{"data":[{"id":"1383","type":"exhibition","attributes":{"id":1383,"title":"At Odds With","start_time":"2024-05-09T00:00:00.000-04:00","end_time":"2024-05-24T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"May 9, 2024–May 24, 2024","url":"/exhibitions/at-odds-with","primary_text":"\u003cp data-pm-slice=\"1 1 []\" class=\"large\"\u003e\u003cstrong\u003e2024 ISP Studio Exhibition\u003c/strong\u003e\u003cbr\u003e\u003cstrong\u003eMay 9, 2024–May 24, 2024\u003c/strong\u003e\u003c/p\u003e\u003cp data-pm-slice=\"1 1 []\" class=\"large\"\u003eWestbeth Gallery, 55 Bethune Street\u003cbr\u003eOpening: Thursday, May 9, 6–8 pm\u003c/p\u003e\u003cp data-pm-slice=\"1 1 []\" class=\"large\"\u003eGallery Hours for ISP: Wednesday–Sunday: 1-6 pm; Closed Monday, Tuesday\u003c/p\u003e\u003cp class=\"large\"\u003eThe Studio Program exhibition, \u003cem\u003eAt Odds With,\u003c/em\u003e presents recent work by the 2023–24 Elaine G. Weitzen ISP Studio Program Fellows S Emsaki, Kimi Hanauer, sadé powell, Albert Samreth, Shobun Baile, Mae Howard, Alison Nguyen, Elliot Reed, Omolola Ajao, José De Sancristóbal, Daniel Ramos, tarah douglas, Kearra Amaya Gopee, Emily Velez Nelms, and Jennifer Teresa Villanueva, and Helena Rubinstein Curatorial Fellow Ella den Elzen. Curated by Juana Berrío, the exhibition will be on view May 9–24 at Westbeth Gallery, a nonprofit fine arts gallery located across the street from the ISP at 55 Bethune St, New York, NY 10014. An opening reception for \u003cem\u003eAt Odds With\u003c/em\u003e will be held at Westbeth Gallery on Thursday, May 9 from 6–8 pm.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eWheelchair Accessibility\u0026nbsp;\u003c/strong\u003e\u003cbr\u003eThe Westbeth Gallery is located within a courtyard, which has two step-free accessible entrances.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eBank Street Courtyard Entrance\u003c/strong\u003e\u003cbr\u003eThe doorway from the street leads directly to a ramp, providing access to the courtyard. From there, proceed straight ahead and then turn left to reach the main gallery doors.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e55 Bethune Street Entrance\u003c/strong\u003e\u003cbr\u003eA ramp with handrails guides you from the sidewalk to the lobby. Upon entering the lobby, turn right and continue to the end of the hallway. Pass through the two sets of push-button glass doors that will lead you to the courtyard. Once in the courtyard, go straight ahead and then turn right to reach the gallery doors.\u003c/p\u003e\u003cp\u003eWestbeth gallery has a wheelchair accessible bathroom.\u003c/p\u003e\u003cp class=\"large\"\u003eThere is no ticketing required, admission is free.\u003c/p\u003e","primary_media_id":58586,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":2623,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2024-04-16T14:33:12.785-04:00","updated_at":"2026-04-17T14:35:17.769-04:00","block_editor":{"data":{"id":"4171","type":"block_editor","attributes":{"id":4171,"exhibition_id":1383,"page_id":null,"created_at":"2025-06-16T12:38:25.705-04:00","updated_at":"2025-06-16T12:38:25.705-04:00","regions":[{"data":{"id":"22251","type":"region","attributes":{"id":22251,"position":1,"columns":12,"block_editor_id":4171,"created_at":"2025-02-19T09:52:07.172-05:00","updated_at":"2026-04-17T14:35:17.575-04:00","region_components":[{"data":{"id":"40555","type":"region_component","attributes":{"id":40555,"component_id":14778,"component_type":"TextComponent","position":1,"region_id":22251,"created_at":"2025-02-19T09:52:07.180-05:00","updated_at":"2026-04-17T14:35:17.618-04:00","component":{"data":{"id":"14778","type":"component","attributes":{"id":14778,"exhibition_id":1383,"text":"\u003cp data-pm-slice=\"1 1 []\" class=\"large\"\u003e\u003cstrong\u003eStudio Program Elaine G. Weitzen Fellows\u003c/strong\u003e\u003cbr\u003eOmolola Ajao\u003cbr\u003eShobun Baile\u003cbr\u003etarah douglas\u003cbr\u003eElla den Elzen\u003cbr\u003eS Emsaki\u003cbr\u003eKearra Amaya Gopee\u003cbr\u003eKimi Hanauer\u003cbr\u003eMae Howard\u003cbr\u003eEmily Velez Nelms\u003cbr\u003eAlison Nguyen\u003cbr\u003esadé powell\u003cbr\u003eDaniel Ramos\u003cbr\u003eElliot Reed\u003cbr\u003eAlbert Samreth\u003cbr\u003eJosé De Sancristóbal\u003cbr\u003eJennifer Teresa Villanueva\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eHelena Rubinstein Curatorial Program Fellow\u003c/strong\u003e\u003cbr\u003eElla den Elzen\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eCurator\u003c/strong\u003e\u003cbr\u003eJuana Berrío\u003c/p\u003e"}}}}}},{"data":{"id":"41759","type":"region_component","attributes":{"id":41759,"component_id":3422,"component_type":"HorizontalRuleComponent","position":2,"region_id":22251,"created_at":"2025-05-19T18:14:54.559-04:00","updated_at":"2026-04-17T14:35:17.662-04:00","component":{"data":{"id":"3422","type":"component","attributes":{"id":3422,"exhibition_id":1383}}}}}},{"data":{"id":"41760","type":"region_component","attributes":{"id":41760,"component_id":15122,"component_type":"TextComponent","position":3,"region_id":22251,"created_at":"2025-05-19T18:14:54.591-04:00","updated_at":"2026-04-17T14:35:17.707-04:00","component":{"data":{"id":"15122","type":"component","attributes":{"id":15122,"exhibition_id":1383,"text":"\u003cp\u003eGenerous support for the Independent Study Program is provided by Joanne Leonhardt Cassullo, the Elaine Graham Weitzen Foundation for Fine Art, the Dorothea L. Leonhardt Foundation, the Helena Rubinstein Foundation, and Diane and Robert Moss.\u003c/p\u003e\u003cp\u003eSignificant support is provided by The Capital Group Charitable Foundation, Margaret Morgan and Wesley Phoa, Gloria H. Spivak, and the Whitney Contemporaries through their annual Art Party benefit.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"2425","type":"exhibition","attributes":{"id":2425,"title":"Andy Warhol Family Album","start_time":"2026-04-30T00:00:00.000-04:00","end_time":"2026-10-19T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/andy-warhol-family-album","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eAndy Warhol Family Album\u003c/em\u003e presents a collection of hundreds of Polaroids from 1972 to 1973 that captures \u003ca href=\"/artists/1384\"\u003eAndy Warhol\u003c/a\u003e’s immediate world of collaborators, celebrities, and friends.\u003c/p\u003e\u003cp class=\"large\"\u003ePhotography was central to Warhol’s philosophy and his obsession with self-representation. He carried a camera with him wherever he went, taking hundreds of thousands of photographs during his career. By the early 1970s, the Polaroid would become his tool of choice and instrumental to his process—forming the first stages of his commissioned silkscreen portraits and a mode through which he could document compulsively, treating his own life as material. \u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eDrawn from one of six Holson “family albums” that Warhol assembled as a personal archive, the exhibition features posed pictures, candid shots of social events, his home in Montauk, travels in Europe, and even portraits of his dog, Archie. Together, these photographs offer an intimate and varied view of Warhol’s world and day-to-day life.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eAndy Warhol Family Album\u003c/em\u003e is part of an ongoing initiative to present rarely seen works from the Whitney’s collection, following exhibitions of Wanda Gág, Jeanne Moutoussamy-Ashe, and Claes Oldenburg.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eAndy Warhol Family Album\u0026nbsp;\u003c/em\u003eis organized by Jennie Goldstein, Marion Boulton “Kippy” Stroud Curator of the Collection, and Roxanne Smith, Jennifer Rubio Assistant Curator of the Collection.\u003c/p\u003e\u003cp\u003eSignificant support for \u003cem\u003eAndy Warhol Family Album\u003c/em\u003e is provided by Susan and John Hess.\u003c/p\u003e","primary_media_id":64747,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2026-03-10T13:30:42.366-04:00","updated_at":"2026-04-16T15:19:35.075-04:00","block_editor":{"data":{"id":"6032","type":"block_editor","attributes":{"id":6032,"exhibition_id":2425,"page_id":null,"created_at":"2026-03-10T13:30:42.361-04:00","updated_at":"2026-03-10T13:30:42.361-04:00","regions":[]}}}}},{"id":"1391","type":"exhibition","attributes":{"id":1391,"title":"Shifting Landscapes","start_time":"2024-11-01T00:00:00.000-04:00","end_time":"2026-01-25T00:00:00.000-05:00","member_start_time":"2024-10-30T00:00:00.000-04:00","member_end_time":"2024-10-31T00:00:00.000-04:00","date_override":"","url":"/exhibitions/shifting-landscapes","primary_text":"\u003cp class=\"large\"\u003eWhile the landscape genre has long been associated with picturesque vistas, \u003cem\u003eShifting Landscapes\u003c/em\u003e considers a more expansive interpretation of the category, exploring how evolving political, ecological, and social issues motivate artists as they attempt to represent the world around them. Drawn from the Whitney’s collection, the exhibition features works from the 1960s to the present and is organized according to distinct thematic sections. Some of these coalesce around material and conceptual affinities: sculptural assemblages formed from locally sourced objects, ecofeminist approaches to land art, and the legacies of documentary landscape photography. Others are tied to specific geographies, such as the frenzied cityscape of modern New York or the experimental filmmaking scene of 1970s Los Angeles. Still others show how artists invent fantastic new worlds where humans, animals, and the land become one. Whether depicting the effects of industrialization on the environment, grappling with the impact of geopolitical borders, or proposing imagined spaces as a way of destabilizing the concept of a “natural” world, the works gathered here bring ideas of land and place into focus, foregrounding how we shape and are shaped by the spaces around us.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eShifting Landscapes\u003c/em\u003e is organized by Jennie Goldstein, Jennifer Rubio Associate Curator of the Collection; Marcela Guerrero, DeMartini Family Curator; Roxanne Smith, Senior Curatorial Assistant; with Angelica Arbelaez, Rubio Butterfield Family Fellow; with thanks to Araceli Bremauntz-Enriquez and J. English Cook for research support.\u003c/p\u003e\u003cp\u003eReview \u003ca href=\"/exhibitions/shifting-landscapes/accessibility-information\"\u003eaccessibility information\u003c/a\u003e before visiting Shifting Landscapes.\u003c/p\u003e\u003cp\u003eMajor support for \u003cem\u003eShifting Landscapes\u0026nbsp;\u003c/em\u003eis provided by Judy Hart Angelo, the Henry Luce Foundation, and the Whitney’s National Committee.\u003c/p\u003e\u003cp\u003eSignificant support is provided by the Terra Foundation for American Art.\u003c/p\u003e\u003cp\u003eGenerous support is provided by The Keith Haring Foundation Exhibition Fund.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/827961/___.png\" style=\" height: 36px;\"\u003e\u003c/em\u003e\u003c/p\u003e","primary_media_id":63993,"override_media_id":null,"sign_media_id":62775,"feature_id":99,"artwork_series_id":null,"installation_series_id":2632,"perspective_series_id":null,"press_highlights":"","audio_description":"\u003cp\u003e\u003cspan data-teams=\"true\"\u003eChelsey Pellot, Assistant Manager of Foundation \u0026amp; Government Relations, writes about the perfect soundtrack for\u0026nbsp;\u003c/span\u003e\u003cspan data-teams=\"true\"\u003e\u003ca href=\"/exhibitions/shifting-landscapes\"\u003e\u003cem\u003eShifting Landscapes\u003c/em\u003e\u003c/a\u003e\u003c/span\u003e\u003cspan data-teams=\"true\"\u003e\u003cem\u003e.\u003c/em\u003e\u003c/span\u003e\u003c/p\u003e\u003cp\u003eWith its themes of cultural resistance, reclamation, and preservation, Bad Bunny’s 2025 album, \u003cem\u003eDeBÍ TiRAR MáS FOTo\u003c/em\u003e\u003cem\u003eS,\u003c/em\u003e is the perfect soundtrack to \u003cem\u003eShifting Landscapes\u003c/em\u003e. Song by song, it directly overlaps with the exhibition’s core issues, offering a unique sonar and visual experience when paired together. \u0026nbsp;\u003c/p\u003e\u003cp\u003eThe album’s opening track, \u003cem\u003eNUEVAYoL\u003c/em\u003e, pays homage to New York City’s influence on Puerto Rican culture, a history explored in \u003cem\u003eShifting Landscapes\u003c/em\u003e’s New York Cityscapes section, which features Nuyorican artists such as J\u003ca href=\"/artists/69\"\u003eean-Michel Basquiat\u003c/a\u003e, \u003ca href=\"/artists/20466\"\u003eMiguel Luciano\u003c/a\u003e, \u003ca href=\"/artists/20499\"\u003eHiram Maristany\u003c/a\u003e, \u003ca href=\"/artists/19093\"\u003eSophie Rivera\u003c/a\u003e, and \u003ca href=\"/artists/20993\"\u003eRigoberto Torres\u003c/a\u003e. These artists demonstrate that the influence goes both ways—Puerto Rico has had an immense impact on how we experience the Big Apple or la gran manzana. \u0026nbsp;\u003c/p\u003e\u003cp\u003eThe song\u003cem\u003e\u0026nbsp;LO QUE LE PASÓ A HAWAii\u003c/em\u003e draws parallels between Hawai’i and Puerto Rico’s complex relationships to the United States. It provides a somber soundtrack to Piliāmo‘o’s photographs depicting how the multiyear construction of the H-3 Interstate in O‘ahu, initiated by the U.S. government, impacted local communities.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cem\u003ePERFuMITO NUEVO\u003c/em\u003e captures the essence of the other-worldly figure portrayed in \u003ca href=\"/artists/20273\"\u003eDalton Gata\u003c/a\u003e’s painting \u003ca href=\"/collection/works/65159\"\u003e\u003cem\u003eI Don’t Need You To Be Warm\u003c/em\u003e\u003c/a\u003e\u003cem\u003e\u0026nbsp;w\u003c/em\u003eith its ethereal sound and dreamlike lyrics. Wearing a billowing furry coat, shiny black stiletto boots, and a crown of fire atop flowing blond hair, “The figure in Gata’s painting fashions a sense of self-confidence that is alluring,” the exhibition’s curator, Marcela Guerrero, observes. “She might very well be who Bad Bunny is singing about when he says ‘No parece leo ni escorpio; Pa mí que ella tiene su propio signo; Fría, sentimental, está en temporada de portarse mal.’” (“She doesn’t look like a Leo or Scorpio; I think she has her own sign; cold, sentimental, she’s in the season of misbehaving.”) \u0026nbsp;The exploration of evolving political, ecological, and social issues, and how artists portray the world around them, is the crux of \u003cem\u003eShifting Landscapes\u003c/em\u003e, and mirrors Bad Bunny's similar inspirations and motivations behind his powerful work of art, \u003cem\u003eDeBÍ TiRAR MáS FOTo\u003c/em\u003e\u003cem\u003eS\u003c/em\u003e.\u003c/p\u003e","videos_description":"","created_at":"2024-07-11T17:09:04.456-04:00","updated_at":"2026-04-15T15:18:43.182-04:00","block_editor":{"data":{"id":"4187","type":"block_editor","attributes":{"id":4187,"exhibition_id":1391,"page_id":null,"created_at":"2025-06-16T12:38:26.591-04:00","updated_at":"2025-06-16T12:38:26.591-04:00","regions":[]}}}}},{"id":"1136","type":"exhibition","attributes":{"id":1136,"title":"Myron Turner: Bstat Zero","start_time":"2006-02-01T00:00:00.000-05:00","end_time":"2006-02-28T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"February 2006","url":"/exhibitions/myron-turner","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/10615\"\u003eMyron Turner\u003c/a\u003e’s \u003cem\u003eBstat Zero\u003c/em\u003e is an interactive “log analyzer” examining the logs that record visits to web servers and revealing the hidden architecture and interconnectedness of websites. When activated, it was a cooperative project focusing on the sites of new media artists and groups. Instead of standard web-traffic statistics, the tool emphasizes the origins of that traffic, such as specific countries, domains, IP addresses, browsers, and referral sources, including search engines and other websites. \u003cem\u003eBstat Zero\u003c/em\u003e originally performed cross-site comparisons by operating in two versions: one hosted on participating artists’ websites and another on BstatZero.org, where archives from participants were collected and analyzed. The project enabled users to explore patterns of viewership across multiple sites, examining who was visiting, how they arrived, and when. By exposing these data trails, \u003cem\u003eBstat Zero\u003c/em\u003e challenged the boundaries between public and private information online and offered insight into the relationship between the individual and the network.