"2012’s Venice architecture Biennale might not open until the end of the month, but Zaha Hadid Architects has already unveiled its installation. Described as an ‘arum shell’, the pleated metal structure is inspired by Russian Suprematism -  the early 20th century movement reducing art to simple geometric shapes - as well as the work of German architect Frei Otto. Indeed, Hadid’s installation seizes upon Biennale president David Chipperfield’s theme of 'common ground', which Chipperfield says is meant to “reassert the existence of an architectural culture, made up not just of singular talents but a rich continuity of diverse ideas united in a common history.”

(via Zaha Hadid’s Venice Biennale installation | Architecture | Agenda | Phaidon)

We’ve got great news! Today we’re live with our first online collection catalogue, the Rauschenberg Research Project, which includes a huge array of artwork images, photographs, videos, essays, and research. Best of all, the whole catalogue (which would be over 600 pages if printed) is available online, for free, to everyone! Check it out here.

Image: Robert Rauschenberg, “Collection”, 1954/1955; Collection SFMOMA, gift of Harry W. and Mary Margaret Anderson; © Robert Rauschenberg Foundation / Licensed by VAGA, New York, NY

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Chatrooms I – Ways of Something Screening is coming up on Friday, 11/14 in the Gray Area Art + Tech Theater!

Learn about the film on Animal New York—>

"Ways Of Something morphs, warbles, seizes and glitches. It populates classic paintings with World of Warcraft characters. It shines a flashlight on the male gaze. And as you listen to that voice-of-God narration, that narrative ruptures with flashes of the future.”

This film is a must-see for anyone interested in artmaking after the Internet.

RSVP on Facebook!

"Curated by tate and developed by UK creative studio ISO, ‘the gallery of lost art' is a year-long online exhibition of artworks that have disappeared 

For reasons of theft, arson, rejection, discarding, or the temporary nature of the project itself, among other reasons. ‘art history tends to be the history 
of what has survived,
' reflects the gallery's curator jennifer mundy, 'but loss has shaped our sense of art’s history in ways that we are often not aware of.

The website is visually structured as an open warehouse floor, viewed from above, with different chalk headers on the ground delineating the subject 
of that area of the gallery: destroyed, stolen, discarded, rejected, erased, or ephemeral. users can zoom into particular areas, and by clicking on specific 
projects they can access essays, photos, film footage or interviews, and other material about the artwork. the circumstances behind the loss of the piece 
are also documented.

initially opened with the works of 20 renowned artists— among them frida kahlo, marcel duchamp, and tracey emin— the ‘gallery of lost art’ is expected
to more than double its exhibition pieces by the end of 2012, adding one new work each week for six months. six months after it is complete, the website
itself will disappear like the pieces that it had preserved.” 

(via the tate gallery of lost art)

With his multimedia treatment of the forests around his East Yorkshire home, David Hockney has almost single-handedly made landscape relevant again. For the past several years, the artist has sketched (on paper and iPad), painted, and made digital videos depicting Woldgate Woods, a body of work that harkens back to impressionist seriality, while remaining inherently contemporary. 

David Hockney: A Bigger Exhibition is on view through January 20, 2014. 

David Hockney (British, b. 1937). “Woldgate Woods, 26, 27 & 30 July 2006.” Oil on 6 Canvases © David Hockney. Photo Credit: Richard Schmidt

It’s certainly worth paying attention to the companies and tools that are creating conversations around digital art and artists in new ways. While the face value of these products is the opportunity to view digitally made images, gifs, and animations away from the distraction of our internet browsers, what may prove more valuable from a broader perspective is the possibility of creating a new market system for distributing work and supporting art. Will these new platforms and systems be absorbed into the capitalist art world, compete with it, or offer new, unexpected—perhaps even democratic— alternatives?


#ArtsTech Meetup Demo Day - July 16th 

6. Adam Reifsteck - Blind Ear Music

Description:

"Blind Ear is a collective of composers and musicians who present interactive concerts combining new music with cutting-edge technology. 

Blind Ear is founded on the belief that composing is a living, ever-changing art form, and that composers should have the ability to shape and control their music during a performance. 

Our re-imagined concert experience replaces music stands with laptops and musicians’ parts that appear on their screens. The Blind Ear composer has transformed into a performer, sending the music to musicians and orchestrating each composition in real-time. By blending improvisation, electronics, and traditional composition, Blind Ear produces concerts that offer an ever-changing soundscape.”

How are artists grappling with ideas surrounding surveillance?

In the latest art + technology-focused San Francisco Arts Quarterly, Rudolf Frieling, SFMOMA’s curator of media arts, is interviewed on the subject.

Read a PDF of the issue here→

Watch a video on Marie Sester’s Access (featured in the above photo)→

Image: Marie Sester, Access, 2003; 2010 SFMOMA installation detail; Photo: Ian Reeves