decenter interviews

8/13/2019 DECENTER Interviews

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NY/DCAn Exhibition on

the Centenary of the

1913 Armory Show

Andrianna Campbell

and Daniel S. Palmer

February 17-April 7, 2013

Abrons Art Center

The Henry Street Settlement

466 Grand Street

New York, New York 10002

September 11-December 20, 2013

Luther W. Brady Art Gallery

The George Washington University

805 21st Street, NW

Washington, DC 20052

DECE

NT

E R


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blished in conjunction with the exhibition:

ECENTER NY/DC: An Exhibition on the

ntenary of the 1913 Armory Show, Abronsts Center, The Henry Street Settlement

bruary 17-April 7, 2013 and Luther W.

ady Art Gallery, The George Washington

iversity, September 11-December 20, 2013.

talogue designed by Alex Lesy

2013 Luther W. Brady Art Gallery, The

orge Washington University. All rights

served. No portion of this catalogue may

reproduced without the written consent

the publisher.

BN: 978-1-935833-07-9

Introduction

David Garza, Executive Director, Henry Street Settlement

Introduction

Lenore D. Miller, Director, University

Art Galleries and Chief Curator

Digital Art in the Modern Age

Robert Brennan

Rethinking Decenter

Daniel S. Palmer

Decenter: Visualizing the Cloud

Andrianna Campbell

Nicholas OBrien interviews Cory Arcangel,

Michael Bell-Smith, James Bridle, Douglas Coupland,

Jessica Eaton, Manuel Fernandez, Sara Ludy,

Yoshi Sodeoka, Sara VanDerBeek, and Letha Wilson

Nicholas OBrien

The Story of the Fiftieth Anniversary of the Armory Show

Charles Duncan

Reprint of the Founding Document of the Abrons Arts Center

Winslow Carlton, President of Henry Street Settlement

Artworks

List of Works

Acknowledgements

iv

v

1

2

8

14

20

23

24

47

50

TABLE OF CONTENTS


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TO SAY THATthere is something hap-pening in the arts right now would be a

bit of an understatement. Certainly, a new

alteration has been in the works arguably

since the collapse of the Berlin Wall, or

at least since Y2K. With the wall coming

down, international conversations of

contemporary art started to disseminate

across obsolete geographic borders. That

marked shift also sparked new channels

of communication to stretch to more in-

ternational audiences. Around this time is

when the infrastructure of contemporary

telecommunications started sustaining

a more dominant role in reshaping our

perspectives on culture, media, and art.

It would be a mistake to say that these

shifts are without precedent, or else

occurring in some kind of completelyunique cultural vacuum. In fact, prece-

dents like early video art, conceptual art,

performance, Fluxus, and experiments

with analog synthesis are all the more

pressing as the dominance of network

technology engulfs more and more of our

immediate attention. In short, being able

to look back seems to be an essential

part of looking ahead.

It is in this spirit that Andrianna Camp-

bell and Daniel S. PalmersDecenterex-

hibition takes its cues and posits a vision

for contemporary exhibition. This project

uses the 100-year anniversary of the

Armory Exhibition in 1913 as a starting

point to reflect on the ways in which art

has both radically changed and strikingly

remained the same. Although much has

changed since the introduction of Mod-

ernism to American audiences a century

ago, central themes remain for todays

artists. These topics revolve around

how artists attempt to respond, react,

and rethink the contemporary technolo-

gies of their time. Where Duchamp and

the Futurists tackled the surmounting

mechanization of movement and vision,

artists like Cory Arcangel and Sara Ludy

address the ways in which the digital has

altered our senses and selves.

The similarities run deeper than thesurface concerns of the artists of the

avant-garde and the problems that face

contemporary makers. It is in the very

core of the mounting of the Armory of

1913 where a resonant chord continues

to reverberate into the eardrums of today.