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cem\u003eBstat Zero\u003c/em\u003e relies on a network of sites that are no longer active, along with CGI scripts that may no longer function correctly.\u003c/p\u003e","primary_media_id":56634,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-10-03T10:02:44.200-04:00","updated_at":"2026-04-14T16:54:12.298-04:00","block_editor":{"data":{"id":"3777","type":"block_editor","attributes":{"id":3777,"exhibition_id":1136,"page_id":null,"created_at":"2025-06-16T12:38:22.019-04:00","updated_at":"2025-06-16T12:38:22.019-04:00","regions":[{"data":{"id":"24213","type":"region","attributes":{"id":24213,"position":1,"columns":12,"block_editor_id":3777,"created_at":"2026-04-14T16:51:43.422-04:00","updated_at":"2026-04-14T16:54:12.264-04:00","region_components":[{"data":{"id":"44490","type":"region_component","attributes":{"id":44490,"component_id":15992,"component_type":"TextComponent","position":1,"region_id":24213,"created_at":"2026-04-14T16:51:43.448-04:00","updated_at":"2026-04-14T16:54:12.270-04:00","component":{"data":{"id":"15992","type":"component","attributes":{"id":15992,"exhibition_id":1136,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eMyron Turner\u003c/strong\u003e (b. 1935; Winnipeg, Canada) combines photography, lightboxes, printmaking, and computers in his work. He has exhibited in galleries and artist-run centers throughout Canada, as well as in the United States, the United Kingdom, and South America. His digitally produced woodblock prints have won several awards at Boston Printmakers North American Biennials. Turner has worked with the web as a medium since 1994, and his web-based art has been included in online exhibitions and collections such as the runme.org software art repository, the Rhizome Artbase, Machinista 2003, and the JavaMuseum. In Canada, he has received new media grants from the Banff Centre for Arts and Creativity (1998, 1999, 2000) and cofounded the Manitoba Visual Arts Program in 1994.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1107","type":"exhibition","attributes":{"id":1107,"title":"Fragments of a Faith Forgotten: The Art of Harry Smith","start_time":"2023-10-04T00:00:00.000-04:00","end_time":"2024-01-28T00:00:00.000-05:00","member_start_time":"2023-09-28T00:00:00.000-04:00","member_end_time":"2023-10-02T00:00:00.000-04:00","date_override":"","url":"/exhibitions/harry-smith","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/14419\"\u003eHarry Smith\u003c/a\u003e (1923–1991) was a painter, filmmaker, folklorist, musicologist, and collector as well as a radical nonconformist whose work defies categorization. Although his creative output includes paintings, films, poetry, music, and sound recordings, it also consists of extensive collections of overlooked yet revealing objects, such as string figures and found paper airplanes. His best-known work, a compilation of recordings from the 1920s and 1930s titled the \u003cem\u003eAnthology of American Folk Music\u003c/em\u003e, achieved cultlike status among many musicians and listeners since it was first published in 1952.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eFragments of a Faith Forgotten: The Art of Harry Smith\u003c/em\u003e puts the artist's life on display alongside his art and collections. It follows him from an isolated Depression-era childhood in the Pacific Northwest—a time when he was immersed in ecstatic religious philosophies and Native American ceremony—to his bohemian youth of marijuana, peyote, and intellectualism in postwar Berkeley, California. The exhibition also traces his path through the milieus of bebop and experimental cinema in San Francisco to his decades in New York, where he was an essential part of the city's avant-garde fringe.\u003c/p\u003e\u003cp class=\"large\"\u003eKeenly attuned to changing technology, Smith embraced innovation and used whatever was new and of the moment. At the same time, his lifelong interest in abstract art, ancient traditions, metaphysics, spiritualism, folk art, and world music came to the fore even as he devised ingenious ways of collecting sounds and creating films. These concerns make Smith's work feel increasingly prescient as collecting and sharing come into view as creative acts that are necessary for drawing meaning from the glut of images and juxtaposition of cultures we encounter every day.\u003c/p\u003e\u003cp class=\"large\"\u003eThis exhibition is co-organized by the Whitney Museum of American Art and the Carpenter Center for the Visual Arts at Harvard University, where a version of the project will open in July 2024. The exhibition is curated by artist Carol Bove; Dan Byers, the John R. and Barbara Robinson Director of the Carpenter Center for the Visual Arts; Rani Singh, Director of the Harry Smith Archives; Elisabeth Sussman, Curator at the Whitney Museum of American Art; with Kelly Long, Senior Curatorial Assistant, and McClain Groff, Curatorial Project Assistant, at the Whitney Museum of American Art.\u003c/p\u003e\u003cp class=\"large\"\u003ePlease read about the exhibition’s \u003ca href=\"/exhibitions/harry-smith/accessibility-information\"\u003eaccessibility information\u003c/a\u003e before visiting \u003cem\u003eFragments of a Faith Forgotten: The Art of Harry Smith.\u003c/em\u003e\u003c/p\u003e\u003cp\u003eGenerous support for \u003cem\u003eFragments of a Faith Forgotten: The Art of Harry Smith\u003c/em\u003e is provided by The Andy Warhol Foundation for the Visual Arts.\u003c/p\u003e\u003cp\u003eIn New York, generous support is provided by Judy Hart Angelo, The Philip and Janice Levin Foundation, and the Whitney’s National Committee.\u003c/p\u003e\u003cp\u003eSignificant support is provided by The June Leaf and Robert Frank Foundation.\u003c/p\u003e\u003cp\u003eAdditional support is provided by Michèle Gerber Klein, The Robert Mapplethorpe Foundation, and the Yurman Family Foundation.\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/823795/Default_Logo_AWF.jpg\" style=\" height: 35px;\"\u003e\u003c/p\u003e","primary_media_id":55656,"override_media_id":null,"sign_media_id":null,"feature_id":54,"artwork_series_id":null,"installation_series_id":2605,"perspective_series_id":null,"press_highlights":"\u003cp\u003e“Looking through ‘Fragments,' you’ll see things that feel familiar and unremarkable, but together they embody a remarkable set of connections. You’re seeing the traces of the person who made the connections first and brought a riot of dissimilar notions into a single space.” —\u003ca href=\"https://www.artforum.com/columns/sasha-frere-jones-harry-smiths-fragments-of-a-faith-forgotten-512490/\"\u003e\u003cem\u003eArtforum\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“‘Far-out’ is an accurate, but inadequate, descriptor for the high-flying (and often plain high) cultural magus named Harry Smith” —\u003ca href=\"https://www.nytimes.com/2023/10/07/arts/design/harry-smith-whitney-review-artist-collector.html\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“…this show will garner much-deserved attention and a far wider audience than he achieved in his lifetime.” —\u003ca href=\"https://artlyst.com/reviews/new-york-gallery-art-notes-autumn-2023-ilka-scobie/\"\u003e\u003cem\u003eArtlyst\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“The exhibition makes the viewer want to enter a time machine and be transported back to one of his hotel room collections.” —\u003ca href=\"https://brooklynrail.org/2023/11/artseen/Harry-Smith-Fragments-of-a-Faith-Forgotten\"\u003e\u003cem\u003eBrooklyn Rail\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...a potent dose of homegrown uplift” —\u003ca href=\"https://www.nytimes.com/2023/09/02/arts/design/holland-cotter-art-exhibitions-museums-fall.html\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...an unusual, but thrilling new show” —\u003ca href=\"https://news.artnet.com/multimedia/the-art-angle-podcast-artist-carol-bove-on-curating-legendary-polymath-harry-smith-2365920\"\u003e\u003cem\u003eArtnet\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":"\u003cp class=\"large\"\u003eThe highly influential multivolume \u003cem\u003eAnthology of American Folk Musi\u003c/em\u003ec, first released by Folkways Records in 1952, marks Smith’s efforts to preserve American song as both art and artifact. Most, but not all, of the tracks are available on Spotify. The version here is not complete, but it is very close.\u003c/p\u003e\u003cp class=\"large\"\u003eAnd in this podcast minisode hear from\u003cem\u003e\u0026nbsp;\u003c/em\u003eGreil Marcus, acclaimed music author, journalist, and critic, about the broad and lasting impact of Smith's\u003cem\u003e\u0026nbsp;\u003c/em\u003eAnthology.\u003c/p\u003e","videos_description":"","created_at":"2023-09-19T14:50:43.498-04:00","updated_at":"2026-04-14T16:52:21.749-04:00","block_editor":{"data":{"id":"3721","type":"block_editor","attributes":{"id":3721,"exhibition_id":1107,"page_id":null,"created_at":"2025-06-16T12:38:20.428-04:00","updated_at":"2025-06-16T12:38:20.428-04:00","regions":[{"data":{"id":"22241","type":"region","attributes":{"id":22241,"position":1,"columns":12,"block_editor_id":3721,"created_at":"2025-02-19T09:52:05.861-05:00","updated_at":"2026-04-14T16:52:21.453-04:00","region_components":[{"data":{"id":"40539","type":"region_component","attributes":{"id":40539,"component_id":35,"component_type":"JumplinkComponent","position":1,"region_id":22241,"created_at":"2025-02-19T09:52:05.867-05:00","updated_at":"2026-04-14T16:52:21.543-04:00","component":{"data":{"id":"35","type":"component","attributes":{"id":35,"exhibition_id":1107,"text":"My Harry"}}}}}},{"data":{"id":"40540","type":"region_component","attributes":{"id":40540,"component_id":14768,"component_type":"TextComponent","position":2,"region_id":22241,"created_at":"2025-02-19T09:52:05.880-05:00","updated_at":"2026-04-14T16:52:21.601-04:00","component":{"data":{"id":"14768","type":"component","attributes":{"id":14768,"exhibition_id":1107,"text":"\u003ch2\u003eMy Harry\u003c/h2\u003e\u003cp class=\"large\"\u003eFrom December 8–10, 2023 we hosted \u003cem\u003eMy Harry\u003c/em\u003e, a weekend of programs bringing together some of Smith’s devoted friends and aficionados, all of whom have championed the unclassifiable artist, filmmaker, musicologist, and collector since his death in 1991. This mini-festival celebrated his eclectic life and serpentine pursuits with a series of talks, conversations, listening sessions, screenings, games, and live music.\u003c/p\u003e\u003cp\u003e\u003ca href=\"/my-harry\" class=\"btn\"\u003eLearn More about the My Harry Events\u003c/a\u003e\u003c/p\u003e"}}}}}},{"data":{"id":"41511","type":"region_component","attributes":{"id":41511,"component_id":3363,"component_type":"HorizontalRuleComponent","position":3,"region_id":22241,"created_at":"2025-04-30T14:16:07.166-04:00","updated_at":"2026-04-14T16:52:21.614-04:00","component":{"data":{"id":"3363","type":"component","attributes":{"id":3363,"exhibition_id":1107}}}}}},{"data":{"id":"41512","type":"region_component","attributes":{"id":41512,"component_id":15029,"component_type":"TextComponent","position":4,"region_id":22241,"created_at":"2025-04-30T14:16:07.172-04:00","updated_at":"2026-04-14T16:52:21.637-04:00","component":{"data":{"id":"15029","type":"component","attributes":{"id":15029,"exhibition_id":1107,"text":"\u003ch2\u003eRelated events \u0026amp; resources\u003c/h2\u003e\u003cp class=\"large\"\u003eIn conjunction with this exhibition, there are many events celebrating Smith’s centenary and the wide range of his interests, from music and art to spiritualism and metaphysics. We've gathered a list of Harry Smith–related happenings in and around New York City in addition to the Whitney’s programs and events. And check out the Harry Smith Archives for additional reading and resources.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/harry-smith/new-york-events\" class=\"btn\"\u003eEvents in and around New York City\u003c/a\u003e\u003ca href=\"https://harrysmitharchives.com/\" class=\"btn\"\u003eHarry Smith Archives\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1135","type":"exhibition","attributes":{"id":1135,"title":"Abe Linkoln + Marisa Olson: ABE \u0026amp; MO “SING THE BLOGS”","start_time":"2006-01-01T00:00:00.000-05:00","end_time":"2006-01-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"January 2006","url":"/exhibitions/linkoln-olson","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eABE \u0026amp; MO “SING THE BLOGS”\u003c/em\u003e is a conceptual online “album” featuring \u003ca href=\"/artists/10614\"\u003eAbe Linkoln and Marisa Olson\u003c/a\u003e singing posts from their favorite blogs. The Gate Page explores the genre-defining characteristics of blogs and their role as the “voice of the people.” Selecting the “greatest hits” from these online journals—such as the satirical Harriet Miers blog’s responses to her US Supreme Court nomination—the artists engage in a process of reblogging. Linkoln’s selected posts speak to musical genres at large, while Olson’s seek to find harmony within the selections. The project challenges traditional understanding of authorship and questions the role and voice of the artist in the digital age. By framing the blog as a performative stage on which they can potentially copy and spread materials in slight variations, the artists’ album references meme culture and the transformative nature of sampling.\u003c/p\u003e\u003cp\u003eSome of the linked sites related to this project are no longer online, but are available on the Internet Archive.\u003c/p\u003e","primary_media_id":56632,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-10-03T09:37:38.335-04:00","updated_at":"2026-04-14T16:48:21.175-04:00","block_editor":{"data":{"id":"3775","type":"block_editor","attributes":{"id":3775,"exhibition_id":1135,"page_id":null,"created_at":"2025-06-16T12:38:21.993-04:00","updated_at":"2025-06-16T12:38:21.993-04:00","regions":[{"data":{"id":"24212","type":"region","attributes":{"id":24212,"position":1,"columns":12,"block_editor_id":3775,"created_at":"2026-04-14T16:47:34.854-04:00","updated_at":"2026-04-14T16:48:21.153-04:00","region_components":[{"data":{"id":"44489","type":"region_component","attributes":{"id":44489,"component_id":15991,"component_type":"TextComponent","position":1,"region_id":24212,"created_at":"2026-04-14T16:47:34.864-04:00","updated_at":"2026-04-14T16:48:21.164-04:00","component":{"data":{"id":"15991","type":"component","attributes":{"id":15991,"exhibition_id":1135,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eAbe Linkoln\u003c/strong\u003e (aka \u003ca href=\"/artists/20911\"\u003eRick Silva\u003c/a\u003e, b. 1977; Piracicaba, Brazil) is a Brazilian-American artist whose videos, websites, and installations explore virtuality, futurology, and speculative ecologies. His work has been exhibited worldwide at institutions including the Centre Pompidou, Paris; Crystal Bridges Museum of American Art, Bentonville, Arkansas; and the Modern Art Museum of Fort Worth. He has had solo exhibitions at TRANSFER, New York; Wil Aballe Art Projects, Vancouver, Canada; New Shelter Plan, Copenhagen; and Ditch Projects, Springfield, Oregon. He has been featured in \u003cem\u003eArtforum\u003c/em\u003e, \u003cem\u003eWIRED\u003c/em\u003e, and Rhizome’s Net Art Anthology. He lives in Eugene, Oregon, where he is an associate professor at the University of Oregon.