New Media

Shih Chieh Huang at Yerba Buena Center for the Arts

Shih Chieh Huang. Synthetic Seduction, 2013; installation view, Yerba Buena Center for the Arts, San Francisco. Courtesy of the Yerba Buena Center for the Arts. Photo: Dorothy Santos.

The flickering, multicolored lights of Shih Chieh Huang’s installation Synthetic Seduction, now on view at the Yerba Buena Center for the Arts, reminds me of the cellular and molecular models found in biology classrooms. When I was a student, one of the ways in which I learned about organic forms was by placing mitochondria, lysosomes, and nuclei in their correct locations in these models. Huang[.....]

Organism/Mechanism: Michael Theodore at David B. Smith Gallery

Michael Theodore, endo/exo (2013), installation view, dimensions variable, courtesy of David B. Smith Gallery and the artist.

When you enter your local supermarket, the door will most likely slide open automatically, welcoming you as it senses your presence. There’s nothing remarkable about that, you’re accustomed to the simple technology of motion sensors. What is remarkable is that technological fixtures such as motion sensors have become so ubiquitous that we scarcely notice them anymore. They are a part of your daily routine, a[.....]

#Hashtags: Liberaceón

In his 2011 video, “Liberaceón,” Chris E. Vargas inserts radical, queer rhetoric into the arguably apolitical, high zest that was Wladziu Valentino Liberace’s life. HBO’s biopic about Liberace is headed to Cannes this month. Jacqueline Clay’s article was originally published September 5, 2011. History, like most things, is subjective. What is culled from individual accounts is accepted as fact and eventually translates into some kind[.....]

Gregory Chatonsky at MOCA Taipei

Telefossiles I, sculpture, installation, Gregory Chatonsky, 2013

This spring I visited the Museum of Contemporary Art Taipei to view The Innovationists, a show focused on new media art. The spectrum of technological works ranged from Ryota Kuwakubo‘s whimsical The Tenth Sentiment, which utilized a toy train’s LED headlight to project crisp then melting shadowscapes in a darkened room, and Samson Young‘s Dimension+, a floating spine-like structure of polypropylene paper, to Chris Honhim Cheung and the XEX GRP collective’s more dissonant and possibly[.....]

A Clue to The Recovery of Authenticity: Raul Bussot and Kim Hong-Rok in Seoul

Raul Bussot was 5 years old when his family decided to escape Cuba, so he doesn’t remember the details very well.  He remembers his father and two friends assembling a raft in a mangrove forest under the cover of darkness.  He remembers pushing the raft to the beach while keeping an eye out for the Cuban Coast Guard.  He remembers huddling together for warmth out[.....]

#Curating Activism: An Interview with Julio César Morales

Julio César Morales is an artist, curator, and educator who recently left the San Francisco Bay Area to become curator at the Arizona State University Art Museum in Tempe. Morales was an adjunct curator at the Yerba Buena Center for the Arts from 2008-12, where he created “PAUSE: Practice and Exchange,” a series of solo exhibitions by artists including Allan de Souza, Euan Macdonald, and[.....]

“NOW! THAT’S WHAT I CALL ART”: NYC 1993 at the New Museum

Pepon Osorio, "The Scene of the Crime (Whose Crime?)," [Detail] 1993. Mixed medium installation.

NYC 1993: Experimental Jet Set, Trash and No Star is the New Museum’s crash course in the recent history of contemporary art in New York. The exhibition positions 1993 as a signifier for mass cultural change: the thesis being that the events of this year irrevocably directed culture towards its manifestation in 2013. NYC 1993 seems just as concerned, however, with the ways that we[.....]