The early exhibition took place thanks to

the efforts of The Association of Ameri-

can Painters and Sculptors, a group of

young artists that took it upon themselves

to do their own fundraising, organizing

and publishing. This retrospective DIY/

DIT mentality that spurred the in

duction of the avant-garde to Am

audiences remains incredibly re

todays contemporary artist-run

galleries and online exhibition s

The counter-cultural inspiration

moved the artists of the early 20

certainly holds true to the spirit

within our current time. This spi

not only pervades the work, but

infrastructure that emerged to s

voice of these respective genera

Putting technological innova

one can argue that the material

ventions, or the subjects of wes

have not changed drastically du

past 100 years. However our ap

the concerns, devices, and cultu

time has a much more measuraimpactful discrepancy worthy o

scrutiny. It is in the disparity be

the past and the present that w

see the clear importance of the

time. To imagine, for instance, t

could begin to broach the subje

tity and the figure, as the Dadai

a platform capable to reaching m

of individuals simultaneously

this process could happen in re

no lessis, in and of itself, a re

change from 1913.

NICHOLAS OBRIEN INTERVIEWSCORY ARCANGEL, MICHAEL BELL-SMITH,JAMES BRIDLE, DOUGLAS COUPLAND,JESSICA EATON, MANUEL FERNNDEZ,SARA LUDY, YOSHI SODEOKA, SARAVANDERBEEK, AND LETHA WILSON

his essay evolved out of numerous conversations with

olars, writers, artists, and thinkers, who acknowledge

t the maelstrom of the digital has permeated every

ect of life in the Western world and beyond. I begun

essay in Mexico City and am now finishing it in India-

ere many working class people (i.e., rickshaw drivers)

rt smart phones. However, issues of connectivity still

gue many developing countries where frequent power

ages or low Wi-Fi capabilities make it difficult for the

rage person to manage large digital files at home.

ee a recent mapping project from GeoTel Communica-

ns, which are working with Columbia University and

T to map the Internet.

Recent mapping efforts from GeoTel Communications

y account for the millions of miles of major pathways.

he fall 2011 issue of October, Digital Art, dealt primar-

with film, video and photography; all three are areas

ere technological advances change the look of their

duct. Photography and digital video were important

mponents of our exhibition, but we wanted to include

nting and sculpture in a consideration of the digital.

am thinking here of Claire Bishops controversial

cle, Digital Divide, in the September 2012 issue of

forum, in which she announces the subterranean pres-

e of the digital revolution was helpful for the formation

his essay. Other scholars such as Rainer Usselmann call

digital revolution a dud. See The Dilemma of New

dia Art: Cybernetic Serendipity at the ICA London,

nardo36 (2003): 389. Curatorial projects like Rhizome,ple Canopy, and e-publications such asHyperallergic

devoted to these issues. David Joselit,After Art(Princ-

n and Oxford: Princeton University Press, 2013), 43.

Art made using digital technology is meant to define art

t has been conceived, processed or fabricated using

tal technologies in the post-1989 period. It certainly

ompasses terms such as computer-generated graphic

and even at times new media art. It does not account

earlier terms such as Cybernetic art, which could be

d to categorize works from as early as 1956.

he impact of digitization in the musical and literary arts

been tremendous. Whereas art made with digital tools

been under- discussed. This is notable because similar

uments for the impact of media on content and style are

tral to art history-for instance the shift from tempera

il in the Renaissance has been fodder for generations

cholars.

he 1913 Armory Show officially was known as the First

ernational Exhibition of Modern Art in America (New

k, 1913). Carltons letter is reproduced in this catalogue

well as the 1963 one.

his 50thanniversary exhibit was held at the Munson Wil-

ms Proctor Arts Institute. See Daniel Palmers essay and

arles Duncans reflection on the impact of 1963 exhibit.

I am thinking of the Museum of Modern ArtsInventing

traction, Montclair Art Museums The New Spirit:

erican Art in the Armory Show, 1913, the NY Histori-

Societys The Armory Show at 100: Modern Art and

olution, and the Phillips CollectionsHistory in the

king 100 Years After the Armory Show.

The majority of the abstract works in the 1913 exhibit

re not completely non-objective. Many featured the

re, wild use of color, and modern subject matters. In

ition, besides Kandinsky, the Russian avant-garde wasrepresented. Only Analytic Cubist examples were

wn from Picasso and Braque, who also rejected the

a of complete abstraction. In Marcel DuchampsNude

cending a Staircaseand Francis PicabiasProcession

Seville, there is simultaneity and movement. For a

miniscence of the 1913 show by Duchamp, see Toutfait.

arcel Duchamp: Armory Show Lecture, 1963 http://

w.toutfait.com/issues/volume2/issue_5/news/miller/

ler1.htm (accessed November 12, 2012).