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eMarisa Olson\u003c/strong\u003e (b. 1977; Augsburg, Germany) combines performance, video, new media, painting, drawing, and installation in her work to address the cultural histories of technology and wellness, experiences of gender, and the politics of participation within pop culture. She is a founding member of the Nasty Nets internet surfing club, a former editor and curator of Rhizome, and the former associate director of the gallery SF Camerawork, San Francisco. Her work has been presented by institutions such as the New Museum, New York; Tate Modern, London, and Tate Liverpool, United Kingdom; the Venice Biennale (2007); Fotomuseum Winterthur, Switzerland; and the National Museum of Contemporary Art, Athens, Greece. It has also been featured in the \u003cem\u003eNew York Times\u003c/em\u003e, \u003cem\u003eInterview\u003c/em\u003e, \u003cem\u003eFrieze\u003c/em\u003e, \u003cem\u003eArt in America\u003c/em\u003e, \u003cem\u003eArt21\u003c/em\u003e, \u003cem\u003eLe Monde\u003c/em\u003e, and the \u003cem\u003eWall Street Journal\u003c/em\u003e, among others.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1133","type":"exhibition","attributes":{"id":1133,"title":"George Legrady: Making Visible the Invisible","start_time":"2005-11-01T00:00:00.000-05:00","end_time":"2005-11-30T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"November 2005","url":"/exhibitions/george-legrady","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eMaking Visible the Invisible\u003c/em\u003e by \u003ca href=\"/artists/10286\"\u003eGeorge Legrady\u003c/a\u003e is a data visualization project based on statistical analysis of the book and media circulation in the Seattle Central Library. The Gate Page is a database that tracks hourly data of library checkouts, including books, CDs, DVDs, and other materials. The data at the library is classified in two separate categories: fiction and nonfiction items arranged by discipline according to the Dewey Decimal Classification System. The Gate Page features the number of books checked out, a map highlighting current circulating books according to their Dewey classification category, an hourly histogram of circulation activities, and the top twenty most active Dewey categories. Clicking on each category reveals a chronological list of titles checked out during the previous hour. One of the longest continuously running online data visualization sites to date, the work\u003cem\u003e\u0026nbsp;\u003c/em\u003ereveals the ways in which information flows and how subjects of interest evolve over time, making visible the invisible patterns of collective knowledge consumption.\u003c/p\u003e\u003cp class=\"large\"\u003eProject credits: George Legrady, concept and artistic direction; Andreas Schlegel, web design and interface.\u003c/p\u003e","primary_media_id":56630,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-10-02T23:12:03.572-04:00","updated_at":"2026-04-14T16:43:30.702-04:00","block_editor":{"data":{"id":"3771","type":"block_editor","attributes":{"id":3771,"exhibition_id":1133,"page_id":null,"created_at":"2025-06-16T12:38:21.945-04:00","updated_at":"2025-06-16T12:38:21.945-04:00","regions":[{"data":{"id":"24211","type":"region","attributes":{"id":24211,"position":1,"columns":12,"block_editor_id":3771,"created_at":"2026-04-14T16:43:30.632-04:00","updated_at":"2026-04-14T16:43:30.654-04:00","region_components":[{"data":{"id":"44488","type":"region_component","attributes":{"id":44488,"component_id":15990,"component_type":"TextComponent","position":1,"region_id":24211,"created_at":"2026-04-14T16:43:30.649-04:00","updated_at":"2026-04-14T16:43:30.649-04:00","component":{"data":{"id":"15990","type":"component","attributes":{"id":15990,"exhibition_id":1133,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eGeorge Legrady\u003c/strong\u003e (b. 1950; Budapest, Hungary) has explored born-digital processes in fine arts since the mid-1980s. His work has ranged from a fusion of computation with photography to multilinear interactive narratives to site-specific installations using custom software for real-time visualization. His installations have been exhibited internationally since the early 1990s at venues including the Cornerhouse Gallery (1985–2015), Manchester, United Kingdom; the Museum of Contemporary Art Kiasma, Helsinki; Centre Georges Pompidou, Paris; Ars Electronica, Linz, Austria; DEAF (Dutch Electronic Art Festival), Netherlands; the San Francisco Museum of Modern Art; and the National Gallery of Canada. He has received awards from Creative Capital Foundation (2002); the Daniel Langlois Foundation for the Art, Science, and Technology (2000); the Canada Council for the Arts (1992, 1994, 1997); and the National Endowment for the Arts (1996).\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eAndreas Schlegel\u003c/strong\u003e (b. 1975; Stuttgart, Germany) is a Singapore-based artist and educator whose practice bridges art, design, and technology. His solo and collaborative works have been exhibited at the Institute of Contemporary Arts Singapore, National Gallery Singapore, Groninger Museum in the Netherlands, Total Museum of Contemporary Art in Seoul, and Tainan Art Museum in Taiwan, among others. He holds degrees from UC Santa Barbara and Merz Akademie, Stuttgart, and teaches at LASALLE College of the Arts, University of the Arts Singapore.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1132","type":"exhibition","attributes":{"id":1132,"title":"John F. Simon Jr.: A Look Inside “Mobility Agents” Code Improvisations: Hatch Tool","start_time":"2005-10-01T00:00:00.000-04:00","end_time":"2005-10-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"October 2005","url":"/exhibitions/john-f-simon-jr","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/5339\"\u003eJohn F. Simon Jr.\u003c/a\u003e’s \u003cem\u003eA Look Inside “Mobility Agents” Code Improvisations: Hatch Tool\u003c/em\u003e presents six applets excerpted from his larger project \u003cem\u003eMobility Agents\u003c/em\u003e, an artist’s book and software project co-published by the Whitney Museum of American Art and Printed Matter, Inc. The six code improvisations—Slope, Straight, Cross, Cactus, Klee, and Double Klee—invite users to explore basic variables by using their cursor to draw on the screen. The work\u003cem\u003e\u0026nbsp;\u003c/em\u003eexplores how software translates data into visual expression on the computer screen and showcases the wide variety of marks that can be generated with the “Hatch Tool.” Simon’s work illustrates how every line, mark, and motion on screen results from numerous creative decisions that serve as a deeply individual form of expression.\u003c/p\u003e\u003cp\u003eThis project relies on Java applets, emulated through \u003ca href=\"https://cheerpj.com/\"\u003eCheerpJ\u003c/a\u003e to run in modern browsers.\u003c/p\u003e","primary_media_id":56628,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-10-02T22:44:16.879-04:00","updated_at":"2026-04-14T16:40:48.919-04:00","block_editor":{"data":{"id":"3769","type":"block_editor","attributes":{"id":3769,"exhibition_id":1132,"page_id":null,"created_at":"2025-06-16T12:38:21.917-04:00","updated_at":"2025-06-16T12:38:21.917-04:00","regions":[{"data":{"id":"24210","type":"region","attributes":{"id":24210,"position":1,"columns":12,"block_editor_id":3769,"created_at":"2026-04-14T16:35:16.763-04:00","updated_at":"2026-04-14T16:40:48.716-04:00","region_components":[{"data":{"id":"44487","type":"region_component","attributes":{"id":44487,"component_id":15989,"component_type":"TextComponent","position":1,"region_id":24210,"created_at":"2026-04-14T16:35:16.774-04:00","updated_at":"2026-04-14T16:40:48.738-04:00","component":{"data":{"id":"15989","type":"component","attributes":{"id":15989,"exhibition_id":1132,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eJohn F. Simon Jr.\u003c/strong\u003e (b. 1963; Shreveport, Louisiana), a software art pioneer, holds degrees in fine art, geology, planetary science, and computer art. Throughout his career, Simon has explored various mediums, including plotter drawings, acrylic sculptures, charcoal, LCD screens, and web-based systems. Drawing inspiration from contemplative drawing practices, Simon’s daily drawings inform his larger artworks. His works have been featured in major exhibitions and are in the collection of institutions such as the Museum of Modern Art, the Guggenheim Museum, and the Whitney Museum of American Art in New York; as well as the San Francisco Museum of Modern Art and the Los Angeles County Museum of Art. His seminal work \u003cem\u003eEvery Icon\u003c/em\u003e was included in the \u003ca href=\"/exhibitions/biennial-2000\"\u003e2000 Whitney Biennial\u003c/a\u003e, and he collaborated with Björk to develop an app for her groundbreaking album \u003cem\u003eBiophilia\u003c/em\u003e (2011).\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1131","type":"exhibition","attributes":{"id":1131,"title":"Benjamin Fry: computational information design | sketches","start_time":"2005-09-01T00:00:00.000-04:00","end_time":"2005-09-30T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"September 2005","url":"/exhibitions/benjamin-fry","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8181\"\u003eBenjamin Fry\u003c/a\u003e’s \u003cem\u003ecomputational information design | sketches\u003c/em\u003e acts as an entry portal to four interactive sketches that combine information visualization, data mining, and graphic design to interpret complex datasets. Each sketch offers a unique approach to data representation and explores how visualization shapes new understandings of information. The sketch \u003cem\u003eisometricblocks\u003c/em\u003e looks at deviations in genetic data among individuals, specifically so-called single-nucleotide polymorphisms (SNPs or “snips”), single-letter changes that occur every few thousand letters in the genome and exhibit distinct patterns. Researchers look for these patterns in genome sections of hundreds of people in search of diseases such as Crohn’s—a dataset used in \u003cem\u003eisometricblocks\u003c/em\u003e. The \u003cem\u003edistellamap\u003c/em\u003e sketch visualizes the internal operations of code within six Atari 2600 cartridge games, among them \u003cem\u003eCombat\u003c/em\u003e and \u003cem\u003ePac-Man\u003c/em\u003e. The maps show the code as columns of assembly language, with conditional statements—such as “if x is true, go to y —visualized as curves drawn from the point of the statement to its destination. The sketch \u003cem\u003esalary vs. performance\u003c/em\u003e analyzes the relationship between team spending and rankings during the 2005 Major League Baseball season; and \u003cem\u003ezipdecode\u003c/em\u003e allows users to input US postal codes to see their corresponding geographic locations on a map.\u003c/p\u003e","primary_media_id":56627,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-10-02T21:09:51.111-04:00","updated_at":"2026-04-14T16:31:25.972-04:00","block_editor":{"data":{"id":"3767","type":"block_editor","attributes":{"id":3767,"exhibition_id":1131,"page_id":null,"created_at":"2025-06-16T12:38:21.887-04:00","updated_at":"2025-06-16T12:38:21.887-04:00","regions":[{"data":{"id":"24209","type":"region","attributes":{"id":24209,"position":1,"columns":12,"block_editor_id":3767,"created_at":"2026-04-14T16:30:46.448-04:00","updated_at":"2026-04-14T16:31:25.936-04:00","region_components":[{"data":{"id":"44486","type":"region_component","attributes":{"id":44486,"component_id":15988,"component_type":"TextComponent","position":1,"region_id":24209,"created_at":"2026-04-14T16:30:46.458-04:00","updated_at":"2026-04-14T16:31:25.943-04:00","component":{"data":{"id":"15988","type":"component","attributes":{"id":15988,"exhibition_id":1131,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eBenjamin Fry\u003c/strong\u003e (b. 1975; Ann Arbor, Michigan) creates work combining computer science, statistics, graphic design, and data visualization to explore information. With \u003ca href=\"/artists/9612\"\u003eCasey Reas\u003c/a\u003e in 2001, he created \u003ca href=\"https://processing.org/\"\u003eProcessing\u003c/a\u003e, an open-source programming language and environment. His work has been shown in the \u003ca href=\"/exhibitions/biennial-2002\"\u003e2002 Whitney Biennial\u003c/a\u003e and the 2003 and 2006 Cooper Hewitt Smithsonian Museum National Design Triennial, as well as at the Museum of Modern Art and the International Center of Photography in New York; Ars Electronica, Linz, Austria; and in the films \u003cem\u003eMinority Report\u003c/em\u003e (2002) and \u003cem\u003eHulk\u0026nbsp;\u003c/em\u003e(2003). Fry was selected as one of Fast Company’s Fifty Most Influential Designers in America (2011) and as one of Slate’s Top Right (2011) and received the National Design Award for Interaction Design (2011).\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1129","type":"exhibition","attributes":{"id":1129,"title":"C5: GPS Media Player","start_time":"2005-06-01T00:00:00.000-04:00","end_time":"2005-07-31T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"June/July 2005","url":"/exhibitions/c5","primary_text":"\u003cp class=\"large\"\u003eThe artist collective \u003ca href=\"/artists/15337\"\u003eC5\u003c/a\u003e’s \u003cem\u003eGPS Media Player\u003c/em\u003e was developed as part of its \u003cem\u003eLandscape Initiative\u003c/em\u003e (2001–7), a series of projects exploring data visualization systems as art. Engaged with mapping, navigation, and land search through Geographic Information Systems (GIS), the series consisted of three parts—\u003cem\u003eThe Analogous Landscape\u003c/em\u003e, \u003cem\u003eThe Perfect View\u003c/em\u003e, and \u003cem\u003eThe Other Path\u003c/em\u003e—for which C5 members (Joel Slayton, Steve Durie, Geri Wittig, Bruce Gardner, Jack Toolin, Brett Stalbaum, Amul Goswamy, Matt Mays) undertook massive performative expeditions all over the world. For \u003cem\u003eThe Analogous\u003c/em\u003e \u003cem\u003eLandscape\u003c/em\u003e, for example, they climbed peaks such as Mounts Whitney and Shasta in California and Mount Fuji in Japan. Their respective journeys were tracked by GPS and Digital Elevation Modeling (DEM). \u003cem\u003eThe C5 GPS Media Player\u003c/em\u003e, a visual interface, allows users to navigate and explore the GPS tracks stored in the C5 Landscape Database. Users can conduct comparative track analyses, sorted by the \u003cem\u003eLandscape Initiative\u003c/em\u003e projects, artist, or events. Each track traces a hiker’s journey from a first-person perspective through images and text recorded during the trek. Blending conceptual, performance, and land art with research, business, and exploratory adventure, the project investigates shifting understandings of the landscape in information visualization and reconsiders the role of exploration in art.\u003c/p\u003e\u003cp\u003eThe original \u003cem\u003eGPS Media Player\u003c/em\u003e is no longer online, but documentation is available at \u003ca href=\"http://www.c5corp.com/venues/camerawork/index.shtml\"\u003ec5corp.com\u003c/a\u003e\u003c/p\u003e","primary_media_id":56625,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-10-02T19:25:06.095-04:00","updated_at":"2026-04-14T16:27:59.643-04:00","block_editor":{"data":{"id":"3763","type":"block_editor","attributes":{"id":3763,"exhibition_id":1129,"page_id":null,"created_at":"2025-06-16T12:38:21.837-04:00","updated_at":"2025-06-16T12:38:21.837-04:00","regions":[{"data":{"id":"24208","type":"region","attributes":{"id":24208,"position":1,"columns":12,"block_editor_id":3763,"created_at":"2026-04-14T16:27:13.660-04:00","updated_at":"2026-04-14T16:27:59.217-04:00","region_components":[{"data":{"id":"44485","type":"region_component","attributes":{"id":44485,"component_id":15987,"component_type":"TextComponent","position":1,"region_id":24208,"created_at":"2026-04-14T16:27:13.669-04:00","updated_at":"2026-04-14T16:27:59.231-04:00","component":{"data":{"id":"15987","type":"component","attributes":{"id":15987,"exhibition_id":1129,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eC5\u003c/strong\u003e (active 1990–2009, San Jose, California) was an art collective that specialized in cultural production informed by the blurred boundaries of research, art, and business practice. C5’s guiding principle was “theory as product” and their work focused on the development of tactical strategies involving information visualization, databases, and distributed networks. C5 projects have been featured at institutions such as the Institute of Contemporary Arts, London; the Whitney Museum of American Art, New York; the Walker Art Center, Minneapolis; the Center for Critical Inquiry and Cultural Studies at Arizona State University, Phoenix; and the Cantor Arts Center, Stanford University, California. C5 representatives have participated in international symposia and festivals including Transmediale, Berlin; Ars Electronica, Linz, Austria; Auckland University of Technology, New Zealand; and the Second International Biennial, Buenos Aires (2002).