of the pop anthem becomes legible even as the meaning of the references to labor or the art it manifests dissolves. The video is projected onto an existing film setup left in place from the previous exhibition, an “assist.” These remains are used as is. Support is neither neutral nor hidden.”

#latergram from the opening of SoiL Thornton‘s first institutional solo show in NYC at @swissinstitute, which is literally fragranced by a bed of dried lavender equivalent to the weight of the show’s curator @steffihessler and metaphorically infused with institutional critique: “Crossing boundaries of media, Thornton’s work grapples with identity, systems of order, and regulative apparatuses. “Topping” implies relations of control and power, which unfold here in the dynamics and negotiations between artist and curator, artist and institution, artist and city, as well as between the artist, their peers, and their own artistic production. It is both a method and a condition. Within this framework, meaning is broken down, processed, and transformed through lived circumstances shaped by precarious systems. The exhibition thus traces the fragile entanglements of life, labor, health, and property, reflecting on what can be made and upheld in their wake.”

Amidst the lavender is a new video: “Upon entering the gallery, viewers encounter realization suppression / Rihanna_work.mp3 (2026), a large-scale video installation composed of digital rips from YouTube recordings of 79 artist lectures and interviews, excerpted at the moment when the speaker says the word “work.” Each instance corresponds to an utterance of the word in Rihanna’s 2016 hit single Work, with every clip slowed by the same percentage. “Work” hovers between effort and object, verb and noun, insistence and refrain. Through its rhythmic accumulation, the cadence of the pop anthem becomes legible even as the meaning of the references to labor or the art it manifests dissolves. The video is projected onto an existing film setup left in place from the previous exhibition, an “assist.” These remains are used as is. Support is neither neutral nor hidden.”

#latergram from the opening of SoiL Thornton‘s first institutional solo show in NYC at @swissinstitute, which is literally fragranced by a bed of dried lavender equivalent to the weight of the show’s curator @steffihessler and metaphorically infused with institutional critique: “Crossing boundaries of media, Thornton’s work grapples with identity, systems of order, and regulative apparatuses. “Topping” implies relations of control and power, which unfold here in the dynamics and negotiations between artist and curator, artist and institution, artist and city, as well as between the artist, their peers, and their own artistic production. It is both a method and a condition. Within this framework, meaning is broken down, processed, and transformed through lived circumstances shaped by precarious systems. The exhibition thus traces the fragile entanglements of life, labor, health, and property, reflecting on what can be made and upheld in their wake.”

Amidst the lavender is a new video: “Upon entering the gallery, viewers encounter realization suppression / Rihanna_work.mp3 (2026), a large-scale video installation composed of digital rips from YouTube recordings of 79 artist lectures and interviews, excerpted at the moment when the speaker says the word “work.” Each instance corresponds to an utterance of the word in Rihanna’s 2016 hit single Work, with every clip slowed by the same percentage. “Work” hovers between effort and object, verb and noun, insistence and refrain. Through its rhythmic accumulation, the cadence of the pop anthem becomes legible even as the meaning of the references to labor or the art it manifests dissolves. The video is projected onto an existing film setup left in place from the previous exhibition, an “assist.” These remains are used as is. Support is neither neutral nor hidden.”

#latergram from the opening of SoiL Thornton‘s first institutional solo show in NYC at @swissinstitute, which is literally fragranced by a bed of dried lavender equivalent to the weight of the show’s curator @steffihessler and metaphorically infused with institutional critique: “Crossing boundaries of media, Thornton’s work grapples with identity, systems of order, and regulative apparatuses. “Topping” implies relations of control and power, which unfold here in the dynamics and negotiations between artist and curator, artist and institution, artist and city, as well as between the artist, their peers, and their own artistic production. It is both a method and a condition. Within this framework, meaning is broken down, processed, and transformed through lived circumstances shaped by precarious systems. The exhibition thus traces the fragile entanglements of life, labor, health, and property, reflecting on what can be made and upheld in their wake.”

Amidst the lavender is a new video: “Upon entering the gallery, viewers encounter realization suppression / Rihanna_work.mp3 (2026), a large-scale video installation composed of digital rips from YouTube recordings of 79 artist lectures and interviews, excerpted at the moment when the speaker says the word “work.” Each instance corresponds to an utterance of the word in Rihanna’s 2016 hit single Work, with every clip slowed by the same percentage. “Work” hovers between effort and object, verb and noun, insistence and refrain. Through its rhythmic accumulation, the cadence of the pop anthem becomes legible even as the meaning of the references to labor or the art it manifests dissolves. The video is projected onto an existing film setup left in place from the previous exhibition, an “assist.” These remains are used as is. Support is neither neutral nor hidden.”