These could be societal ills, a utopian or spiritual vision.

Technology is defined in the broader sense so tools,

chines scientific innovation, but also information

tems. By 1913, the airplane, automobile, photography,

-Euclidean mathematics, Semiotics, telegraphy, gramo-

ne, trans-continental and trans-Atlantic travel et al were

part of the cultural sphere. See Leah Dickerman, Inventing

Abstraction, inInventing Abstraction, 1919-1925(New

York: The Museum of Modern Art, 2013), 29.

14. Gertrude Stein,Picasso(New York: Dover Publica-

tions, 1984), 20 Kindle. Martin Jay,Downcast Eyes: The

Denigration of Vision in Twentieth-Century French

Thought(Berkeley: University of California Press, 1993),

213-214 n. 7. Paraphrased in Stephen Kern, The Culture of

Time and Space 1880-1918(Cambridge: Harvard Univer-

sity Press, 1983), 7 and 288.

15. John Welchman, Here there and otherwise,Artforum

International(September 1988): 18.

16. Of course, on a larger scale the 1917 Russian Revolution.

17. This is not a technological determinist argument

postulating that technological innovations encouraged

formal innovations in art on a one-on-one basis. Rather

that they expose new visual languages from which artists

can adapt, adopt or disavow. As Martin Heidegger wrote,

too often technological arguments focus so much on the

instrumental function of tools and their affect on form

that we lose track of the essence of technology. For

instance, state of the art digital users and tools function as

instruments most professionally when they are recreating

or improving upon the real as seen in a survey of the

plethora of Hollywood blockbusters from 300toStar

Trek. The sophistication of digital tools means that these

real/hyperreal environments are the ideal for general

audiences; however the simplified look of the Internet

aesthetic in contemporary art does not always make fulluse of these advanced tools. The essence of technology

then is not solely in its instrumentation.

18. Lev Manovich, The Language of New Media(Cam-

bridge: MIT Press, 2001): 69. As Manovich notes, by the

1990s, digital photography was capable of capturing more

detail than light based photography. For our purposes

then, pixelation is an aesthetic choice made by artists in

order to foreground the relationship to technology.

19. I found Julian Stallabrass discussion of the sublimity

of data useful. See A Conversation with Trevor Paglen,

October138 (Fall 2011): 314.

20. Lauren CornellsFreeexhibition at the New Museum,

October 20, 2010-January 23, 2011 was based on this merg-

ing of the physical and virtual space. Also, David Kennedy

Cutlers The Sky Inside CUSP-Ryan Wallace(New York:

Morgan Lehman Gallery), 2012. Yves-Alan Bois, Kahnwei-

lers Lesson,Representations18 (Spring 1987): 44.

21. Ibid, 41.

22. N. Katherine Hayles,How We Became Post-Human

(Chicago: Chicago University Press, 1999), 12.

23. Cornells exhibitionFree, 2010wasadmirably one of

the first to investigate artwork that was made by digital

means, but did not exist solely online.

24. Bois, Kahnweilers Lesson, 44.

25. This intersection can lead to what viewers see as

flatness in contemporary work. This move towards

flatness is nothing new for abstract art; however, allowing

a machine to create an all-over surface does seem to give

more of an even distribution of emphasis to foreground

and background.

26. The archive is of particular importance to Bishops

discussion of the impact of the digital on changes in per-

ception. See Digital Divide, 438-440. She references Hal

Fosters explorations of the archival impulse as well as his

focus on material archive as opposed to the technologi-

cal one epitomized by the Internet. See An Archival

Impulse, October 110 (Autumn 2004): 3-5.

27. See Seth Price, Dispersion http://www.distributedhis-

tory.com/Dispersion2008.pdf. (Accessed October 4, 2013).