\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1127","type":"exhibition","attributes":{"id":1127,"title":"Erik Loyer: Living and Active","start_time":"2005-05-01T00:00:00.000-04:00","end_time":"2005-05-31T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"May 2005","url":"/exhibitions/erik-loyer","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/9999\"\u003eErik Loyer\u003c/a\u003e’s Gate Page \u003cem\u003eLiving and Active\u0026nbsp;\u003c/em\u003eprovided a portal to his award-winning project \u003cem\u003eThe Lair of the Marrow Monkey\u0026nbsp;\u003c/em\u003e(1998), a dynamic, abstract interface that allowed users to play with text to construct poetic narratives and reflections on memory. The Gate Page consists of an array of letters that jump around in a rectangular frame and, accompanied by sounds, assemble themselves in response to the viewer’s cursor. While the letters never fall neatly into a linear line of text, they are still recognizable as the biblical phrase \"For the word of God is living and active\" (Hebrews 4:12). Loyer’s Gate Page makes the meaning of the quote palpable, treating letters and words not as static signs but a dynamic, living, and active force that shapes lives.\u003c/p\u003e\u003cp\u003eThis project links to \u003cem\u003emarrowmonkey.com\u003c/em\u003e which is no longer online. It is partially accessible on the \u003ca href=\"https://web.archive.org/web/20050406172532/http://marrowmonkey.com/menu.html\"\u003eInternet Archive\u003c/a\u003e, though it relies Shockwave .dcr files that are no longer readily playable.\u003c/p\u003e","primary_media_id":56613,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-09-29T11:50:07.528-04:00","updated_at":"2026-04-14T16:16:57.800-04:00","block_editor":{"data":{"id":"3761","type":"block_editor","attributes":{"id":3761,"exhibition_id":1127,"page_id":null,"created_at":"2025-06-16T12:38:21.812-04:00","updated_at":"2025-06-16T12:38:21.812-04:00","regions":[{"data":{"id":"24207","type":"region","attributes":{"id":24207,"position":1,"columns":12,"block_editor_id":3761,"created_at":"2026-04-14T16:03:13.694-04:00","updated_at":"2026-04-14T16:16:57.739-04:00","region_components":[{"data":{"id":"44484","type":"region_component","attributes":{"id":44484,"component_id":15986,"component_type":"TextComponent","position":1,"region_id":24207,"created_at":"2026-04-14T16:03:13.722-04:00","updated_at":"2026-04-14T16:16:57.745-04:00","component":{"data":{"id":"15986","type":"component","attributes":{"id":15986,"exhibition_id":1127,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eErik Loyer\u003c/strong\u003e (b. 1972; San Francisco, California) explores how interactive media change the way we share stories and experiences. In games, apps, comics, websites, and videos, he has used digital media to interweave present and past, music and poetry, performance and archive. Loyer founded the interactive media studio Opertoon in 2008, releasing narrative-driven works while also developing creative tools for exploring digital temporality used in classrooms, workshops, and commercial releases. He has created over a dozen interactive documentaries in collaboration with leading scholars, artists, and organizations such as the Martin Luther King Jr. Research and Education Institute at Stanford University in California. Loyer’s work has been commissioned by the Museum of Contemporary Art, Los Angeles, and the San Francisco Museum of Modern Art. His work has been exhibited across the United States and Europe.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1033","type":"exhibition","attributes":{"id":1033,"title":"Amelia Winger-Bearskin: Sky/World Death/World","start_time":"2022-12-15T00:00:00.000-05:00","end_time":"2023-04-10T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/amelia-winger-bearskin","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/20683\"\u003eAmelia Winger-Bearskin\u003c/a\u003e’s \u003cem\u003eSky/World Death/World\u0026nbsp;\u003c/em\u003ecombines animations and poetic text connecting sunrise and sunset to Indigenous creation myths. The \u003cem\u003eSky/World\u003c/em\u003e of sunrise references the Haudenosaunee origin story of Sky Woman who belonged to the sky people, a tribe rooted in the celestial heavens before the world was created. After falling through a hole created by an uprooted tree, Sky Woman creates a home on earth out of the oceans and mud with the help of animals. Winger-Bearskin pairs abstract animations of dawn created in a game engine with the question “Who benefits from your burnout?,” using it as a prompt for reflecting on the sharing of life. The \u003cem\u003eDeath/World\u003c/em\u003e of sunset asks the question “What is made bright by the loss of your light?” and hints at the thin veil between sleep and death while evoking renewal. The accompanying animation mixes abstract visuals with a video clip of the artist herself that once was part of one of her artworks. The work had disappeared, and the footage was recovered from the Internet Archive, a testament to both the ephemerality of digital work and the potential of recovery. The questions raised in \u003cem\u003eSky/World Death/World\u003c/em\u003e were originally written by Winger-Bearskin for a series of billboards by the artist collective For Freedoms of which she is a member.\u003c/p\u003e","primary_media_id":54434,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2022-12-09T11:11:40.590-05:00","updated_at":"2026-04-14T14:45:20.771-04:00","block_editor":{"data":{"id":"3627","type":"block_editor","attributes":{"id":3627,"exhibition_id":1033,"page_id":null,"created_at":"2025-06-16T12:38:15.930-04:00","updated_at":"2025-06-16T12:38:15.930-04:00","regions":[{"data":{"id":"22225","type":"region","attributes":{"id":22225,"position":1,"columns":12,"block_editor_id":3627,"created_at":"2025-02-19T09:52:05.156-05:00","updated_at":"2026-04-14T14:45:20.655-04:00","region_components":[{"data":{"id":"40513","type":"region_component","attributes":{"id":40513,"component_id":14754,"component_type":"TextComponent","position":1,"region_id":22225,"created_at":"2025-02-19T09:52:05.164-05:00","updated_at":"2026-04-14T14:45:20.663-04:00","component":{"data":{"id":"14754","type":"component","attributes":{"id":14754,"exhibition_id":1033,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eAmelia Winger-Bearskin\u003c/strong\u003e (b. 1979) is an artist who uses artificial intelligence to make a positive impact on communities and the environment. She is the founder of the AI Climate Justice Lab and the Talk to Me About Water collective. Winger-Bearskin’s award-winning podcast Wampum.Codes explores an ethical framework for software development based on Indigenous values of co-creation. In 2022 she was awarded a Sundance Art Of Practice Fellowship for her project \u003cem\u003eSKY WORLD/CLOUD WORLD\u003c/em\u003e. In 2018 she served as a delegate at the summit “Fostering Universal Ethics and Compassion through Museums” hosted by the Dalai Lama in Dharamsala, India. Winger-Bearskin is a Banks Family Preeminence Chair of Artificial Intelligence and the Arts at the Digital Worlds Institute at the University of Florida. She is Haudenosaunee (Iroquois) and an enrolled member of the Seneca-Cayuga Nation of Oklahoma, Deer Clan, on her mother’s side and Jewish/Baháa’í on her late father’s side.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1134","type":"exhibition","attributes":{"id":1134,"title":"Simon Goldin + Jakob Senneby: Flack Attack","start_time":"2005-12-01T00:00:00.000-05:00","end_time":"2005-12-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"December 2005","url":"/exhibitions/goldin-senneby","primary_text":"\u003cp class=\"large\"\u003eWith their Gate Page, \u003ca href=\"/artists/14410\"\u003eGoldin+Senneby\u003c/a\u003e (founded 2004, Stockholm, Sweden) explored the participatory production of a magazine in \u003cem\u003eThe Port\u003c/em\u003e, a community-driven space they initiated inside the online 3D world \u003cem\u003eSecond Life\u003c/em\u003e. The space was accessible to \u003cem\u003eSecond Life\u003c/em\u003e inhabitants, as well as potentially all internet users, who were invited to contribute articles, images, and comments to the magazine on a Wiki-like platform within \u003cem\u003eThe Port\u003c/em\u003e. Over the course of December 2005, editorial meetings were held every Tuesday, Thursday, and Sunday and documented with minutes and images published through the Gate Page. What resulted was a print-on-demand magazine titled \u003cem\u003eFlack Attack\u003c/em\u003e \u003cem\u003e(on Autonomy)\u003c/em\u003e, which examined networked public spheres and the paradoxes of autonomy within commodified digital environments. As both a spatial and networked experiment, \u003cem\u003eFlack Attack\u003c/em\u003e transformed magazine production into a process-driven, participatory platform that considered authorship, community, and creative autonomy in the age of social software.\u003ca href=\"https://web.archive.org/web/20070501094351/http:/www.theport.tv/wp/wordpress/\"\u003e\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"https://web.archive.org/web/20070501094351/http:/www.theport.tv/wp/wordpress/\"\u003etheport.tv\u003c/a\u003e\u003cbr\u003e\u003ca href=\"https://web.archive.org/web/20060206084902/http://www.objectsofvirtualdesire.com/\"\u003eobjectsofvirtualdesire.com\u003c/a\u003e\u003cbr\u003e\u003ca href=\"https://web.archive.org/web/20061014180100/http://www.flackattack.org/faw/index.php?title=Main_Page\"\u003eflackattack.org\u003c/a\u003e\u003c/p\u003e\u003cp\u003eMany sites linked throughout this project are no longer online, but are available on the Internet Archive. Further description of the project can be found on \u003ca href=\"https://goldinsenneby.com/publications/flack-attack/\"\u003egoldinsenneby.com\u003c/a\u003e.\u003c/p\u003e","primary_media_id":56631,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-10-03T09:12:55.259-04:00","updated_at":"2026-04-14T14:44:48.413-04:00","block_editor":{"data":{"id":"3773","type":"block_editor","attributes":{"id":3773,"exhibition_id":1134,"page_id":null,"created_at":"2025-06-16T12:38:21.969-04:00","updated_at":"2025-06-16T12:38:21.969-04:00","regions":[{"data":{"id":"23841","type":"region","attributes":{"id":23841,"position":1,"columns":12,"block_editor_id":3773,"created_at":"2026-03-05T12:39:33.699-05:00","updated_at":"2026-04-14T14:44:48.374-04:00","region_components":[{"data":{"id":"43895","type":"region_component","attributes":{"id":43895,"component_id":15749,"component_type":"TextComponent","position":1,"region_id":23841,"created_at":"2026-03-05T12:39:33.861-05:00","updated_at":"2026-04-14T14:44:48.383-04:00","component":{"data":{"id":"15749","type":"component","attributes":{"id":15749,"exhibition_id":1134,"text":"\u003cp class=\"large\"\u003eFounded in 2004, Goldin+Senneby—Stockholm-based artists \u003cstrong\u003eSimon Goldin\u003c/strong\u003e (b. 1971; Umeå, Sweden) and \u003cstrong\u003eJakob Senneby\u003c/strong\u003e (b. 1981; Stockholm, Sweden)—have explored the structural correspondences between conceptual art and finance capital. Their works include the ghostwritten detective novel \u003cem\u003eHeadless\u003c/em\u003e (2007–15), about an offshore company in the Bahamas; \u003cem\u003eEternal Employment\u0026nbsp;\u003c/em\u003e(2022),\u003cem\u003e\u0026nbsp;\u003c/em\u003ea proposal for a job at a train station; and \u003cem\u003eFlare-Up / Flare-Up\u003c/em\u003e (2025), an exploration of the bodily experiences of an autoimmune disease. They have had solo exhibitions at Tensta konsthall, Stockholm; Artspace Aoteaora, Auckland; Kadist, Paris; the Power Plant, Toronto; NOME, Berlin; and the MIT List Visual Arts Center, Cambridge, Massachusetts. Their work has been included in the Eleventh Gwangju Biennale (2016), Thirteenth Istanbul Biennial (2013), Manifesta 9 (2012); and the Twenty-Eighth São Paulo Biennial (2008). They are represented in the collections of Moderna Museet, Stockholm; Centre Pompidou, Paris; and the Museum of Modern Art, New York.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1098","type":"exhibition","attributes":{"id":1098,"title":"Natalie Bookchin: Metapet Splash","start_time":"2003-05-01T00:00:00.000-04:00","end_time":"2003-05-31T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"May 2003","url":"/exhibitions/natalie-bookchin","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eMetapet Splash\u003c/em\u003e is an entry page to \u003ca href=\"/artists/8923\"\u003eNatalie Bookchin\u003c/a\u003e’s online game \u003cem\u003eMetapet\u003c/em\u003e (2002), which relaunched in an updated version on May 1, 2003, and exists as an archive today. The work explored the social and political concerns surrounding genetic engineering, corporate culture, and the electronic gaming industry. Players took on the role of the corporate manager of a Metapet, a hybrid species created by inserting a gene from a trained dog into a human to create a more obedient worker. The player’s challenge was to find the right balance between a firm hand and a gentle coax; offering promotions or vacations, for example, would make the bioengineered pet work more efficiently. Bookchin’s game placed the player at the center of corporate biotech culture and made them experience the role of a complicit manager.\u003c/p\u003e\u003cp\u003eThe original \u003cem\u003eMetapet\u003c/em\u003e is no longer online, but it can still be partially viewed on the \u003ca href=\"https://web.archive.org/web/20040609024101/http://www.metapet.net/\"\u003eInternet Archive\u003c/a\u003e, and more information about the project is available at \u003ca href=\"https://bookchin.net/projects/metapet/\"\u003ebookchin.net/projects/metapet\u003c/a\u003e.\u003c/p\u003e","primary_media_id":56381,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-09-05T17:17:21.563-04:00","updated_at":"2026-04-14T14:44:29.365-04:00","block_editor":{"data":{"id":"3705","type":"block_editor","attributes":{"id":3705,"exhibition_id":1098,"page_id":null,"created_at":"2025-06-16T12:38:19.212-04:00","updated_at":"2025-06-16T12:38:19.212-04:00","regions":[{"data":{"id":"24137","type":"region","attributes":{"id":24137,"position":1,"columns":12,"block_editor_id":3705,"created_at":"2026-04-06T10:13:56.294-04:00","updated_at":"2026-04-14T14:44:29.319-04:00","region_components":[{"data":{"id":"44374","type":"region_component","attributes":{"id":44374,"component_id":15918,"component_type":"TextComponent","position":1,"region_id":24137,"created_at":"2026-04-06T10:13:56.349-04:00","updated_at":"2026-04-14T14:44:29.328-04:00","component":{"data":{"id":"15918","type":"component","attributes":{"id":15918,"exhibition_id":1098,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eNatalie Bookchin\u003c/strong\u003e (b. 1962; New York, New York) has made single and multi-channel video and sound works, films, interactive installations, photographs, performances, texts, net art, online computer games, embroidery, drawing, and hacktivist public interventions. Her work has been shown at venues including MoMA PS1, the Kitchen, and the International Center of Photography in New York; the Los Angeles County Museum of Art and the Museum of Contemporary Art, Los Angeles; the Massachusetts Museum of Contemporary Art, North Adams; Tate Modern, London; Centre Pompidou, Paris; and La Virreina Center de la Imatge, Barcelona. She has received awards and fellowships from the California Arts Council (2002); the Guggenheim Foundation (2002); the Center for Cultural Innovation (2009–11); the Durfee Foundation (2007); the Rockefeller Foundation (2004); the California Community Foundation (2007); the Jerome Foundation (1999); the Daniel Langlois Foundation for Art, Science, and Technology; and the Yaddo (2016) and MacDowell (2016) communities, among others.