So happy to finally see @harmvandendorpel @nguyenwahedart !

In the January 2022 issue of @spike_art_magazine, I interviewed Harm about his generative art practice, including the connection between his 2015 work “Event Listeners” and the screensavers of his youth: “…generative art is usually pictorial, and I think it’s precisely because it resists the idea of composition as necessarily intentional that it gets categorised as being decorative. It’s something that digital artists—like some abstract painters before them—have long grappled with: How do you make meaning out of randomness? With the generative art that you make, do you focus more on the specific elements that you put into play, or the configurations of the elements that the system forms, or the overall concept behind the system, or the code itself?” (His words, not mine!)

By 2024—in the wake of @jerrysaltz publishing articles and tweets comparing Refik Anadol to a screensaver and a lava lamp—I had developed a lecture (which I’ve now given on multiple occasions) on the history of media art and the rhetoric used to disparage it, arguing that there is NO modernism without generative abstraction (despite its transformation into “bad object”), going back at least to when Thomas Wilfred’s “lumia” were included in “15 Americans” (which helped define American AbEx painting) at @themuseumofmodernart in 1952…and then moved into the basement.

At the same time, I curated a historical survey of almost 100 artists at @buffaloakgartmuseum and @museedartsdenantes called #ElectricOp that looked at the half-century history of the relationship between geometric abstraction and media art, drawing lines (and circles, and squares) between artists like Max Bill and Vasarely and today’s generative artists…

Suffice it to say that “it’s just a screensaver” is both more accurate and less pejorative than you might imagine.

So happy to finally see @harmvandendorpel @nguyenwahedart !

In the January 2022 issue of @spike_art_magazine, I interviewed Harm about his generative art practice, including the connection between his 2015 work “Event Listeners” and the screensavers of his youth: “…generative art is usually pictorial, and I think it’s precisely because it resists the idea of composition as necessarily intentional that it gets categorised as being decorative. It’s something that digital artists—like some abstract painters before them—have long grappled with: How do you make meaning out of randomness? With the generative art that you make, do you focus more on the specific elements that you put into play, or the configurations of the elements that the system forms, or the overall concept behind the system, or the code itself?” (His words, not mine!)

By 2024—in the wake of @jerrysaltz publishing articles and tweets comparing Refik Anadol to a screensaver and a lava lamp—I had developed a lecture (which I’ve now given on multiple occasions) on the history of media art and the rhetoric used to disparage it, arguing that there is NO modernism without generative abstraction (despite its transformation into “bad object”), going back at least to when Thomas Wilfred’s “lumia” were included in “15 Americans” (which helped define American AbEx painting) at @themuseumofmodernart in 1952…and then moved into the basement.

At the same time, I curated a historical survey of almost 100 artists at @buffaloakgartmuseum and @museedartsdenantes called #ElectricOp that looked at the half-century history of the relationship between geometric abstraction and media art, drawing lines (and circles, and squares) between artists like Max Bill and Vasarely and today’s generative artists…

Suffice it to say that “it’s just a screensaver” is both more accurate and less pejorative than you might imagine.

So happy to finally see @harmvandendorpel @nguyenwahedart !

In the January 2022 issue of @spike_art_magazine, I interviewed Harm about his generative art practice, including the connection between his 2015 work “Event Listeners” and the screensavers of his youth: “…generative art is usually pictorial, and I think it’s precisely because it resists the idea of composition as necessarily intentional that it gets categorised as being decorative. It’s something that digital artists—like some abstract painters before them—have long grappled with: How do you make meaning out of randomness? With the generative art that you make, do you focus more on the specific elements that you put into play, or the configurations of the elements that the system forms, or the overall concept behind the system, or the code itself?” (His words, not mine!)

By 2024—in the wake of @jerrysaltz publishing articles and tweets comparing Refik Anadol to a screensaver and a lava lamp—I had developed a lecture (which I’ve now given on multiple occasions) on the history of media art and the rhetoric used to disparage it, arguing that there is NO modernism without generative abstraction (despite its transformation into “bad object”), going back at least to when Thomas Wilfred’s “lumia” were included in “15 Americans” (which helped define American AbEx painting) at @themuseumofmodernart in 1952…and then moved into the basement.

