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lovemichixo · 1 year

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Web Girls

I've always been fascinated by girls on the internet. There's something about the vulnerability of a girl in her room that feels uncomfortably familiar to me. Something about that privacy, something within that intimate space, that curates an authenticity that's rare to find in the interwebs. Before "The Influencer" there were bloggers. I would like to take the space to honor them here. :)

Tavi Gevinson- Style Rookie.

This may be the Tavi most know and love and know (The youngster style icon turned Gossip Girl actress extraordinaire)

But this is the Tavi I am talking about:

Style Rookie was like a spiritual awakening for me in fashion format. When I first saw Tavi I was truly awestruck and frozen in inspiration panic. There was this little create going around runway to runway, rubbing elbows with fashion LEGENDS.. devouring fashion at a pace only a fellow fashion beast could recognize. This wasn't just a hobby, this was PASSION in physical form. Her posts on styler rookie, later turning into Rookie Mag- an online magazine- were a cultural shift for every fashion lover and style pusher in the same facility. What a delight it was to grow up watching this icon's origin story develop.

Molly Soda- Digital Artist

If Enya Umanzor had a troubled big sister who left the day after graduation because of mommy issues and the curiosity to find unlocked potential, it would be Molly Soda.

If "She's so real for that" or "She's just like me fr" was a person- it would be Molly Soda. She had a pet rat named Sarah Michelle Gellar (SMG for short) and she turned "beauty" on it's head with what modern scholars would call "Shit posting" herself spitting, puking, picking at her armpit hairs, all while singing so effeminately you couldn't help but be in awe of the juxtaposition of what society says is "appropriate" for a woman to be considered pretty versus what she was showing us: A woman in all her flaws and glory and still beautiful.

Check out her YouTube- Molly Soda is still creating art and content. Landlocked Mermaid- Ex- Tumblr Blogger This is a personal appreciation post here. This blogger deactivated years "before it was cool" (jk) but she really did- and became an obscure memory in the tumblr world. She RULED the indie girl Tumblr scene and went viral for kissing Conor Oberst from Bright Eyes at a concert once. Her family also owned the amusement park BIG was filmed at. I thought she was the coolest. Her and her friend Moonbrains (who I believe is still active on Tumblr) invented "sea punk" which was a mix of her handle name "landlocked mermaid" mixed with the punk movement popularized by the Tumblr grunge trend. (Anyone still own their lime crime "grunge palette"?) aka the Venus 1 haha. It's almost impossible to find pictures of them on the internet so here there are here. Immortalized in ones and zeroes.

Before vivid color existed we had to create and mix our own hair dye. This mix is superb.

There it is folks. Some of the big inspirations for some of my handles. The online ladies who helped shape an entire generation with colorful hair, cool clothes, and music tastes that broke da mout. Forever in my heart and now forever on the inter webs. To my Web Girls... Love, Michi xo

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strike-another-match · 11 days

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please if someone here knows more about this than me do correct me but i've been trying to figure this out and so far i think there's three main "layers" with different datasets used to create a stable diffusion picture (through comfyUI, a1111, web portals, etc.) which i will explain to the best of my ability now

(the goal of this post is to shed some light into the whole process to better understand the conversations around this topic, and also to try to figure out what is the best option for someone looking to protect their art from being used against their will in these models and for someone looking to make ethical AI images with their own pictures)

on the most superficial layer we have LoRAs which are made with only a few pictures and are applied on top of a base checkpoint model, usually made to replicate one particular artist's style or to capture a character's likeness to be able to re-pose them through prompts or other means. to make these i've seen people use anywhere from 5 to 1000 images which can be sourced from your own work, someone else's work, public domain, etc. when people say that they "trained an IA with their own art", i think they normally meant that they made a LoRA model with their own art that still needs a base checkpoint model to work, and i'm not sure about this but i think you can combine as many of these as you want (kind of like sprinkles on a cake perhaps??). the files are relatively small (a few Mbs in most cases) and you can train one fairly quickly through existing programs that are freely available

the base checkpoint model i'm talking about is the middle layer and from what i've seen i think it's trained similarly to a LoRA but it's meant to emcompass a broader subject (for example, "anime style" rather than "utena style"). i'm confused on how many pictures minimum you need to train one of these but people still do it in their fairly standard laptops or through rental of cloud space and it can still be done only with pictures you own the rights to and/or are in the public domain. many of these models have nothing to do with visual arts in the first place (for example, you can take many pics of trees and flowers around your neighbourhood, curate a proper dataset and use it to train a model that you can use to generate mix-and-matches of those... etc.). on top of these base models you can create and apply LoRAs and other similar smaller/"tweaking" models. these tend to weigh 2-8GBs but i wouldn't be surprised if there's some much larger ones that i haven't encountered

i used to think that if you did this step without using stolen images you could have a "clean" model without anything shady going on (personally i wanted to make one for victorian flower fairy illustrations for personal use because i thought it would be fun...) but then i learned that these models are still trained on a base stable difussion model (SD1.5 or SD2.0 etc) which is where it gets impossible to "make your own" as a layman since these large base models are trained on immense, and i mean immense data sets containing (in SD's case) millions upon millions of images of all kinds, from naruto screencaps to pictures of puppies to photographs of models in ads in magazines to people's instagram selfies and facebook family photos, etc. these data sets are so large that if i understood correctly they're impossible to curate manually or for anyone to know exactly what has gone into them. also, these costs hundreds of thousands of dollars in computing power to train, but they only need to be trained once, after which each use only consumes the same amount of power as any other activity that you may do on your computer with your graphics card such as playing a videogame