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1112","type":"exhibition","attributes":{"id":1112,"title":"Futurefarmers: Playshop","start_time":"2004-03-01T00:00:00.000-05:00","end_time":"2004-03-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"March 2004","url":"/exhibitions/futurefarmers","primary_text":"\u003cp class=\"large\"\u003eThe Gate Page by \u003ca href=\"/artists/15441\"\u003eFuturefarmers\u003c/a\u003e served as an entry portal to the artist collective’s open access “laboratory” \u003cem\u003ePlayshop\u003c/em\u003e, a series of workshops, seminars, and installations that took place at the Yerba Buena Center for the Arts in San Francisco from January 17 to April 4, 2004. The accompanying \u003cem\u003ePlayshop\u003c/em\u003e website—comprising a mailing list, database, and gallery—served as a resource for the events and projects in the physical space. The activities at Yerba Buena included Java and Processing tutorials; a Wifi workshop; and circuit bending, or intentionally altering the circuits of electronic devices such as battery-powered toys and keyboards to create new uses and effects. The \u003cem\u003ePlayshop\u003c/em\u003e laboratory merged art production, education, and curatorial practice to foster a public space for creative exchange.\u003c/p\u003e\u003cp\u003eThis project links out to the \u003cem\u003ePlayshop\u003c/em\u003e\u003cem\u003e\u0026nbsp;\u003c/em\u003ewebsite which is no longer online, but can be viewed on the \u003ca href=\"https://web.archive.org/web/20050207053251/http://www.futurefarmers.com:80/playshop/index.php\"\u003eInternet Archive\u003c/a\u003e.\u003c/p\u003e","primary_media_id":56564,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-09-25T22:24:22.333-04:00","updated_at":"2026-04-14T14:44:16.142-04:00","block_editor":{"data":{"id":"3731","type":"block_editor","attributes":{"id":3731,"exhibition_id":1112,"page_id":null,"created_at":"2025-06-16T12:38:20.566-04:00","updated_at":"2025-06-16T12:38:20.566-04:00","regions":[{"data":{"id":"24162","type":"region","attributes":{"id":24162,"position":1,"columns":12,"block_editor_id":3731,"created_at":"2026-04-09T12:33:50.260-04:00","updated_at":"2026-04-14T14:44:16.089-04:00","region_components":[{"data":{"id":"44438","type":"region_component","attributes":{"id":44438,"component_id":15941,"component_type":"TextComponent","position":1,"region_id":24162,"created_at":"2026-04-09T12:33:50.278-04:00","updated_at":"2026-04-14T14:44:16.100-04:00","component":{"data":{"id":"15941","type":"component","attributes":{"id":15941,"exhibition_id":1112,"text":"\u003cp class=\"large\"\u003eFounded in 1995 by \u003cstrong\u003eAmy Franceschini\u003c/strong\u003e (b. 1970; Patterson, California), \u003cstrong\u003eFuturefarmers\u003c/strong\u003e is a group of diverse practitioners aligned through an interest in making work that is relevant to its time and place. The design studio serves as a platform to support art projects and an artist-in-residence program. Its artists, designers, architects, anthropologists, writers, computer programmers, and farmers share a common interest in creating frameworks for exchange that catalyze moments of “not knowing.” Futurefarmers deconstructs systems such as food policies, public transportation, campus design, and rural farming networks to visualize and understand their intrinsic logics. Futurefarmers has published \u003cem\u003eA Variation on Powers of Ten\u003c/em\u003e (2012) and \u003cem\u003eFor Want of a Nail\u003c/em\u003e (2019). The group has exhibited work at the Guggenheim Museum (2010) and the Museum of Modern Art (2006, 2008) in New York; the Walker Art Center, Minneapolis (2012); the 2000 Whitney Biennial; the Sharjah Biennale 2017; and the Taipei Biennale 2018.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1122","type":"exhibition","attributes":{"id":1122,"title":"Diane Ludin: Converging the Body and Information","start_time":"2004-12-01T00:00:00.000-05:00","end_time":"2004-12-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"December 2004","url":"/exhibitions/diane-ludin","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eConverging the Body and Information\u003c/em\u003e by \u003ca href=\"/artists/9802\"\u003eDiane Ludin\u003c/a\u003e is an entry portal to a series of the artist’s signature works critiquing representations of the biotechnology and information labor industries. The featured projects include \u003cem\u003ei-bpe\u0026nbsp;\u003c/em\u003e(2002), \u003cem\u003eidrunners\u0026nbsp;\u003c/em\u003e(2001–3), \u003cem\u003edata mirror\u0026nbsp;\u003c/em\u003e(2001), \u003cem\u003egenetic response system 3.0\u0026nbsp;\u003c/em\u003e(2000), and \u003cem\u003ememoryflesh 1.0 and 2.0\u0026nbsp;\u003c/em\u003e(2001/2002). The works investigate the blurring of boundaries between scientific authority and cultural imagination when biology is transformed into data. Referencing projects such as DNA sequencing and the human genome database network, Ludin raises questions about the social forces and ideological assumptions behind state-run research initiatives and market-driven economies. She also examined topics like the price inflation and economic bubble surrounding biotech companies in the early 2000s and online software tools that help track information such as patents on sequencing research.\u003c/p\u003e\u003cp\u003eSome linked sites in this project are no longer online, but are accessible on the Internet Archive, including: \u003ca href=\"https://web.archive.org/web/20041215203927/http://www.ibiology.net/\"\u003ei-bpe\u003c/a\u003e, \u003ca href=\"https://web.archive.org/web/20041203224006/http://www.idrunners.net:80/\"\u003eidrunners\u003c/a\u003e, and \u003ca href=\"https://web.archive.org/web/20041104072042/http://turbulence.org/Works/ludin/\"\u003ememoryflesh 2.0\u003c/a\u003e.\u003c/p\u003e","primary_media_id":56604,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-09-28T23:45:20.117-04:00","updated_at":"2026-04-14T14:43:02.021-04:00","block_editor":{"data":{"id":"3751","type":"block_editor","attributes":{"id":3751,"exhibition_id":1122,"page_id":null,"created_at":"2025-06-16T12:38:21.660-04:00","updated_at":"2025-06-16T12:38:21.660-04:00","regions":[{"data":{"id":"24171","type":"region","attributes":{"id":24171,"position":1,"columns":12,"block_editor_id":3751,"created_at":"2026-04-13T19:00:47.336-04:00","updated_at":"2026-04-14T14:43:01.914-04:00","region_components":[{"data":{"id":"44447","type":"region_component","attributes":{"id":44447,"component_id":15950,"component_type":"TextComponent","position":1,"region_id":24171,"created_at":"2026-04-13T19:00:47.350-04:00","updated_at":"2026-04-14T14:43:01.942-04:00","component":{"data":{"id":"15950","type":"component","attributes":{"id":15950,"exhibition_id":1122,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eDiane Ludin\u003c/strong\u003e (b. 1967; Piermont, New York) is a user experience designer, researcher, product manager, and poet. She has studied internet publishing at the School of Visual Arts, New York, and user experience design at Brooklyn Polytechnic (New York University Tandon School of Engineering). Bridging the worlds of information and storytelling, Ludin has exhibited her solo and collaborative works in the United States and abroad at festivals such as Ars Electronica, Linz, Austria; the Next Five Minutes, Netherlands; and ISEA (International Symposium on Electronic Art). Commissioned works include internet projects for the Walker Art Center, Minneapolis; Franklin Furnace, New York; Turbulence.org (1996–2016); and the Alternative Museum (1975–2000), New York. She has participated in collaborative performances and broadcasts with idrunners, the Electronic Disturbance Theater, FAKESHOP, Las Fantasmas, Francesca da Rimini, Agnese Trocchi, Prema Murthy, and Ricardo Dominguez.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1126","type":"exhibition","attributes":{"id":1126,"title":"Warren Sack: Agonistics: A Language Game","start_time":"2005-04-01T00:00:00.000-05:00","end_time":"2005-04-30T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"April 2005","url":"/exhibitions/warren-sack","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eAgonistics: A Language Game\u003c/em\u003e by \u003ca href=\"/artists/10000\"\u003eWarren Sack\u003c/a\u003e is an online game that visualized exchanges on public online discussion forums, such as Usenet newsgroups, and encouraged users to enter conversations. The project translated players’ posts on forums into a graphic display in which participants were represented by thumbnail images. Players were assigned a position in a circle depending on their messages’ content and were placed in relation to the other players who posted on the same theme. Depending on their opinion, they could move themselves closer to or farther away from other players. Users earned points when they responded to or cited the messages of others. The goal was to move toward the circle’s center by establishing dialogue with as many participants as possible. Sack’s project was inspired by agonistics, the science of athletic combat or contests in public games. By enabling participation and filtering based on the artist’s established rules (and the algorithms used), \u003cem\u003eAgonistics\u003c/em\u003e enhanced awareness of how individuals position themselves in a social context through the ways they express their opinions.\u003c/p\u003e\u003cp\u003eThe Usenet groups \u003cem\u003eAgonistics: A Language Game\u003c/em\u003e\u003cem\u003e\u0026nbsp;\u003c/em\u003erelied on are no longer online. Further description of the project can be found on \u003ca href=\"https://artbase.rhizome.org/wiki/Q1261\"\u003eRhizome\u003c/a\u003e.\u003c/p\u003e","primary_media_id":56612,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-09-29T11:18:45.976-04:00","updated_at":"2026-04-14T14:40:05.285-04:00","block_editor":{"data":{"id":"3759","type":"block_editor","attributes":{"id":3759,"exhibition_id":1126,"page_id":null,"created_at":"2025-06-16T12:38:21.781-04:00","updated_at":"2025-06-16T12:38:21.781-04:00","regions":[{"data":{"id":"24206","type":"region","attributes":{"id":24206,"position":1,"columns":12,"block_editor_id":3759,"created_at":"2026-04-14T14:35:04.944-04:00","updated_at":"2026-04-14T14:40:05.239-04:00","region_components":[{"data":{"id":"44483","type":"region_component","attributes":{"id":44483,"component_id":15985,"component_type":"TextComponent","position":1,"region_id":24206,"created_at":"2026-04-14T14:35:04.957-04:00","updated_at":"2026-04-14T14:40:05.246-04:00","component":{"data":{"id":"15985","type":"component","attributes":{"id":15985,"exhibition_id":1126,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eWarren Sack\u003c/strong\u003e (b. 1962; Minneapolis, Minnesota) is a media theorist, software designer, and artist whose work explores ideas and designs for online public space and public discussion. He is a professor at the University of California, Santa Cruz, where he teaches digital arts and digital studies. His artwork has been exhibited by institutions such as the San Francisco Museum of Modern Art; the New Museum, New York; the Walker Art Center, Minneapolis; and the ZKM Center for Art and Media Karlsruhe, Germany. His scholarship and research have been supported by the Paris Institute for Advanced Study, the American Council of Learned Societies, the Sunlight Foundation, and the National Science Foundation.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1125","type":"exhibition","attributes":{"id":1125,"title":"Christina McPhee, Jeremy Hight, Sindee Nakatani: Carrizo-Parkfield Diaries","start_time":"2005-03-01T00:00:00.000-05:00","end_time":"2005-03-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"March 2005","url":"/exhibitions/mcphee-hight-nakatani","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eCarrizo-Parkfield Diaries\u003c/em\u003e by \u003ca href=\"/artists/10001\"\u003eChristina McPhee\u003c/a\u003e, \u003ca href=\"/artists/10002\"\u003eJeremy Hight\u003c/a\u003e, and \u003ca href=\"/artists/10003\"\u003eSindee Nakatani\u003c/a\u003e is a collection of “data diaries” that utilize data from an active seismic landscape and its historical record. The work originally compiled live, hourly seismic measurements in fault zones in central California—from Carrizo Plains (about 150 miles north of Los Angeles) to the nearby town of Parkfield—into number sequences flashing on the screen that would then “crash” into an archived database that plotted a magnitude 6.0 earthquake in Parkfield on September 28, 2004. The colliding numbers trigger movie clips with sound, text, and visual narratives collaged into a cinematic notebook. Simulating field notes, the fragmentary pages capture an intangible, local sense of place in contrast with the data reality of the continuous seismic activity. The tectonic activity becomes a metaphor for human memory, mapping the geological terrain as a site of remembrance. The project ran from March 5 to September 22, 2005; the live data diaries have been replaced with an archived version.\u003c/p\u003e\u003cp class=\"large\"\u003eFlash programming by Sindee Nakatani.\u003c/p\u003e","primary_media_id":56609,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-09-29T10:42:12.032-04:00","updated_at":"2026-04-14T14:31:41.841-04:00","block_editor":{"data":{"id":"3757","type":"block_editor","attributes":{"id":3757,"exhibition_id":1125,"page_id":null,"created_at":"2025-06-16T12:38:21.737-04:00","updated_at":"2025-06-16T12:38:21.737-04:00","regions":[{"data":{"id":"24205","type":"region","attributes":{"id":24205,"position":1,"columns":12,"block_editor_id":3757,"created_at":"2026-04-14T14:21:37.830-04:00","updated_at":"2026-04-14T14:31:41.799-04:00","region_components":[{"data":{"id":"44482","type":"region_component","attributes":{"id":44482,"component_id":15984,"component_type":"TextComponent","position":1,"region_id":24205,"created_at":"2026-04-14T14:21:37.853-04:00","updated_at":"2026-04-14T14:31:41.806-04:00","component":{"data":{"id":"15984","type":"component","attributes":{"id":15984,"exhibition_id":1125,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eChristina McPhee\u003c/strong\u003e (b. 1954; Pomona, California) is a multimedia artist whose forensic observations layer visual, sonic, scientific, and poetic data within drawing, painting, video, and photography. In collaboration with sound artists, poets, composers, and field research scientists, she creates works for performance, installation, and exhibition, especially concerning climate futures, environmental histories, and spirituality. Her performances, video, and net art have been shown in exhibitions, festivals, and electronic media archives around the world, including Cybersonica/Convergence, Institute of Contemporary Arts New Media Center, London; California Museum of Photography, University of California, Riverside; back_up/Lounge|lab, Bauhaus-University Weimar, Germany; Victoria Film Festival, British Columbia; FILE Electronic Language International Festival, Brazil; and Digital Arts and Culture (DAC), Melbourne, Australia.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eJeremy Hight\u003c/strong\u003e (1969–2022) was an artist, information designer, writer, editor, and theorist who shaped the field of locative narratives. Integrating unseen histories, and human interaction with city space and GPS, Hight collaborated with artists Naomi Spellman and Jeff Knowlton on the project \u003cem\u003e34N118W\u003c/em\u003e (2002) in downtown Los Angeles, which won the grand jury prize at the AIM (Art in Motion) IV: Interference Patterns Festival of Time-Based Media (2003). He also was new media curator of the online version of the MIT Press journal \u003cem\u003eLeonardo\u003c/em\u003e. His works have been shown in museums, galleries, and festivals internationally. He published dozens of essays, articles, and book chapters on locative media, new media, augmented reality, interface design, spatial internet applications, and language theory.