At the same time, I curated a historical survey of almost 100 artists at @buffaloakgartmuseum and @museedartsdenantes called #ElectricOp that looked at the half-century history of the relationship between geometric abstraction and media art, drawing lines (and circles, and squares) between artists like Max Bill and Vasarely and today’s generative artists…

Suffice it to say that “it’s just a screensaver” is both more accurate and less pejorative than you might imagine.

So happy to finally see @harmvandendorpel @nguyenwahedart !

In the January 2022 issue of @spike_art_magazine, I interviewed Harm about his generative art practice, including the connection between his 2015 work “Event Listeners” and the screensavers of his youth: “…generative art is usually pictorial, and I think it’s precisely because it resists the idea of composition as necessarily intentional that it gets categorised as being decorative. It’s something that digital artists—like some abstract painters before them—have long grappled with: How do you make meaning out of randomness? With the generative art that you make, do you focus more on the specific elements that you put into play, or the configurations of the elements that the system forms, or the overall concept behind the system, or the code itself?” (His words, not mine!)

By 2024—in the wake of @jerrysaltz publishing articles and tweets comparing Refik Anadol to a screensaver and a lava lamp—I had developed a lecture (which I’ve now given on multiple occasions) on the history of media art and the rhetoric used to disparage it, arguing that there is NO modernism without generative abstraction (despite its transformation into “bad object”), going back at least to when Thomas Wilfred’s “lumia” were included in “15 Americans” (which helped define American AbEx painting) at @themuseumofmodernart in 1952…and then moved into the basement.

At the same time, I curated a historical survey of almost 100 artists at @buffaloakgartmuseum and @museedartsdenantes called #ElectricOp that looked at the half-century history of the relationship between geometric abstraction and media art, drawing lines (and circles, and squares) between artists like Max Bill and Vasarely and today’s generative artists…

Suffice it to say that “it’s just a screensaver” is both more accurate and less pejorative than you might imagine.

So happy to finally see @harmvandendorpel @nguyenwahedart !

In the January 2022 issue of @spike_art_magazine, I interviewed Harm about his generative art practice, including the connection between his 2015 work “Event Listeners” and the screensavers of his youth: “…generative art is usually pictorial, and I think it’s precisely because it resists the idea of composition as necessarily intentional that it gets categorised as being decorative. It’s something that digital artists—like some abstract painters before them—have long grappled with: How do you make meaning out of randomness? With the generative art that you make, do you focus more on the specific elements that you put into play, or the configurations of the elements that the system forms, or the overall concept behind the system, or the code itself?” (His words, not mine!)

By 2024—in the wake of @jerrysaltz publishing articles and tweets comparing Refik Anadol to a screensaver and a lava lamp—I had developed a lecture (which I’ve now given on multiple occasions) on the history of media art and the rhetoric used to disparage it, arguing that there is NO modernism without generative abstraction (despite its transformation into “bad object”), going back at least to when Thomas Wilfred’s “lumia” were included in “15 Americans” (which helped define American AbEx painting) at @themuseumofmodernart in 1952…and then moved into the basement.

At the same time, I curated a historical survey of almost 100 artists at @buffaloakgartmuseum and @museedartsdenantes called #ElectricOp that looked at the half-century history of the relationship between geometric abstraction and media art, drawing lines (and circles, and squares) between artists like Max Bill and Vasarely and today’s generative artists…

Suffice it to say that “it’s just a screensaver” is both more accurate and less pejorative than you might imagine.

So happy to finally see @harmvandendorpel @nguyenwahedart !

In the January 2022 issue of @spike_art_magazine, I interviewed Harm about his generative art practice, including the connection between his 2015 work “Event Listeners” and the screensavers of his youth: “…generative art is usually pictorial, and I think it’s precisely because it resists the idea of composition as necessarily intentional that it gets categorised as being decorative. It’s something that digital artists—like some abstract painters before them—have long grappled with: How do you make meaning out of randomness? With the generative art that you make, do you focus more on the specific elements that you put into play, or the configurations of the elements that the system forms, or the overall concept behind the system, or the code itself?” (His words, not mine!)

By 2024—in the wake of @jerrysaltz publishing articles and tweets comparing Refik Anadol to a screensaver and a lava lamp—I had developed a lecture (which I’ve now given on multiple occasions) on the history of media art and the rhetoric used to disparage it, arguing that there is NO modernism without generative abstraction (despite its transformation into “bad object”), going back at least to when Thomas Wilfred’s “lumia” were included in “15 Americans” (which helped define American AbEx painting) at @themuseumofmodernart in 1952…and then moved into the basement.