28. Mabel Dodge distributedPortrait of Mabel Dodge at

the Villa Curoniaat the 1913 Armory show. The pam-

phlet was also reprinted in the June 1913 issue of Camera

Work, 3-5. Dodges article Speculations included a often

reprinted description of Gertrude Stein, In a large studio

in Paris, hung with paintings by Renoir, Matisse, and

Picasso, Gertrude Stein is doing with words what Picasso

is doing with paint, 6.

TES


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mentioning that in the future the only

way people are going to know about this

piece is this conversation.

MF: I think digital practice can be

seen as a very important aspect of

contemporary art practice. The first

Armory show was influenced by

technological advancements, and this

theme connects to the modern age,

shaping formal aspects and conceptual

thinking derived from it.

SVB:When starting a project, I often begin

with image-based research, either by

taking the images myself or using archival

material. For this piece, I asked Andrianna

and Daniel to send me archival images

from their research of the original Armory

show for inspiration. The sculpture I

designed is informed by images from the

original Armory exhibition and is created

of concentric patterns that have come out

of a consideration of a larger continuum

of forms, eternal patterns shared amongst

many different cultures and times. The

simple patterns found in ancient forms

are not that different from the baseline

pixel formations of a digital image. I think

material, space, process and form are

more resonant in this time of p ervasive

digital awareness.

SL: My process is similar to that of

Cubists in how I combine various

perspectives of a space to create a

new perspective of that space. The

architecture in Transomis of a business

complex in Leesburg, Virginia called

Market Station. It is made of several

uprooted historical barns and gristmills

from the area that were combined to

form a new complex for businesses in

the 1980s. My mom owned a hair salon

there for 13 years. I went back a couple

of years ago to photograph the new

complex and found a door that led me

to a part of the architecture that I had

never been. I came across several stories

of empty floors and was immediately

caught in this space where everything

was familiar from my previous

experiences of the architecture, but

the structure was entirely different.

After taking roughly 200 photographs,

I narrowed down a selection of about

7 varying perspectives to create a time

based perspective and space portrait of

the architecture.

MBS: My work in the show,Piano

and Violin Variations, is a web-based

collection of images of hotel interiors.

While the photos were taken all over

North America (mostly by travelers

reviewing their rooms for travel sites),

the same two photos hang on the wall

of each room: a close-up of a violin and

a close-up of a piano. This situation

illustrates the strange overlapping

systems within which images operate

today. In this case, theres the real

space system, the fact that these images

actually exist on the walls of hotel rooms

all across North America. Theres a

semiotic/class system, with the photos

of the piano and violin selected for their

connotations of sophistication, or Art.

And theres the system of commercial

digital image circulation, by which I was

able to track down (and purchase) the

original stock images used in all of these

hotels. Our day-to-day lives require that

we sort through an increasing number

of these different systems of meaning as

we encounter images and other media.

In many ways, the work is a response to

that condition and the anxiety it brings.

For me, this project was about the

intersection of three systems: first, the

semiotic/class system, with photos

of a piano and violin representing

sophistication; next, the system of

commercial digital image circulation,

by which I was able to track do

purchase the original stock ima

were used in the hotels; thirdly

space system you bring up, the

these images exist on the walls

rooms all across North America

DC:The 1913 Armory Show

foregrounded the massive colle

trauma, which was created in th

mind by the introduction of rad

other modes of mass communi

In 1913, people were unlearning

ways of experiencing time and s

and replacing them with then-m

new ways of interpreting distan

individuality, mass culture, the p

plane and well, just about eve

we associate with the twentieth

In 2013, weve collectively expe

similar collective trauma of per

In a tiny amount of time weve a

search engines, the Internet, pe

computing, smartphones and

about everything we associate w

twenty-first century.

LW: I started working on video

in grad school at Hunter. In thos

pieces it was important to laye

in the software for the final resu

The work is about the distance

interior and exterior. The photo

transports you between one wo

another. In this video, the galler

and the canyon walk floats betw

those two worlds.

YS: [#46 35.23N 139.30E [F

3097] E5150xx]is sort of like a

about espionage and conspirac

of the key elements in this scen

that digital transmission techno

always existed since the 70s, an

been secretly trying to experim

in a very unsuspected location,

Totsuka, Japan in this case.