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1124","type":"exhibition","attributes":{"id":1124,"title":"Jillian Mcdonald: To Vincent, with Love","start_time":"2005-02-01T00:00:00.000-05:00","end_time":"2005-02-28T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"February 2005","url":"/exhibitions/jillian-mcdonald","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eTo Vincent, with Love\u003c/em\u003e by \u003ca href=\"/artists/9925\"\u003eJillian McDonald\u003c/a\u003e humorously explores fan culture by featuring four video vignettes that depict the artist’s fictional romantic relationship with actor Vincent Gallo. In each scene—“On the Bed,” “At the Locker,” “In the Tub,” and “On the Phone”—the artist digitally inserts herself into footage from the film \u003cem\u003eBuffalo ’66\u003c/em\u003e (1998), in which Gallo stars as the main character, Billy Brown. In this imaginary romance, McDonald and Gallo seemingly share intimate moments, exchanging loving glances or sitting side by side in bed, yet the artist’s desire remains unfulfilled and unreciprocated. The work captures the impact of image manipulation and the online environment on fan fantasies. The Gate Page is a sequel to McDonald’s web and DVD project \u003cem\u003eMe and Billy Bob\u003c/em\u003e (2003), in which she inserted herself into scenes from the film \u003cem\u003eBandits\u003c/em\u003e (2001) with Billy Bob Thornton.\u003c/p\u003e","primary_media_id":56608,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-09-29T10:10:56.168-04:00","updated_at":"2026-04-14T12:01:27.006-04:00","block_editor":{"data":{"id":"3755","type":"block_editor","attributes":{"id":3755,"exhibition_id":1124,"page_id":null,"created_at":"2025-06-16T12:38:21.711-04:00","updated_at":"2025-06-16T12:38:21.711-04:00","regions":[{"data":{"id":"24204","type":"region","attributes":{"id":24204,"position":1,"columns":12,"block_editor_id":3755,"created_at":"2026-04-14T12:01:01.341-04:00","updated_at":"2026-04-14T12:01:26.962-04:00","region_components":[{"data":{"id":"44480","type":"region_component","attributes":{"id":44480,"component_id":15983,"component_type":"TextComponent","position":1,"region_id":24204,"created_at":"2026-04-14T12:01:01.377-04:00","updated_at":"2026-04-14T12:01:26.969-04:00","component":{"data":{"id":"15983","type":"component","attributes":{"id":15983,"exhibition_id":1124,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eJillian McDonald\u003c/strong\u003e (b. 1971; Edmonton, Canada) is a professor at Pace University, New York. Her work has been exhibited and screened at Undercurrent, Air Circulation, and FiveMyles in Brooklyn; Régart, La Bande Vidéo, AxeNéo7, the Art Gallery of Regina, and the Esker Foundation in Canada; as well as at aCinema, Milwaukee; and the Philip J. Steele Gallery, Rocky Mountain College of Art and Design, Denver. Her work has been profiled in a CBC IDEAS documentary, the \u003cem\u003eNew York Times\u003c/em\u003e, and \u003cem\u003eCanadian Art\u003c/em\u003e. She has received a grant and awards from the New York Foundation for the Arts (2005) and the Canada Council for the Arts (2021, 2004, 2001), and participated in residencies including Wave Farm, Acra, New York; the Arctic Circle Expedition, Svalbard, Norway; Headlands Center for the Arts, Sausalito, California; the Glenfiddich Canadian Art Prize, Dufftown, Scotland; the Banff Centre for Arts and Creativity, Canada; and Harvestworks, New York.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1111","type":"exhibition","attributes":{"id":1111,"title":"Mark Napier: Four","start_time":"2004-02-01T00:00:00.000-05:00","end_time":"2004-02-29T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"February 2004","url":"/exhibitions/mark-napier","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8203\"\u003eMark Napier\u003c/a\u003e’s Gate Page presents four works from the artist’s series of studies using a physics simulator to generate movement of visual forms. In each piece, the shapes attract and repel one another by simulating gravitational forces, springs, masses, momentum, and friction. In the first piece, the movement shifts based on user input. The remaining three studies rely on gravitational and spring forces to create systems that continually aim for stability, resulting in continuous motion. By drawing a parallel between the brushstroke in painting and the algorithm in software art, Napier highlights an essential characteristic of the digital medium: the algorithm as a set of instructions that describes and at the same time is a record of potential actions. Encoded in the work is the potential for orbiting, bouncing, rotation, and fast and slow motion, playing out as action over time.\u003c/p\u003e","primary_media_id":56563,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-09-25T21:53:03.253-04:00","updated_at":"2026-04-14T11:54:19.308-04:00","block_editor":{"data":{"id":"3729","type":"block_editor","attributes":{"id":3729,"exhibition_id":1111,"page_id":null,"created_at":"2025-06-16T12:38:20.539-04:00","updated_at":"2025-06-16T12:38:20.539-04:00","regions":[{"data":{"id":"23816","type":"region","attributes":{"id":23816,"position":1,"columns":12,"block_editor_id":3729,"created_at":"2026-02-23T16:20:58.179-05:00","updated_at":"2026-04-14T11:54:19.145-04:00","region_components":[{"data":{"id":"43812","type":"region_component","attributes":{"id":43812,"component_id":15734,"component_type":"TextComponent","position":1,"region_id":23816,"created_at":"2026-02-23T16:20:58.195-05:00","updated_at":"2026-04-14T11:54:19.187-04:00","component":{"data":{"id":"15734","type":"component","attributes":{"id":15734,"exhibition_id":1111,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eMark Napier\u003c/strong\u003e (b. 1961; Springfield, New Jersey), began creating artwork exclusively for the web in 1995. He has produced a wide range of internet projects, including \u003cem\u003eThe Shredder\u003c/em\u003e (1998), an alternative browser that dematerializes the web; \u003cem\u003eDigital Landfill\u003c/em\u003e (1998), an endless archive of digital debris; and \u003cem\u003eBots\u003c/em\u003e (2000), a tool for building unique pop-culture icons from parts. Napier has created commissioned projects for the Guggenheim Museum, New York (2002); the exhibition \u003cem\u003e010101\u003c/em\u003e (2001) at the San Francisco Museum of Modern Art; and \u003ca href=\"/exhibitions/data-dynamics\"\u003e\u003cem\u003eData Dynamics\u003c/em\u003e\u003c/a\u003e (2001) at the Whitney Museum of American Art, New York. His browser \u003cem\u003eRiot\u003c/em\u003e was included in the \u003ca href=\"/exhibitions/biennial-2002\"\u003e2002 Whitney Biennial\u003c/a\u003e. He has also shown his work at ZKM Center for Art and Media Karlsruhe, Germany, and the Walker Art Center, Minneapolis, and received an honorable mention from Prix Ars Electronica (1999).\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1121","type":"exhibition","attributes":{"id":1121,"title":"Zhang Ga: The Peoples’ Portrait: A Globally Networked Public Art Project","start_time":"2004-11-01T00:00:00.000-05:00","end_time":"2004-11-30T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"November 2004","url":"/exhibitions/zhang-ga-2004","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8206\"\u003eZhang Ga\u003c/a\u003e’s \u003cem\u003eThe Peoples’ Portrait: A Globally Networked Public Art Project\u003c/em\u003e is a participatory, networked, public art project that creates a global portrait of people, rendered in real time and displayed instantly and simultaneously on large video walls around the world and online. The 2004 version was shown on both the artport Gate Page and the website of the MECAD Media Center for Art and Design in Barcelona. Kiosks equipped with cameras set up by the artist allowed passersby to take snapshots that were instantly transmitted to a central server. The portraits were then displayed in real time on video walls at Reuters’s Times Square Headquarters, New York; the Museum of the Future at Ars Electronica Center, Linz, Austria; DEAF04 (Dutch Electronic Art Festival 2004), Rotterdam, Netherlands; SENI Fest in Singapore; and MAAP (Multimedia Art Asia Pacific) and Queensland University of Technology in Brisbane, Australia. The images were shown first in chronological order then randomly from the expanding online archive. By using network and communication infrastructures as image-making tools, Zhang Ga collapses time and space and challenges traditional understanding of portraiture and authorship in the digital age.\u003c/p\u003e\u003cp\u003eMore information about \u003cem\u003eThe Peoples' Portrait\u003c/em\u003e is available on \u003ca href=\"https://www.thing.net/~zhang/people/\"\u003ething.net\u003c/a\u003e.\u003c/p\u003e","primary_media_id":56603,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-09-28T21:51:26.599-04:00","updated_at":"2026-04-13T16:07:27.717-04:00","block_editor":{"data":{"id":"3749","type":"block_editor","attributes":{"id":3749,"exhibition_id":1121,"page_id":null,"created_at":"2025-06-16T12:38:21.630-04:00","updated_at":"2025-06-16T12:38:21.630-04:00","regions":[{"data":{"id":"24170","type":"region","attributes":{"id":24170,"position":1,"columns":12,"block_editor_id":3749,"created_at":"2026-04-13T16:07:27.591-04:00","updated_at":"2026-04-13T16:07:27.639-04:00","region_components":[{"data":{"id":"44446","type":"region_component","attributes":{"id":44446,"component_id":15949,"component_type":"TextComponent","position":1,"region_id":24170,"created_at":"2026-04-13T16:07:27.625-04:00","updated_at":"2026-04-13T16:07:27.625-04:00","component":{"data":{"id":"15949","type":"component","attributes":{"id":15949,"exhibition_id":1121,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eZhang Ga\u003c/strong\u003e (b. 1963; Hangzhou, China) is an artist, curator, writer, and educator working at the intersection of culture and technology. Formerly the director of the New York–based Netart Initiative, Zhang Ga has exhibited and lectured on media art worldwide and has published in \u003cem\u003eOctober\u003c/em\u003e, \u003cem\u003eFlash Art International\u003c/em\u003e, and with the MIT Press. He is the founding artistic director of Chronus Art Center, Shanghai and the former consulting curator of media art at the National Art Museum of China, Beijing, where he curated three editions of its international media art triennial. Other curatorial work includes \u003cem\u003eZHANG Peili\u003c/em\u003e (Red Brick Art Museum, Beijing, 2024–25), \u003cem\u003eTopologies of the Real\u003c/em\u003e (Shenzhen Museum of Contemporary Art and Urban Planning, China, 2023), and \u003cem\u003eMotion Is Action: 35 Years of Chinese Media Art\u003c/em\u003e (By Art Matters Museum, Hangzhou, China, 2023). Zhang Ga is distinguished professor and vice dean at the Central Academy of Fine Arts, Beijing.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1120","type":"exhibition","attributes":{"id":1120,"title":"Ursula Endlicher: Untitled","start_time":"2004-10-01T00:00:00.000-04:00","end_time":"2004-10-31T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"October 2004","url":"/exhibitions/ursula-endlicher-gate-page","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/9801\"\u003eUrsula Endlicher\u003c/a\u003e’s Gate Page is an animated entry portal to her projects \u003cem\u003eFamous for One Spam\u0026nbsp;\u003c/em\u003e(2004) and \u003cem\u003eWebsite Portraits\u0026nbsp;\u003c/em\u003e(2004), as well as three of Endlicher’s performances and the artist’s website ursenal.net. Users can click on the Gate Page’s floating shapes to access the individual project pages. In Endlicher’s often performative works, humans and “more-than-humans,” machines, and nature question each other’s behavior in playful ways. \u003cem\u003eFamous for One Spam\u003c/em\u003e, for example, cycles through images and names of “spam characters,” based on junk mail and the names of the senders that ended up in the artist’s inbox. To create the virtual characters, the artist projected spam emails onto her face while reading and performing their content. As users navigate the work, they may encounter collages and performances of the spam mail content or web searches for the “real” person behind the sender’s name.\u003c/p\u003e","primary_media_id":56602,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-09-28T21:39:55.705-04:00","updated_at":"2026-04-13T15:57:44.391-04:00","block_editor":{"data":{"id":"3747","type":"block_editor","attributes":{"id":3747,"exhibition_id":1120,"page_id":null,"created_at":"2025-06-16T12:38:21.596-04:00","updated_at":"2025-06-16T12:38:21.596-04:00","regions":[{"data":{"id":"24169","type":"region","attributes":{"id":24169,"position":1,"columns":12,"block_editor_id":3747,"created_at":"2026-04-13T15:56:21.302-04:00","updated_at":"2026-04-13T15:57:44.341-04:00","region_components":[{"data":{"id":"44445","type":"region_component","attributes":{"id":44445,"component_id":15948,"component_type":"TextComponent","position":1,"region_id":24169,"created_at":"2026-04-13T15:56:21.314-04:00","updated_at":"2026-04-13T15:57:44.351-04:00","component":{"data":{"id":"15948","type":"component","attributes":{"id":15948,"exhibition_id":1120,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eUrsula Endlicher\u003c/strong\u003e (b. 1965; Vienna, Austria) is an interdisciplinary artist working with interactive media and the internet since the early 1990s. She investigates structural components and interfaces of digital and “natural” networks and creates works in contrasting formats, including net art, augmented reality, artificial intelligence/machine learning, installation, performance, environmental works, and dinners. In her works, humans, machines, and nature are inspired by each other’s behaviors and create new forms and “worlds” between them.\u003c/p\u003e\u003cp class=\"large\"\u003eHer work has been shown at Chronus Art Center, Shanghai; / HeK (House of Electronic Arts), Basel, Switzerland; Transmediale, Berlin; [ACM] SIGGRAPH, Yokohama, Japan; ZERO1 Biennial (2012); in New York at Eyebeam and Harvestworks; on Turbulence.org (1996–2016); and in galleries in the United States and Europe. It has been reviewed in publications such as \u003cem\u003eEIKON\u003c/em\u003e, the \u003cem\u003eBrooklyn Rail\u003c/em\u003e, and \u003cem\u003eLeonardo\u003c/em\u003e. She received the 2024 Austrian Art Award for Media Art by BMKOES, Vienna.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1118","type":"exhibition","attributes":{"id":1118,"title":"Jin-Yo Mok + Gicheol Lee: MusicBox","start_time":"2004-08-01T00:00:00.000-04:00","end_time":"2004-08-31T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"August 2004","url":"/exhibitions/mok-lee","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/9665\"\u003eJin-Yo Mok\u003c/a\u003e and \u003ca href=\"/artists/9667\"\u003eGicheol Lee\u003c/a\u003e’s Gate Page was an entry portal to their interactive sound instrument \u003cem\u003eMusicBox\u003c/em\u003e, which added a technological twist on the old-fashioned device by connecting an online interface to a modified music box. In this digital iteration of the instrument, the pins on the rotating cylinder are replaced with LEDs, and the prongs that the pins strike to produce a note were exchanged for photo sensors. A specific tone assigned to each of the sensors played when struck by light from the LEDs. On the project website, users could draw a shape using their mouse, and the corresponding pattern of LEDs would illuminate on the physical music box. By virtually turning the crank handle of the music box, users could hear the melody they composed. The compositions are stored in a networked database shared between the online and offline versions of the music box, allowing users to select, play, and listen to each other’s creations.