At the same time, I curated a historical survey of almost 100 artists at @buffaloakgartmuseum and @museedartsdenantes called #ElectricOp that looked at the half-century history of the relationship between geometric abstraction and media art, drawing lines (and circles, and squares) between artists like Max Bill and Vasarely and today’s generative artists…

Suffice it to say that “it’s just a screensaver” is both more accurate and less pejorative than you might imagine.

So happy to finally see @harmvandendorpel @nguyenwahedart !

In the January 2022 issue of @spike_art_magazine, I interviewed Harm about his generative art practice, including the connection between his 2015 work “Event Listeners” and the screensavers of his youth: “…generative art is usually pictorial, and I think it’s precisely because it resists the idea of composition as necessarily intentional that it gets categorised as being decorative. It’s something that digital artists—like some abstract painters before them—have long grappled with: How do you make meaning out of randomness? With the generative art that you make, do you focus more on the specific elements that you put into play, or the configurations of the elements that the system forms, or the overall concept behind the system, or the code itself?” (His words, not mine!)

By 2024—in the wake of @jerrysaltz publishing articles and tweets comparing Refik Anadol to a screensaver and a lava lamp—I had developed a lecture (which I’ve now given on multiple occasions) on the history of media art and the rhetoric used to disparage it, arguing that there is NO modernism without generative abstraction (despite its transformation into “bad object”), going back at least to when Thomas Wilfred’s “lumia” were included in “15 Americans” (which helped define American AbEx painting) at @themuseumofmodernart in 1952…and then moved into the basement.

At the same time, I curated a historical survey of almost 100 artists at @buffaloakgartmuseum and @museedartsdenantes called #ElectricOp that looked at the half-century history of the relationship between geometric abstraction and media art, drawing lines (and circles, and squares) between artists like Max Bill and Vasarely and today’s generative artists…

Suffice it to say that “it’s just a screensaver” is both more accurate and less pejorative than you might imagine.

So happy to finally see @harmvandendorpel @nguyenwahedart !

In the January 2022 issue of @spike_art_magazine, I interviewed Harm about his generative art practice, including the connection between his 2015 work “Event Listeners” and the screensavers of his youth: “…generative art is usually pictorial, and I think it’s precisely because it resists the idea of composition as necessarily intentional that it gets categorised as being decorative. It’s something that digital artists—like some abstract painters before them—have long grappled with: How do you make meaning out of randomness? With the generative art that you make, do you focus more on the specific elements that you put into play, or the configurations of the elements that the system forms, or the overall concept behind the system, or the code itself?” (His words, not mine!)

By 2024—in the wake of @jerrysaltz publishing articles and tweets comparing Refik Anadol to a screensaver and a lava lamp—I had developed a lecture (which I’ve now given on multiple occasions) on the history of media art and the rhetoric used to disparage it, arguing that there is NO modernism without generative abstraction (despite its transformation into “bad object”), going back at least to when Thomas Wilfred’s “lumia” were included in “15 Americans” (which helped define American AbEx painting) at @themuseumofmodernart in 1952…and then moved into the basement.

At the same time, I curated a historical survey of almost 100 artists at @buffaloakgartmuseum and @museedartsdenantes called #ElectricOp that looked at the half-century history of the relationship between geometric abstraction and media art, drawing lines (and circles, and squares) between artists like Max Bill and Vasarely and today’s generative artists…

Suffice it to say that “it’s just a screensaver” is both more accurate and less pejorative than you might imagine.

Speaking of clothes and art today…many thanks to @estrellitabrodsky for last week’s tour of the current show on fashion at @anotherspace_org, featuring gems such as dish rag garments by Gaspar Libedinsky and protective gear by War Boutique and Maharishi

#MetGala #AnotherSpace

Speaking of clothes and art today…many thanks to @estrellitabrodsky for last week’s tour of the current show on fashion at @anotherspace_org, featuring gems such as dish rag garments by Gaspar Libedinsky and protective gear by War Boutique and Maharishi

#MetGala #AnotherSpace

Speaking of clothes and art today…many thanks to @estrellitabrodsky for last week’s tour of the current show on fashion at @anotherspace_org, featuring gems such as dish rag garments by Gaspar Libedinsky and protective gear by War Boutique and Maharishi

#MetGala #AnotherSpace

Speaking of clothes and art today…many thanks to @estrellitabrodsky for last week’s tour of the current show on fashion at @anotherspace_org, featuring gems such as dish rag garments by Gaspar Libedinsky and protective gear by War Boutique and Maharishi

