new american media

i’m a diamond in the rough, a shiny piece of coal

tryin’ to reach my goal. my power of speech: unimpeachable. 

Open today! Experience a century of immersive cinema and art in Dreamlands. Featuring installations, drawing, sculpture, performance, painting, and new media, the exhibition surveys the work of artists who have pushed the material and conceptual boundaries of cinema. Dreamlands is the most technologically complex project mounted in the Whitney’s new building to date, and fills the 18,000-square-foot fifth-floor galleries, as well as includes a film series in the theater. 

[Hito Steyerl (b. 1966), Factory of the Sun, 2015. High-definition video, color, sound; 22:56 min., looped; with environment, dimensions variable. Installation view: Invisible Adversaries, Hessel Museum of Art, Bard College, Annandale-on-Hudson, New York, 2016. Bard College, Annandale-on-Hudson, New York; Marieluise Hessel Collection. Image courtesy of the artist and Andrew Kreps Gallery, New York. Photograph by Sarah Wilmer]

On Sol LeWitt’s birthday, we’re thrilled to share a recently restored net art project inspired by his work. {Software} Structures by Casey Reas with Jared Tarbell, Robert Hodgin, and William Ngan initially launched in August 2004, and was restored in 2016 to work well with contemporary web browsers. Inspired by LeWitt’s wall drawings, the project explores the relevance of conceptual art to the idea of software as art. This documentation video captures a few minutes of a continuous, generative drawing from the project. Explore more.

Authorship has become very slippery, and the ownership of ideas has become less interesting today than the rapid sharing of them.
—  Michelle Grabner, one of the three curators of the 2014 Biennial, in The New York Times profile of HOWDOYOUSAYYAMINAFRICAN, a global collective whose work will be on view in the exhibition.
“In this world in which we all feel we’re so full of gender equality and we’re a post-racial [society] and Obama is president, it’s a very good reminder to see the casual racial bias and odd misogyny from a woman written in a paper that we all think of as being so liberal,” the showrunner said of Stanley’s piece.
— 

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Shonda Rhimes response to  New York Times critic Alessandra Stanley