\u003c/p\u003e\u003cp\u003eThe original \u003cem\u003eMusic Box\u003c/em\u003e is no longer online. What's available is reconstructed from the \u003ca href=\"https://web.archive.org/web/20061203002601/http://www.playmusicbox.com/flash.htm\"\u003eInternet Archive\u003c/a\u003e, but critical .swf files are missing.\u003c/p\u003e","primary_media_id":56600,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-09-27T22:53:50.193-04:00","updated_at":"2026-04-13T15:53:04.657-04:00","block_editor":{"data":{"id":"3743","type":"block_editor","attributes":{"id":3743,"exhibition_id":1118,"page_id":null,"created_at":"2025-06-16T12:38:21.512-04:00","updated_at":"2025-06-16T12:38:21.512-04:00","regions":[{"data":{"id":"24168","type":"region","attributes":{"id":24168,"position":1,"columns":12,"block_editor_id":3743,"created_at":"2026-04-13T15:51:40.555-04:00","updated_at":"2026-04-13T15:53:04.605-04:00","region_components":[{"data":{"id":"44444","type":"region_component","attributes":{"id":44444,"component_id":15947,"component_type":"TextComponent","position":1,"region_id":24168,"created_at":"2026-04-13T15:51:40.573-04:00","updated_at":"2026-04-13T15:53:04.615-04:00","component":{"data":{"id":"15947","type":"component","attributes":{"id":15947,"exhibition_id":1118,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eJin-Yo Mok\u003c/strong\u003e is a multimedia artist living and working in New York. He received his BFA and MFA from Hongik University in Seoul and continued his studies at New York University’s Interactive Telecommunications Program. His artwork has been featured at online and offline venues worldwide including the Ars Electronica Festival, Linz, Austria; WIRED NextFest, Chicago; Pixelache, Kiasma Museum of Contemporary Art, Helsinki; Chelsea Art Museum (2002–11), New York; FILE Electronic Language International Festival, Brazil; Mediacity Seoul; Korea web-art festival; and the Seoul Museum of Art Netart Gallery. He received an individual artist grant from the New York State Council on the Arts (2007) and an artist residency from the Harvestworks Digital Media Art Center (2005), New York.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eGicheol Lee\u003c/strong\u003e (b. 1957; South Korea) is an interactive designer and programmer interested in applying art and science concepts to information and interface design through programming. He holds an MFA in computer art from the School of Visual Arts, New York, and a BS in mathematics from Sogang University, Seoul. His experimental website Typeorganism.com received awards from the Communication Arts Interactive Annual and in \u003cem\u003eHOW\u003c/em\u003e magazine’s Interactive Design Competition (2002). Gicheol has worked as a designer and senior developer, developing interactive content for clients in various industries.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1117","type":"exhibition","attributes":{"id":1117,"title":"Paul Catanese: “Virtual Artist’s Books” for the Gameboy Advance (GBA)","start_time":"2004-07-01T00:00:00.000-04:00","end_time":"2004-07-31T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"July 2004","url":"/exhibitions/paul-catanese","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003e“Virtual Artist’s Books” for the Gameboy Advance (GBA)\u003c/em\u003e previewed \u003ca href=\"/artists/9670\"\u003ePaul Catanese\u003c/a\u003e’s body of work exploring Nintendo’s Gameboy Advance device as a means for artistic expression and storytelling. The Gate Page features an image of a GBA with a simulated screen that plays two short black-and-white video loops, navigable by pressing the device’s A or B buttons. The work links to information about two of Catanese’s projects: \u003cem\u003eSuper Ichthyologist Advance\u003c/em\u003e (2003), which turned the Gameboy into a virtual repository for koi fish, trapped in the small “tank” of the device’s window; and \u003cem\u003eInvisible Maps\u003c/em\u003e (2001), which explored how\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003ethe markers, signs, and roadways one follows while traveling become a series of letters, then words, and ultimately a form of narration. Catanese’s Gate Page provides a portal into his practice of appropriating technology, such as the Gameboy, to rethink its use and create hybrid forms outside the device’s aesthetic and cultural baggage.\u003c/p\u003e","primary_media_id":56592,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-09-27T11:05:00.516-04:00","updated_at":"2026-04-13T15:48:30.126-04:00","block_editor":{"data":{"id":"3741","type":"block_editor","attributes":{"id":3741,"exhibition_id":1117,"page_id":null,"created_at":"2025-06-16T12:38:21.448-04:00","updated_at":"2025-06-16T12:38:21.448-04:00","regions":[{"data":{"id":"24167","type":"region","attributes":{"id":24167,"position":1,"columns":12,"block_editor_id":3741,"created_at":"2026-04-13T15:48:06.389-04:00","updated_at":"2026-04-13T15:48:30.077-04:00","region_components":[{"data":{"id":"44443","type":"region_component","attributes":{"id":44443,"component_id":15946,"component_type":"TextComponent","position":1,"region_id":24167,"created_at":"2026-04-13T15:48:06.408-04:00","updated_at":"2026-04-13T15:48:30.104-04:00","component":{"data":{"id":"15946","type":"component","attributes":{"id":15946,"exhibition_id":1117,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003ePaul Catanese\u003c/strong\u003e (b. 1975; Huntington, New York) works in installation, performance, sound, video, and print, among other mediums. His artwork has been exhibited at festivals and venues including Stuttgarter Filmwinter; Ann Arbor Film Festival; and ISEA (International Symposium on Electronic Art); Chicago Cultural Center; the New Museum, New York; the San Francisco Museum of Modern Art; La Villette, Paris; China Academy of Art, Hangzhou; and Frankston Arts Centre, Australia. Catanese was awarded an Efroymson Contemporary Arts Fellowship by the Central Indiana Community Foundation (2014), named the Christian A. Johnson Endeavor Artist in Residence at Colgate University, Hamilton, New York (2018–19); and awarded a Fulbright Scholarship to Poland (2024) to research the intersection of artificial intelligence and print media. He authored \u003cem\u003eDirector’s Third Dimension\u003c/em\u003e (2001) and coauthored \u003cem\u003ePost-Digital Printmaking\u003c/em\u003e (2012). Catanese is a professor of art and art History at Columbia College, Chicago.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1116","type":"exhibition","attributes":{"id":1116,"title":"Beatriz da Costa, Jamie Schulte, Brooke Singer: SWIPE Stickers","start_time":"2004-06-01T00:00:00.000-04:00","end_time":"2004-06-30T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"June 2004","url":"/exhibitions/da-costa-schulte-singer","primary_text":"\u003cp class=\"large\"\u003eThe online sticker-making project\u003cem\u003e\u0026nbsp;SWIPE Stickers\u003c/em\u003e—by \u003ca href=\"/artists/9516\"\u003eBeatriz da Costa\u003c/a\u003e, \u003ca href=\"/artists/9517\"\u003eJamie Schulte\u003c/a\u003e, and \u003ca href=\"/artists/9518\"\u003eBrooke Singer\u003c/a\u003e (aka Preemptive Media)—was part of the artist collective’s larger work \u003ca href=\"https://web.archive.org/web/20100206232238/http://www.we-swipe.us/\"\u003e\u003cem\u003eSwipe\u003c/em\u003e\u003c/a\u003e, which critiques the collection of personal data from magnetic stripes, commonly used for data storage in the 1990s, or 2D barcodes on credit cards and items like driver’s licenses. With a single swipe, companies can extract information, often without the cardholder’s knowledge or consent, to profile customers under the guise of security or age verification. During the month of June 2004, the artists invited visitors to the Gate Page to submit slogans for stickers. Participants could then download, print, and affix the stickers to the barcode of their license or credit card’s magnetic stripes to temporarily disable them, thus blocking their data’s transfer into commercial databases. The \u003cem\u003eSwipe\u003c/em\u003e project drew attention to data collection and surveillance practices in the United States, highlighting how databases function as tools of organization and instruments of power in the digital age.\u003c/p\u003e","primary_media_id":56579,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-09-26T16:53:33.376-04:00","updated_at":"2026-04-13T15:43:01.730-04:00","block_editor":{"data":{"id":"3739","type":"block_editor","attributes":{"id":3739,"exhibition_id":1116,"page_id":null,"created_at":"2025-06-16T12:38:21.348-04:00","updated_at":"2025-06-16T12:38:21.348-04:00","regions":[{"data":{"id":"24166","type":"region","attributes":{"id":24166,"position":1,"columns":12,"block_editor_id":3739,"created_at":"2026-04-13T15:41:04.907-04:00","updated_at":"2026-04-13T15:43:01.531-04:00","region_components":[{"data":{"id":"44442","type":"region_component","attributes":{"id":44442,"component_id":15945,"component_type":"TextComponent","position":1,"region_id":24166,"created_at":"2026-04-13T15:41:04.927-04:00","updated_at":"2026-04-13T15:43:01.610-04:00","component":{"data":{"id":"15945","type":"component","attributes":{"id":15945,"exhibition_id":1116,"text":"\u003cp class=\"large\"\u003eThe artist collaborative \u003cstrong\u003ePreemptive Media\u003c/strong\u003e (active 2002–6) produced three major projects, \u003cem\u003eSwipe\u003c/em\u003e, \u003cem\u003eZapped!\u003c/em\u003e (2006), and \u003cem\u003eAIR\u003c/em\u003e (2006–8). Each member brought a variety of specializations, experiences, and interdisciplinary interests to the collaborative practice.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eBeatriz da Costa\u003c/strong\u003e (1974–2012) was an interdisciplinary artist and tactical media practitioner working at the intersection of contemporary art, science, engineering, and politics. She examined the role of the artist as a political actor engaged in technoscientific discourses, which is the subject of her 2008 book \u003cem\u003eTactical Biopolitics: Art, Activism, and Technoscience\u003c/em\u003e, co-edited with Kavita Philip. A retrospective of her work, \u003cem\u003eBeatriz da Costa: (un)disciplinary tactics\u003c/em\u003e was presented in 2024 by the Los Angeles Municipal Art Gallery as part of the Getty’s initiative PST Art: \u003cem\u003eArt \u0026amp; Science Collide\u003c/em\u003e.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eJamie Schulte\u003c/strong\u003e is an engineer with an interest in designing systems that engage human aesthetics, culture, and politics. He holds master’s degrees in electrical and computer engineering and in knowledge discovery and data mining from Carnegie Mellon University, Pittsburgh. He has exhibited work throughout the United States, and in countries including Canada, Germany, Austria, the United Kingdom, and Brazil.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eBrooke Singer\u003c/strong\u003e engages technoscience as an artist and educator in websites, gardens, workshops, photographs, maps, installations, and public art that often involves participation in pursuit of social change. She is professor of new media the State University of New York, Purchase. She has exhibited nationally and internationally at institutions such as MoMA PS1, New York; the Andy Warhol Museum of Art, Pittsburgh; the Banff Centre for Arts and Creativity, Canada; the Neuberger Museum of Art, Purchase, New York; and Matadero Madrid.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1114","type":"exhibition","attributes":{"id":1114,"title":"Andrea Polli: Atmospherics/Weather Works","start_time":"2004-05-01T00:00:00.000-04:00","end_time":"2004-05-31T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"May 2004","url":"/exhibitions/andrea-polli","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eAtmospherics/Weather Works\u003c/em\u003e by \u003ca href=\"/artists/9483\"\u003eAndrea Polli\u003c/a\u003e is an interactive system that sonifies weather patterns and meteorological events. Users can select different altitudes and geographic points to listen to data-driven audio generated by simulations of Hurricane Bob (1991) in the New York and Long Island area. Working in collaboration with meteorological and environmental scientists, Polli translated atmospheric data, such as pressure, humidity, temperature, and wind velocity, into sound materials including field recordings, insect and water sounds, and white noise. The resulting turbulent and evocative composition allows users to experience massive geographical phenomena on a human scale, offering deeper insight into the complex, unpredictable melodies and rhythms of nature.\u003c/p\u003e\u003cp\u003eThe original \u003cem\u003eAtmospherics/Weather Works\u003c/em\u003e is no longer online. This project was reconstructed using the \u003ca href=\"https://web.archive.org/web/20070915000000*/https://www.andreapolli.com/studio/atmospherics/\"\u003eInternet Archive\u003c/a\u003e.\u003c/p\u003e","primary_media_id":56566,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-09-25T23:41:03.219-04:00","updated_at":"2026-04-13T15:17:21.202-04:00","block_editor":{"data":{"id":"3735","type":"block_editor","attributes":{"id":3735,"exhibition_id":1114,"page_id":null,"created_at":"2025-06-16T12:38:20.638-04:00","updated_at":"2025-06-16T12:38:20.638-04:00","regions":[{"data":{"id":"24165","type":"region","attributes":{"id":24165,"position":1,"columns":12,"block_editor_id":3735,"created_at":"2026-04-13T15:17:21.052-04:00","updated_at":"2026-04-13T15:17:21.118-04:00","region_components":[{"data":{"id":"44441","type":"region_component","attributes":{"id":44441,"component_id":15944,"component_type":"TextComponent","position":1,"region_id":24165,"created_at":"2026-04-13T15:17:21.096-04:00","updated_at":"2026-04-13T15:17:21.096-04:00","component":{"data":{"id":"15944","type":"component","attributes":{"id":15944,"exhibition_id":1114,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eAndrea Polli\u003c/strong\u003e (b. 1968; Fort Benning, Georgia) is an environmental artist working at the intersection of art, science, and technology. Her interdisciplinary research has been presented as public artworks, media installations, community projects, performances, broadcasts, mobile and geolocative media, publications, and through the curation and organization of public exhibitions and events. She has presented public art in twenty-five locations and has had over twenty solo exhibitions at venues including the Parco Arte Vivente Museum, Turin, Italy. Polli’s work also has been presented in over one hundred group exhibitions at museums and galleries in Paris, Berlin, Copenhagen, New York, Chicago, and Hong Kong. Her art and research have received major support from the National Endowment for the Arts (2012), the National Science Foundation (2012), and Fulbright (2011), among others. She co-edited the book \u003cem\u003eFar Field: Digital Culture, Climate Change, and the Poles\u003c/em\u003e (2012) and authored \u003cem\u003eHack the Grid\u003c/em\u003e (2018).\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1123","type":"exhibition","attributes":{"id":1123,"title":"Barbara Lattanzi: C-SPAN x 4","start_time":"2005-01-01T00:00:00.000-05:00","end_time":"2005-01-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"January 2005","url":"/exhibitions/barbara-lattanzi","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/9876\"\u003eBarbara Lattanzi\u003c/a\u003e created \u003cem\u003eC-SPAN x 4\u003c/em\u003e as a series of four online software tools that allowed visitors to the website of C-SPAN (the Cable-Satellite Public Affairs Network) to select video clips and manipulate and remix them. \u003cem\u003eThe Interrupting Annotator\u003c/em\u003e allowed users to annotate any selected clip and then stored and time-stamped the brief texts so that subsequent viewers could see them at the exact moment when they were originally made. In \u003cem\u003eC-SPAN Alphaville\u003c/em\u003e, the video clips were subtitled with dialogue from the English version of Jean-Luc Godard’s 1965 film \u003cem\u003eAlphaville\u003c/em\u003e, in which a dystopian society is controlled by a central computer. \u003cem\u003eC-SPAN Karaoke\u003c/em\u003e overlaid prerecorded tracks from a karaoke machine onto selected videos, inviting people to sing along. \u003cem\u003eIn Lieu of Standing on Yer Head\u003c/em\u003e simply flipped the image 180 degrees to present it upside down, a countermeasure to political spin trying to convince people that “up is down.” Although humorous, the annotations nonetheless raised serious questions about authority and projections of state power within the online media environment.