#MetGala #AnotherSpace

Speaking of clothes and art today…many thanks to @estrellitabrodsky for last week’s tour of the current show on fashion at @anotherspace_org, featuring gems such as dish rag garments by Gaspar Libedinsky and protective gear by War Boutique and Maharishi

#MetGala #AnotherSpace

Speaking of clothes and art today…many thanks to @estrellitabrodsky for last week’s tour of the current show on fashion at @anotherspace_org, featuring gems such as dish rag garments by Gaspar Libedinsky and protective gear by War Boutique and Maharishi

#MetGala #AnotherSpace

Speaking of clothes and art today…many thanks to @estrellitabrodsky for last week’s tour of the current show on fashion at @anotherspace_org, featuring gems such as dish rag garments by Gaspar Libedinsky and protective gear by War Boutique and Maharishi

#MetGala #AnotherSpace

One of the best shows on view in NY right now: Sally Silberberg’s 1980s porcelain sculptures, curated by @glenn_adamson at @berrycampbell:

“Created during the 1980s, a concentrated period of experimentation for Silberberg, these sculptures are a decisive shift away from functional ceramics and toward a radical new sculptural language.After years of working on the potter’s wheel, Silberberg developed a new method built from solid blocks of porcelain.Layered with pigment, cut, torn, and carved, each work introduces both risk and unpredictability and pushes porcelain to its structural and perceptual limits.

These works challenge perception, and Silberberg asks whether porcelain, “an elegant material hovering between rough clay and glass” as the artist put it, could instead be experienced as dense and geological.The resulting sculptures are angular, striated, and weighty, their layered surfaces and sharp angles evoking fractured stone or exposed strata.Both controlled and unstable, the sculptures balance precision with disruption, and give the impression of forms under pressure caught in a state of continual transformation.

While firmly rooted in ceramic tradition, these works also engage with broader currents in postwar and 1980s art. Disorienting spatial collisions reference Cubism, exposed stratigraphy can be read in relation to the work of Naum Gabo, and the works’ activated grids and stripes relate to patterns of 1980s design and architecture.The exhibition’s curator, Glenn Adamson, calls her more of “a deconstructivist than a constructivist” and relates her orchestration of chance and control to that of Gerhard Richter.“

One of the best shows on view in NY right now: Sally Silberberg’s 1980s porcelain sculptures, curated by @glenn_adamson at @berrycampbell:

“Created during the 1980s, a concentrated period of experimentation for Silberberg, these sculptures are a decisive shift away from functional ceramics and toward a radical new sculptural language.After years of working on the potter’s wheel, Silberberg developed a new method built from solid blocks of porcelain.Layered with pigment, cut, torn, and carved, each work introduces both risk and unpredictability and pushes porcelain to its structural and perceptual limits.

These works challenge perception, and Silberberg asks whether porcelain, “an elegant material hovering between rough clay and glass” as the artist put it, could instead be experienced as dense and geological.The resulting sculptures are angular, striated, and weighty, their layered surfaces and sharp angles evoking fractured stone or exposed strata.Both controlled and unstable, the sculptures balance precision with disruption, and give the impression of forms under pressure caught in a state of continual transformation.

While firmly rooted in ceramic tradition, these works also engage with broader currents in postwar and 1980s art. Disorienting spatial collisions reference Cubism, exposed stratigraphy can be read in relation to the work of Naum Gabo, and the works’ activated grids and stripes relate to patterns of 1980s design and architecture.The exhibition’s curator, Glenn Adamson, calls her more of “a deconstructivist than a constructivist” and relates her orchestration of chance and control to that of Gerhard Richter.“

One of the best shows on view in NY right now: Sally Silberberg’s 1980s porcelain sculptures, curated by @glenn_adamson at @berrycampbell:

“Created during the 1980s, a concentrated period of experimentation for Silberberg, these sculptures are a decisive shift away from functional ceramics and toward a radical new sculptural language.After years of working on the potter’s wheel, Silberberg developed a new method built from solid blocks of porcelain.Layered with pigment, cut, torn, and carved, each work introduces both risk and unpredictability and pushes porcelain to its structural and perceptual limits.

These works challenge perception, and Silberberg asks whether porcelain, “an elegant material hovering between rough clay and glass” as the artist put it, could instead be experienced as dense and geological.The resulting sculptures are angular, striated, and weighty, their layered surfaces and sharp angles evoking fractured stone or exposed strata.Both controlled and unstable, the sculptures balance precision with disruption, and give the impression of forms under pressure caught in a state of continual transformation.