It could be argued that despondency,

a sense, is the lifeblood that runs

rough the work of the 1913 Armory

ow into the veins of theDecenterexhi-

ion. It is in the unrealized horizon of a

ture void of current discord where the

ant-garde appears to perpetually rest.

response, the project of Modernism

ms to bring the unconscious into mate-

l form as a means to make that discord

ysical. One can draw parallels between

s original pursuit and the desire of

days artists working online to make

ysical their digital creations.

The motivation behind the desire of

tists to make physical the virtual, var-

s between Modernisms pursuit of the

conscious and our current moments

vestment in the not-yet-conscious

borrowed term from Jos Muoz to

scribe a performed state of futurity.

he pursuit of this translation of the

t-yet-conscious into the physical is

attempt at redeeming the potential

at technology has promised for a

tter tomorrow. The false promise of

gital technology lies in its purposefully

ve and manipulative faith in a com-

g utopia brought on by our collective

lugging in and switching on. But the

ork within this exhibitionand the

hibition of 1913takes this naivety as

point of departure to discuss the how,

the face of a failed techno-utopia, we

n still create hope. In other words, it is

cause of the troublesome impossibility

r potentially emerging out of techno-

gical inequity that artists continue to

plore what this technology can offer

an alternative to the status quo. With

s in mind, we can consider works

thin theDecenterexhibition, both

line and off, as heeding the call of an

erlasting trail blazing into the ways in

hich technology can continue to shape

d influence culture.

Where some artists, like Manuel Fer-

ndez, focus on an emergent aesthetic

stock footage and Photoshop transpar-

cy patterns to signify some kind

eminent transience, other artists, like

tha Wilson, reflect on how that aes-etic coming from the screen can inform

d complicate what weve tradition-

y considered to be analog. Although

s pairing has aesthetic difference, the

derlying conceptual interests remain

ite close in that both are attempting to

tique how the digital has reformatted

tions of the natural. Similarly, Michael

ll-Smith uses the homogenous imagery

Residence Inn interiors pulled offline

discuss varying economies of im-

es and temporary-space, while Yoshi

Sodoeka uses maps, videos, and other

online imagery to talk about a specific

location from his childhood home. Again,

where both artists output might have

immense difference, an underlying inter-

estin this pairing, negotiations of space

and its representation through online

mediabegins to develop a network of

interests that create a parallel.

These similarities in modern techno-

logical times are the central issue that

underlies Campbell and Palmers project.

In this way,Decentersituates itself as an

exhibition creating a network of conviv-

ial affinity. This affinity respects varying

approaches, but also allows for shared

interests to echo throughout a wide

casting web. It is through t his creative

exploration of positive association

that breathes life into a network often

considered exclusive, insular, or opaque.

Decenterundoes some of that tension

by not only showing diversity but also

showing commonality.

In the following interviews, I askartists about the ways in which this

exhibition reflects on the shared senti-

ments between 1913 and now, as well as

critically questioning artists about the

tools they use to make their work. Per-

haps unsurprisingly, I found many artists

show a marked reservation against the

devices and platforms that their work is

born and bred. This resistance, though

similar to the sentiments sparked by the

1913 Armory, sheds light on a unique

moment currently underway within con-

temporary arts and its ongoing relation-

ship with technology.

Canyoutalkaboutthevisuallinks

youaremakingbetweenyourwork

andtheconceptsthatdrivethe

DECENTERexhibition?

CA:The piece in the show is a good

example of what I would call a software

kinetic sculpture. A few years ago, I had

a Blackberry, and it had Shazamone of

these programs that allows you to l isten

to music and tell you what it is. I hardly

ever used it except in real emergencies

when I had to know what the music

was. So I had only Shazamed 7 or 8

tracks in the many years of having this

phone. ForDECENTER, I downloaded

all those tracks; I put them together;

then I uploaded them to the Internet

as a mix to share. I tried it on all these

different services and kept getting those

copyright errors. SoundCloud wouldnt

let me upload it. YouTube would let meupload it but wouldnt let people play it.