\u003c/p\u003e\u003cp\u003eThis project partially relies on Shockwave .dcr files that are no longer readily playable.\u003c/p\u003e","primary_media_id":56607,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-09-29T09:55:35.320-04:00","updated_at":"2026-04-13T10:21:19.814-04:00","block_editor":{"data":{"id":"3753","type":"block_editor","attributes":{"id":3753,"exhibition_id":1123,"page_id":null,"created_at":"2025-06-16T12:38:21.686-04:00","updated_at":"2025-06-16T12:38:21.686-04:00","regions":[{"data":{"id":"24164","type":"region","attributes":{"id":24164,"position":1,"columns":12,"block_editor_id":3753,"created_at":"2026-04-13T10:21:19.724-04:00","updated_at":"2026-04-13T10:21:19.760-04:00","region_components":[{"data":{"id":"44440","type":"region_component","attributes":{"id":44440,"component_id":15943,"component_type":"TextComponent","position":1,"region_id":24164,"created_at":"2026-04-13T10:21:19.748-04:00","updated_at":"2026-04-13T10:21:19.748-04:00","component":{"data":{"id":"15943","type":"component","attributes":{"id":15943,"exhibition_id":1123,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eBarbara Lattanzi\u003c/strong\u003e (b. 1950; Evanston, Illinois) is a digital artist whose films, videos, internet art, and interactive software works have been screened and exhibited widely at venues such as the 2003 Ann Arbor Film Festival, the 2002 European Media Art Festival, and the Robert Beck Memorial Cinema, New York. Her experimental software \u003cem\u003eC-SPAN Karaoke\u003c/em\u003e received an honorary mention at Transmediale, Berlin (2005) and \u003cem\u003eC-SPAN x 4\u0026nbsp;\u003c/em\u003ewas featured in the Whitney Museum’s \u003ca href=\"/exhibitions/programmed\"\u003e\u003cem\u003eProgrammed: Rules, Codes, and Choreographies 1965–2018\u003c/em\u003e\u003c/a\u003e (2018–19). Her interactive media works have been exhibited at the 2003 Version\u0026gt;03 Digital Arts Convergence, Chicago; the Ninth New York Digital Salon (2001–2); Electronics Alive II Invitational (2004); the Fourth Seoul Net and Film Festival (2003); and Turbulence.org (2003). The production of her multimedia applets and software has been stimulated in part by the open structures of net-based venues such as the online software art archive \u003ca href=\"https://runme.org/\"\u003erunme.org\u003c/a\u003e and \u003ca href=\"https://artbase.rhizome.org/wiki/Main_Page\"\u003eRhizome’s Artbase\u003c/a\u003e, which also features her work. Lattanzi is an associate professor in the School of Art and Design, Alfred University, New York.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"275","type":"exhibition","attributes":{"id":275,"title":"Marc Lafia and Fang-Yu Lin:\u003cbr\u003eThe Battle Of Algiers","start_time":"2006-01-01T00:00:00.000-05:00","end_time":"2006-12-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"2006","url":"/exhibitions/battle-of-algiers","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/10377\"\u003eMarc Lafia\u003c/a\u003e and \u003ca href=\"/artists/15352\"\u003eFang-Yu Lin\u003c/a\u003e's \u003cem\u003eThe Battle of Algiers\u003c/em\u003e recomposes scenes from the 1965 film of the same name by Italian director Gillo Pontecorvo. The original film is a reenactment of the Algerian nationalist struggle leading to independence from France in 1962. The success of the actual battle for independence has been attributed to the nationalists’ organization: a pyramidal structure of self-organized cells. Lafia and Lin recomposed the film along a cell-based structure, in which French Authority and the Algerian Nationalist cells are represented by stills from the film and move according to different rule sets. When cells of different camps intersect, they trigger video cells displaying each side’s tactics (as depicted in the film) according to the rules of the system.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eThe Battle of Algiers\u003c/em\u003e was updated in 2018 to work in contemporary web browsers with a new user interface, as part of\u0026nbsp;\u003ca href=\"/exhibitions/programmed\"\u003e\u003cem\u003eProgrammed: Rules, Codes, and Choreographies in Art, 1965–2018\u003c/em\u003e\u003c/a\u003e.\u003c/p\u003e\u003cp\u003e\u003cem\u003eThe Battle of Algiers\u003c/em\u003e is the second in a series of three works co-commissioned in collaboration with Tate Online. Read more about the work and its 2018 reconstruction at \u003ca href=\"https://www.tate.org.uk/research/reshaping-the-collectible/net-art-commissions-artwork-texts/the-battle-of-algiers-2006-marc-lafia-and-fang-yu-lin\"\u003etate.org.uk\u003c/a\u003e.\u003c/p\u003e","primary_media_id":64901,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2018-07-20T09:29:36.000-04:00","updated_at":"2026-04-13T10:15:20.297-04:00","block_editor":{"data":{"id":"2429","type":"block_editor","attributes":{"id":2429,"exhibition_id":275,"page_id":null,"created_at":"2025-06-16T12:34:36.549-04:00","updated_at":"2025-06-16T12:34:36.549-04:00","regions":[{"data":{"id":"22176","type":"region","attributes":{"id":22176,"position":1,"columns":12,"block_editor_id":2429,"created_at":"2025-02-19T09:52:01.539-05:00","updated_at":"2026-04-13T10:15:20.231-04:00","region_components":[{"data":{"id":"40447","type":"region_component","attributes":{"id":40447,"component_id":14715,"component_type":"TextComponent","position":1,"region_id":22176,"created_at":"2025-02-19T09:52:01.548-05:00","updated_at":"2026-04-13T10:15:20.245-04:00","component":{"data":{"id":"14715","type":"component","attributes":{"id":14715,"exhibition_id":275,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eMarc Lafia\u003c/strong\u003e has shown work internationally in seminal exhibitions such as ZKM’s \u003cem\u003eNet Condition\u003c/em\u003e and \u003cem\u003eFuture Cinema\u003c/em\u003e, The Walker Art Center’s \u003cem\u003eLet’s Entertain\u003c/em\u003e, as well as venues including the Georges Pompidou, The ICC Tokyo and other museums and art centers. Throughout his work, including his films and photographs, the image is not understood as a representation or a record of an event but as an event in itself, an entire mode of “going.” For Lafia, computation and algorithmic procedures allow for the production of new structures of organizing image and information, as well as new ways of distributing affects and emotions. His recent “Computations|Permutations” project is an on-going exploration of the limits of the image, as it asks: what is an image? How can it “go”? Lafia lives in Brooklyn, New York, and currently teaches at Columbia University.\u003c/p\u003e\u003cp class=\"large\"\u003eBorn in Taiwan, \u003cstrong\u003eFang-Yu Lin\u003c/strong\u003e is a New York–based new media artist and technologist. Focusing on Internet art and interactive installation, Fang's artwork reflects the interplay of human experience, culture, and technology. In addition to receiving an Honorary Mention from Prix Ars Electronica, his works have been featured in many venues, such as Tate Online, FILE São Paulo, Seoul New Media Festival, Les Rencontres Internationales, Bauhaus Dessau, and SIGGRAPH. Fang also co-authored \u003cem\u003eSwitch Craft: Battery-Powered Crafts to Make and Sew\u003c/em\u003e, a wearable technology DIY book. He holds a MFA in Design \u0026amp; Technology and a MS in Information.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"2294","type":"exhibition","attributes":{"id":2294,"title":"Whitney Biennial 2026","start_time":"2026-03-08T00:00:00.000-05:00","end_time":"2026-08-23T00:00:00.000-04:00","member_start_time":"2026-03-04T00:00:00.000-05:00","member_end_time":"2026-03-07T00:00:00.000-05:00","date_override":"","url":"/exhibitions/2026-biennial","primary_text":"\u003cp class=\"large\"\u003eThe eighty-second edition of the Whitney Biennial, like those before it, offers a space for contemplating the shifting currents of art in the United States, asking not only what is being made but also what it means to name something “American” at all. Attentive to the feelings that saturate contemporary life and bind people together, this Biennial is less a definitive answer than an invitation to tune in to the moods offered by an intergenerational and international group of fifty-six artists, duos, and collectives who sustain this ongoing conversation. Alongside artists from across the country, the exhibition features works by artists from places marked by the broad reach of US power, ranging from Afghanistan to Vietnam. Using a range of media and artistic strategies, they explore interspecies kinships, familial relations, geopolitical entanglements, technological affinities, infrastructural networks, precarious ecologies, and shared mythologies. As an ensemble, their works suggest togetherness through difference—avoiding clear ideological declarations in favor of the unusual alliances, improvised provocations, and irreverent associations that are required to thrive in the present moment.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003e\u003cstrong\u003eThis exhibition includes a\u0026nbsp;\u003c/strong\u003e\u003ca href=\"/billboard\" data-turbo-frame=\"_top\"\u003e\u003cstrong\u003ebillboard\u003c/strong\u003e\u003c/a\u003e\u003cstrong\u003e\u0026nbsp;across from the Museum’s entrance on Gansevoort Street.\u003c/strong\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eWhitney Biennial 2026\u003c/em\u003e is co-organized by Whitney curators Marcela Guerrero, the DeMartini Family Curator, and Drew Sawyer, the Sondra Gilman Curator of Photography with Beatriz Cifuentes, Biennial Curatorial Assistant, and Carina Martinez, Rubio Butterfield Family Fellow.\u003c/p\u003e\u003csection\u003e\u003cp class=\"large\"\u003eReview \u003ca href=\"/exhibitions/2026-biennial/accessibility-information\" data-turbo-frame=\"_top\"\u003eaccessibility information\u003c/a\u003e before visiting \u003cem\u003eWhitney Biennial 2026\u003c/em\u003e.\u003c/p\u003e\u003c/section\u003e","primary_media_id":64678,"override_media_id":64738,"sign_media_id":64678,"feature_id":112,"artwork_series_id":null,"installation_series_id":2663,"perspective_series_id":null,"press_highlights":"\u003cp data-testid=\"headline\"\u003e\u003ca href=\"https://www.nytimes.com/2025/12/15/arts/design/whitney-biennial-56-artists.html?unlocked_article_code=1.808.ZWP2.lB7sPVyl-r88\u0026smid=nytcore-ios-share\"\u003eWhitney Biennial Names 56 Artists to Unwind These ‘Weird Times’—\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":"","videos_description":"","created_at":"2025-05-14T12:24:08.166-04:00","updated_at":"2026-04-10T09:33:05.499-04:00","block_editor":{"data":{"id":"5837","type":"block_editor","attributes":{"id":5837,"exhibition_id":2294,"page_id":null,"created_at":"2025-06-16T12:38:42.410-04:00","updated_at":"2025-06-16T12:38:42.410-04:00","regions":[{"data":{"id":"23848","type":"region","attributes":{"id":23848,"position":1,"columns":12,"block_editor_id":5837,"created_at":"2026-03-05T17:04:02.277-05:00","updated_at":"2026-04-10T09:33:05.322-04:00","region_components":[{"data":{"id":"43912","type":"region_component","attributes":{"id":43912,"component_id":161,"component_type":"JumplinkComponent","position":1,"region_id":23848,"created_at":"2026-03-05T17:04:02.324-05:00","updated_at":"2026-04-10T09:33:05.357-04:00","component":{"data":{"id":"161","type":"component","attributes":{"id":161,"exhibition_id":2294,"text":"Performances"}}}}}}]}}},{"data":{"id":"23850","type":"region","attributes":{"id":23850,"position":2,"columns":12,"block_editor_id":5837,"created_at":"2026-03-05T17:04:02.435-05:00","updated_at":"2026-04-10T09:33:05.372-04:00","region_components":[{"data":{"id":"43914","type":"region_component","attributes":{"id":43914,"component_id":287,"component_type":"EventsComponent","position":1,"region_id":23850,"created_at":"2026-03-05T17:04:02.508-05:00","updated_at":"2026-04-10T09:33:05.382-04:00","component":{"data":{"id":"287","type":"component","attributes":{"id":287,"exhibition_id":2294}}}}}}]}}}]}}}}},{"id":"1113","type":"exhibition","attributes":{"id":1113,"title":"Victor Liu: The life of American machines_","start_time":"2004-04-01T00:00:00.000-05:00","end_time":"2004-04-30T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"April 2004","url":"/exhibitions/victor-liu","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eThe life of American machines_\u003c/em\u003e by \u003ca href=\"/artists/9467\"\u003eVictor Liu\u003c/a\u003e features a live stream of “pris,” a virtual machine engaged in the continuous task of rebuilding herself. The project window displays the commands she executes and their output, such as downloading her own source code—which is freely available from various websites—and compiling it into her operating system and programs. In the original version, pris would be running on the Linux operating system, the latest Mozilla web browser, and the latest Apache web server, after several days. Once the rebuild is complete, pris reboots and begins the cycle again, endlessly repeating the same process. Creating an autonomous entity—capable of continuously reconstructing itself on the basis of open-source culture—Liu exposes the fundamental processes of the machines that increasingly run our lives.\u003c/p\u003e\u003cp\u003eThe original \u003cem\u003epris\u003c/em\u003e is no longer online, and relied on Java applets that are not accessible. What's available is reconstructed from the \u003ca href=\"https://web.archive.org/web/20040514012104/http://www.n-gon.com:80/pris/pris.html\"\u003eInternet Archive\u003c/a\u003e.\u003c/p\u003e","primary_media_id":56565,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-09-25T22:57:24.869-04:00","updated_at":"2026-04-09T13:50:12.659-04:00","block_editor":{"data":{"id":"3733","type":"block_editor","attributes":{"id":3733,"exhibition_id":1113,"page_id":null,"created_at":"2025-06-16T12:38:20.610-04:00","updated_at":"2025-06-16T12:38:20.610-04:00","regions":[{"data":{"id":"24163","type":"region","attributes":{"id":24163,"position":1,"columns":12,"block_editor_id":3733,"created_at":"2026-04-09T13:48:55.845-04:00","updated_at":"2026-04-09T13:50:12.591-04:00","region_components":[{"data":{"id":"44439","type":"region_component","attributes":{"id":44439,"component_id":15942,"component_type":"TextComponent","position":1,"region_id":24163,"created_at":"2026-04-09T13:48:55.857-04:00","updated_at":"2026-04-09T13:50:12.607-04:00","component":{"data":{"id":"15942","type":"component","attributes":{"id":15942,"exhibition_id":1113,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eVictor Liu\u003c/strong\u003e (b. 1967; Taipei, Taiwan) studied physics, philosophy, and art at the University of California, Berkeley, and devoted himself to creating art in various mediums before focusing on information after moving to New York. His work has been featured in various publications and at venues including PS122 Gallery, New York (2024); FILE Electronic Language International Festival (2003), Brazil; the Boston Center for the Arts; and the Danish Film Institute, Copenhagen. He received an honorary mention in the VIDA 5.0 artificial life competition (2002).\u003c/p\u003e"}}}}}}]}}}]}}}}}],"meta":{"total":1614},"links":{"prev":null,"next":"https://whitney.org/api/exhibitions?page=2","first":"https://whitney.org/api/exhibitions?page=1","last":"https://whitney.org/api/exhibitions?page=54"}}