While firmly rooted in ceramic tradition, these works also engage with broader currents in postwar and 1980s art. Disorienting spatial collisions reference Cubism, exposed stratigraphy can be read in relation to the work of Naum Gabo, and the works’ activated grids and stripes relate to patterns of 1980s design and architecture.The exhibition’s curator, Glenn Adamson, calls her more of “a deconstructivist than a constructivist” and relates her orchestration of chance and control to that of Gerhard Richter.“

One of the best shows on view in NY right now: Sally Silberberg’s 1980s porcelain sculptures, curated by @glenn_adamson at @berrycampbell:

“Created during the 1980s, a concentrated period of experimentation for Silberberg, these sculptures are a decisive shift away from functional ceramics and toward a radical new sculptural language.After years of working on the potter’s wheel, Silberberg developed a new method built from solid blocks of porcelain.Layered with pigment, cut, torn, and carved, each work introduces both risk and unpredictability and pushes porcelain to its structural and perceptual limits.

These works challenge perception, and Silberberg asks whether porcelain, “an elegant material hovering between rough clay and glass” as the artist put it, could instead be experienced as dense and geological.The resulting sculptures are angular, striated, and weighty, their layered surfaces and sharp angles evoking fractured stone or exposed strata.Both controlled and unstable, the sculptures balance precision with disruption, and give the impression of forms under pressure caught in a state of continual transformation.

While firmly rooted in ceramic tradition, these works also engage with broader currents in postwar and 1980s art. Disorienting spatial collisions reference Cubism, exposed stratigraphy can be read in relation to the work of Naum Gabo, and the works’ activated grids and stripes relate to patterns of 1980s design and architecture.The exhibition’s curator, Glenn Adamson, calls her more of “a deconstructivist than a constructivist” and relates her orchestration of chance and control to that of Gerhard Richter.“

Apparently I completely forgot to get a clip of the main video in @mayaontheinternet’s “StarPower” show @bitforms bc we were too busy chatting about it…but what a marriage of content and form: painstakingly (because yes, sometimes craft is involved) AI-generated clips inspired by “Dance Moms”-style shows…adding up to a lesson on the unexpectedly narrow gap between human and machine that suggests maybe we have always been AI. (First two pics here are AI’s attempt at generating motivational posters. Which I love.)

The show is now closed, but there’s a performance at Roulette May 6, apparently…I’ll be bummed to miss it!

Apparently I completely forgot to get a clip of the main video in @mayaontheinternet’s “StarPower” show @bitforms bc we were too busy chatting about it…but what a marriage of content and form: painstakingly (because yes, sometimes craft is involved) AI-generated clips inspired by “Dance Moms”-style shows…adding up to a lesson on the unexpectedly narrow gap between human and machine that suggests maybe we have always been AI. (First two pics here are AI’s attempt at generating motivational posters. Which I love.)

The show is now closed, but there’s a performance at Roulette May 6, apparently…I’ll be bummed to miss it!

Apparently I completely forgot to get a clip of the main video in @mayaontheinternet’s “StarPower” show @bitforms bc we were too busy chatting about it…but what a marriage of content and form: painstakingly (because yes, sometimes craft is involved) AI-generated clips inspired by “Dance Moms”-style shows…adding up to a lesson on the unexpectedly narrow gap between human and machine that suggests maybe we have always been AI. (First two pics here are AI’s attempt at generating motivational posters. Which I love.)

The show is now closed, but there’s a performance at Roulette May 6, apparently…I’ll be bummed to miss it!

Apparently I completely forgot to get a clip of the main video in @mayaontheinternet’s “StarPower” show @bitforms bc we were too busy chatting about it…but what a marriage of content and form: painstakingly (because yes, sometimes craft is involved) AI-generated clips inspired by “Dance Moms”-style shows…adding up to a lesson on the unexpectedly narrow gap between human and machine that suggests maybe we have always been AI. (First two pics here are AI’s attempt at generating motivational posters. Which I love.)

The show is now closed, but there’s a performance at Roulette May 6, apparently…I’ll be bummed to miss it!

My stupid selfies get ten times the engagement on here, so…

Here’s a pic of a mom who wants you to bail out other moms for Mother’s Day

@nationalbailout

Link to donate in bio.

My stupid selfies get ten times the engagement on here, so…

Here’s a pic of a mom who wants you to bail out other moms for Mother’s Day

@nationalbailout

Link to donate in bio.