So in the end, I decided these copyright

errors were maybe more interesting

than the mix. So, I left it. So, the mix

is online, but cant be listened to. Its a

real-time performance demonstrating all

of these automatic intellectual property

systems that companies run. It has

copyright violations from 9 different

huge international corporations. It is a

representation of how these systems

operate. . . It is also probably worth

DouglasCoupland,

Pipe,2012.Digitalimage

CourtesytheartistandDanielFariaGallery.

LethaWilson,

DoubleBuffaloWestern(Tran-

scriptionsofWalksinBuffaloontotheWilder-

nessandViceVersa),2009.Digitalvid

eo.


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Since the early 21st century, on

to see a consolidation of digital

levels which has profoundly tra

society, changing traditional no

space and time. These conditio

enabled the ampliation of tradit

notions of what we understand

expanding into almost every fie

the historical moment we are liv

certainly many similarities with

Armory Show.

Howdoyouundertaketheins

ofyourworkoutsideofadigit

networkedenvironment(like

browser)? Isitimportantfory

worktoexistoutsideofthatc

Aretherespecificmaterialcon

thathappeninthatprocess? D

alwayshavetodefaulttostan

presentedbythetraditionala

JB:My work appears in a wide

formats: as websites, as books,

as physical installations, as ima

both digital and framed on a wa

is entirely dependant on the wo

the format, which seems at the

suit it best. But it is always, hop

design, capable of being returne

network, to being shared, distri

enacted. These are the operatio

the work ultimately has to addr

is concerned with network tech

the ability to move seamlessly a

networks, while interrogating th

seams, and the transformations

occur in the work as it negotiat

politics and processes of differe

media. My work has only recen

of interest to the traditional ar

its not my background and its n

primary concern.

MBS: Theres a lot angles one c

in talking about the distinction

working online and in tradition

contexts: economics, audience,

agency, etc. Ill pick a basic one

of self-publishing. Most work on

self-published, neither validated

vetted by an external entity (gacurator, publisher, etc) before r

its viewership. Its a simple fact

think its worth reminding ours

periodically. It makes for a uniq

of potentials. Online work can b

liberated, more out there, more

to hit an untapped audience or v

of genius. But its also more apt

terrible, uneven, and desperate

artists deal with this freedom th

an abundance of work, throwin

at the wall to see what sticks, h

: I am not an academic. While I have

ad a bit and am familiar with some of

e works in the 1913 Armory exhibition,

would be wholly dishonest of me to

art trying to postulate the types of

nnections you are asking about. From

y own mind, all things like this seem

ghtly arbitrary to me. I feel like if you

ok for connections between any two

ngs you could start to make them

ould you chose. Or you could connect

rough disconnect, even.

:Rorschmapis a project, which

th emphasizes the strangeness and

ticizes the lack of imagination in

ntemporary digital maps - and by

tension, much of contemporary

chnology. Digital maps are not like

aditional maps; they are animations,

ey are alive, they are in constant flux.

ut they are also presented as classically

possible: as flat planes, as definitions

ther than approximations, as facts

ther than visualizations, as truth

ther than merely as one way of seeing.

rschmapattempts to disrupt this

usion, exposing the way in which this

ewpoint is constructed, and opening

up to other forms of expression. All

chnologies open up new ways of

periencing the world, from oil paint in

bes to lines of code in distant servers,

t they are also easily reduced to

mplistic, reductive and controllable

etaphors. It is one of the jobs of art to

acture that top-down view.

hatsimilaritiesdoyoufindbetween

urworkandthemethodsofCubists

hibitedinArmory?

C: Flattening. Definitely a flattening.

eve taken cutting and pasting and

straction to profoundly new levels in

hich time and space is reduced to a

yph, and yet we dont bat an eye.

BS: Im not sure about methodology,

t Picasso was working with Cubist

presentations of violins and pianos

he subject of my work for the show)hundred years ago. Those objects

d a different meaning in the early

th century, but theres something

during about what they can represent.

addition, the photographs on the

alls in my piece act as surrogates for

e idea of high art. In that respect,

eyre a weird by-product of the early

odernists legacy.

VB:I have always had an interest in

e simultaneity of Cubism, its sense

of presenting multiple moments at once

more so then the formal qualities of

the work.

