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Amusing photos of error messages appearing on public screens (Macy's, the subway, bank ATMs) are here. Most are Windows, what a surprise. A sample photo can be found in the comments to this post. [via]

- tom moody 12-28-2003 7:36 am [link] [4 comments]



In the earlier thread on whether Ron Mueck is really still a Muppeteer, Sally gave some examples of things we'd miss out on with a narrowly drawn definition of "artist." One is "guitar solos as art performance," referring to a certain Cory Arcangel piece. But the art wasn't really the guitar solo, it was a mock power point lecture about hyperspecialized internet communities, in this case electric guitar nerds who devote whole sites and chatboards to legendary guitarists and famous solos. Arcangel took many of the technical details in the lecture from such sites, and then surprised the audience, at the end of the performance, with his prowess in playing Van Halen's "Eruption" solo note for note. The event combined visuals, talk, and music. Is the art world big enough to embrace this? I'd say yes. But what if Whitney curator Larry Rinder went to Williamsburg, heard a guitarist he liked, and invited him to play his instrument at the museum, as art?

Rinder is actually one of the worst offenders in the "I have the power to make you an artist" game. The 2001 Biennial included Samuel Mockbee's Rural Studio, which applied cutting edge design and economizing principles to housing for the disadvantaged in rural Alabama. The designs (captured in photos and models) were nice, but wouldn't this have been more meaningful in an architectural context? Also, could the NY museum audience ever really "get" the work without directly experiencing it? Rinder also bestowed Chris Ware's comix with the magic art aura, mounting the individual pages on the walls, behind glass, as drawings. But who's going to read all those pages in a museum gallery? There's an ideal form for viewing that kind of material--it's called the "comic book." The inclusion of Ware and Mockbee meant two less slots for validating folks who have been working away as visual artists, and who are possibly even expert at projects meant to be experienced in a gallery-type space.

Sally also mentions Damien Hirst's cut-up cow as something that perhaps took a wrong turn on the way to the natural history museum (my phrasing). Should it be banned from the art arena? No, because it's very self-consciously aware of how it fits in the chain of postwar art movements, referencing Minimalist seriality, the (Robert) Smithsonian critique of 19th Century museological and taxonomic principles, even animal gore a la the Viennese actionists...much of which ground (round) had already been covered in the '60s with Paul Thek's "meat in a vitrine" pieces, only not so literally. That's Hirst. But again, if a curator had a fishtank shipped over from an aquarium because he thought the tank-designer was an artist...

UPDATE: Some may remember my "revised BitStreams" roster included all kinds of folks outside the art world, which may seem like a contradiction. My point there was that in the case of emerging "digital culture," which is so new and undefined, you have to look elsewhere to find a technical yardstick and context. Rinder did that a bit in "BitStreams," he just picked crappy examples. Does that mean people who make title sequences for movies are artists? No, just that you ought to take them into account when evaluating whether, say, Jeremy Blake is any good.

- tom moody 12-28-2003 12:18 am [link] [18 comments]