YS:I honestly didnt think too much

about that! As I understood the scope

of the show, I figured that presenting

an artwork, as one of the artists, who

represent the newer generation, would

be significant enough. As an artist who

is influenced by Cubism, I think that my

piece embodies a similar spirit and ideas

that Cubism presented.

TheDECENTERexhibitionand

projectscommemoratesthe100th

anniversaryoftheArmoryshow,

andinturnthecentennialofaNew

SpiritofModernismcomingtothe

UnitedStates. Doyouthinkthatthere

isasimilarmovementormomentum

thatishappeningaroundcurrent

digitalandnewmediapracticesthat

DECENTERencapsulates?

SL: Yes. I find that the most relevant

and exciting works today are the result

of how digital technologies and online

social dynamics are informing the

artists practice.

DC: One thing Ive noticed is the way

people go online and visit gallery sites

and inhale hundreds of artists in one

go, sweeping through rosters and

sucking the information in like nicotine.

Everyone is aware of everything now,

and being first no longer feels like its

enough to justify lionization of one artist

over another. Also (and we all know

this) online culture has stripped the

vernissage of its potency as a moment

and, from what I see, and fr om what

gallerists tell me, people are simply no

longer going into physical galleries as

much. Museums, on the other hand,

seem to be doing well possibly

because they promise their attendees

a larger core dump of information.

CA: Well, I guess I would have to back

up and say what excites me in the realworld. Art tends to follow what is going

on in the real world. It is like that thing

that happens today. When you are

walking down the sidewalk and you

are behind someone, who is walking

a little slow and you are like what is

going on?...Finally, you realize it is

just because they are on their phone

texting. That happens all the time now

and to me that is really a kind of real life

marker that we have entered some other

territory now. They are like Zombie

walkers. To me the most interesting

thing about what is going on is that

people are just in front of their screens

all day. It tends to be everybody...my

aunt, my mother, myself. It is all my

friends. And each group of friends has

a different social network that they

like. So, all these types of things have

been introduced into life. That is what

is of interest to me. Remember when

people used to warn you about sitting

too close to the TV or watching too

much TV? People thought it was going

to ruin people. But now it is as if the

TVs are out in the real world and people

are watching while walking, or in the

subway, or in the car. So, it is like the

TVs have taken over, but it is not TVs, it

is the computer.

LW: There are actual objects in the

physical exhibition so in discussing the

digital realm, the exhibition focuses on

the way these digital formats, techniques,

tools, processes and thinking have

inserted themselves into the work of

many artists. There ends up being a

conversation among the works.

JB: The New Aesthetic is illustrative

of deeper changes in cognition and

experience produced by networked

technologies - with the emphasis on the

networked part. That paradigm shift

- and understanding if it has occurred

or is occurring - is the business of the

New Aesthetic. If we recognize that

understanding the world and ourselves

is always an unfinished project, we must

always look to the new to find different

ways of seeing and understanding. But

at the same time, that newness is often

an illusion: the tools and techniques for

seeing exist already, we just need to

have them brought to our attention, to

see them from a different angle. In this

way, perhaps, certain digital artworks

and the Internet function exactly as

Cubism and the Armory Show did

in 1913.

MF:The digital revolution has broughtthe most significant historical shift since

the industrial revolution. The European

avant-garde art of the early 20th century

was strongly influenced by the social

changes that were derived from the

advancement of technology and inclusion

and standardization of machines in war,

work and daily life.

You can see examples of direct

influence of technological progress in

movements such as Impressionism that

reacted to the emergence of photography. Foreground:SaraVanDerBeek,

XXIV

,2

013.

Plaster:88x8x6".CourtesytheartistandMetroPictures.

Background:Andrew

Kuo.

IfICouldRedo

Tuesday,

2013.

Acrylicandcarbontran

sferonpanelandpaper,51x38".CourtesytheartistandMarlboroughGallery.


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ACKNOWLEDGEMENTS

All installation photographs of

DECENTER NYare courtesy of Patrick

Lyn Photography 2013.

We would like to thank the artists, the

lenders to the exhibition, our families,

and the following people who patiently

helped us along the way: Graham

Anderson, Ella Christopherson, JonathanDurham, Gregory Fellows, Robert

Fellows, Roger Gaitan, John Keon, Alex

Lesy, Patrick Lyn, Kristian Nammack,

Natalie Musteata, Adrian Saldaa,

Carolyn Sickles, Joshua Weiselberg,

Lauren Wistrom and Miriam Zemel.

For enriching our understanding and

discussion of these ideas, we thank

our panelists from the February

2013 1913 Armory Show Cente

Event panel including Charles

Marilyn Kushner, Mary Murray,

Brian Droitcour. We would also

thank the sponsors of the New Y

exhibit: The Andy Warhol Foun

for the Visual Arts, Annisa Rest

The Berlin Senate Cultural AffaDepartment, CHIPS-NY, The Fo

for Contemporary Arts and TBD

Studio. Finally, our warmest tha

Lenore Miller and Olivia Kohler

from the Luther W. Brady Art G

The George WashingtonUniver

Clarice Smith for sponsoring thi

in Washington DC.

. Corin Hewitt

composed Monochrome

16, 115, 177), 2011

gital pigment print: 34" x 26"

ourtesy of the artist and Laurel Gi tlen,

ew York

.John Houck

00 Iterations of Black Grid

a White Ground,2013

gital video

ourtesy the artist

.Butt Johnson

e Curse of Knowledge, 2012-2013

ayon on incised Dieu Donne cotton

per: 40" x 28"

ourtesy the artist and CRG Gallery

. Barbara Kasten

nstruct PC IX, 1982

olaroid: 24" x 20"

ourtesy the artist and Bortolami Gallery

.Andrew Kuo

I Could Redo Tuesday, 2013

crylic and carbon transfer on

nel and paper: 51" x 38"

ourtesy the artist and Marlborough

allery

. Liz Magic Laser

e Digital Face, 2012

rformance and two-channel video, 10

nutes, 2012. Featuring Alan Good and

ori Kresge as former President George

W. Bush and President Barack Obama.

ourtesy the artist

. Douglas Melini

agrant Portal, 2011

crylic on canvas and wood:

" x 45" x 1"

ollection Geoffrey Young; courtesy

Feature inc., NY

23. Brenna Murphy

Latticescanr, 2012

Website

Courtesy the artist

24.John Newman

Collections and Corrections

with Vermillion, 2011

Cast bronze, stones, wood, Japanese

paper, wood putty, papier-mch,

acqua resin, acrylic and enamel paints:

13" x 27" x 12"

Courtesy the artist and Tibor de Nagy

Gallery, NY

25. Gabriel Orozco

Fluttering Flowers, 2011

Pigment ink and acrylic on canvas:

2358" x 31"

Courtesy the artist and Marian

Goodman, NY

26. Gabriel Orozco

Green Web Drops, 2011

Pigment ink and acrylic on canvas:

2358" x 31"


Goodman, NY

27. Gabriel Orozco

Invariant Animation, 2005

Digital video


Goodman, NY

28. Ellington Robinson

Spin, 2011

Acrylic, collage, ink, and oil:

48" x 48"

Courtesy the artist and

Project 4 Gallery

29.Rafal Rozendaal

http://www.fromthedarkpast.com, 2009

Website

Courtesy the artist

30.Lisa Ruyter

Arthur Rothstein Dry and Parched

Earth in the Badlands of South

Dakota,2009

Acrylic on canvas: 47" x 59"

Courtesy the artist and Connersmith

31.Travess Smalley

Composition in Clay #32, 2013

Framed unique C-print: 46" x 33"

Courtesy the artist and Higher Pictures

32. Travess Smalley

Animated Optical Texture Pattern

for Alexander Peveret, 2011

Animated GIF

Courtesy the artist

33. Sara VanDerBeek

XXIV, 2013

Wood: 88" x 8" x 6"

Courtesy the artist and Metro Pictures

34. Sara VanDerBeek

Baltimore Dancers Nine, 2012

Digital C-print: 8" x 6"


35. Sara VanDerBeek

Baltimore Dancers Ten, 2012

Digital C-print: 8" x 6"


36. Letha Wilson

Double Buffalo Western (Transcriptions

of Walks in Buffalo onto the Wilderness

and Vice Versa), 2009

Digital video

Courtesy the artist

LIST OF WORKS-DC


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