i'd recommend reading this article [cw: mentions of child abuse] for better understanding, but this is basically where "tumblr is selling our data" comes into play. checkpoints and LoRAs created to imitate one specific style are normally created from hand-picked datasets by one person or a small group of people and that can still be done even with the best data protection measures as long as another user can right click and save an image from a post. meanwhile, base models like stable diffusion or midjourney are trained on billions of pictures of all kinds so for example even if they scrapped my entire portfolio it would be a drop in the ocean in the final result since the whole of facebook is also in there

re: disruptive protection technologies such as glaze or nightshade, personally i don't think it's worth it to use them to protect your art from automated scrapping / massive data selling because those images are going to be such a tiny small part of the final dataset that it feels like putting in hours of extra effort + losing a lot of social media presence by deleting your old posts with the original images for no tangible benefits to you, but if what i said above about LoRAs and checkpoints is correct then it would be useful to prevent regular humans from manually creating specific tweaker models that replicate your specific style or characters. however from what i've read i think this can be somewhat bypassed by just taking a full-res screenshot of the image instead of right click and saving it (i say somewhat because a glazed picture is inherently disrupted and thus "uglier" than the original picture... but i think just blurring the image slightly before posting it or just posting a lower res version would give you the same level of protection ??? without needing to go through all the trouble of using glaze and nightshade which is pretty time-consuming)

again my only goal here is in understanding how all of this works so i really appreciate any corrections that can help me better understand. i want to test my theories on glaze/nightshade by taking some disney images and creating 4 different style LoRAs with them (one with the original images, one with glaze + nightshade, one with low res versions of the images, and one with blurred high res versions of the images) to see if there is any noticeable difference in the results !

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hydralisk98 · 2 years

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Things to focus onto?

Braindump: { Halloween, libre software, life long learning, aesthetic creative assets, cartoons, fighting back Wilsonism, vintage soft grunge techs, 1910s, law of attraction & assomption, subliminals, autism, affirmations, Unix porn aesthetics, TempleOS, moodboards, wholesome, Portal 2, Helluva Boss, 0x10c, Servitor, INTP(-T), history, customization, handwriting, Jucika, slidesona and slideshows, civilization games, Pflaummen, Maskoch, Maskutchew, 16^12, conlangs, Black Bear, Her Camera, Klara, transfeminity, magick, witch, FreeCiv, exploration, pawnsonas, software toys, far far away future, dying universe, degenerate era future, Quake, Lisp, Tribbles, DECmate, PDP-8/E, dark pastel aesthetics, B&W, 35mm, wooden amber, Commodore, Sherman Fairchild, OUYA aesthetics, Hooven shoes, Reich, AutisticAngora, hydralisk98, trans pride, LGBTQ+, meme, CSS3 coding, HTML5 coding, C programming, retro tiny programs, Uxn, Gyo, Konrad Zuse, time travel, shapeshifting, opinions, Discord subliminal community, YouTube subliminal community, positivity, Ea-Nasir, ANSI, PETSCII, paper tape, paper cylinder worlds, collages, assembly programming, Oswald the lucky rabbit, vintage media, videostore, public library, dice, math rocks, mundane fantasy, Angora (world), Magritte, Tolkien, Vivziepop, Furudeki, content curations, compilation, video editing, vector art, photo edits, index card catalogs, zines, hardware modding, logic gates, multimedia, soft grunge, dark aesthetics yet empowering positive moods, apocalypse, documentaries, CRT, Sifteo, SEGA Dreamcast, SEGA Dreamcast VMU, Zepeto, Instagram, Tumblr, Mastodon, DuckDuckGo, Wikipedia, Deviantart, Toyhou.se, Librewolf, Brave, Build2 game engine, Quake 1, ASCII, UTF-8, textmode, text art, typewriter, selectric, word processor, analog tech, living computer history museum, custom dumbphone, libre mindset, dnd, pathfinder, talespinner EU the free TTRPG system, GURPS, dungeon crawl, hex crawl, knowledge explorer, alternate history, alternative software, DIY stationnery, font making, typeface craft, dark aesthetic ladies, angelcore, webcore, monotone icons, GUI theme pack, web design, custom cursor, custom sound effects, real life photography, relaxation, affirmations, mindset detox, flat retro yet layered style, animated agents, dark colors but bright themes, Windows 3.11, NeXTSTEP, SPARC workstations, BASIC programming, Unix philosophy, Parmenides, Philosophy, studies, study, *-blr, magazines, MIDI music, creative writing, poetry, Turing machine, Lambda calculus, game modding, Neocities, Geocities archived web pages, Fish shell, Bash shell, Zsh shell, cool-retro-term, Cathode, new iMac Yellow/Mint 24", logic operators, parentheses everywhere, Python programming, C++ programming, F# programming, CTSS (OS), ITS (OS), Multics (OS), Atari-style graphic design, Ural soviet computer, bitwise operations, tiny to the core minimalism... };

Hexes Selectric:

Focus: Knowledge exploration with aesthetic slideshows

Aesthetics: Soft grunge with yet dark-ish components (Versatile theme packs with my color scheme)

#maskoch

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mikeo56 · 5 years

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Sue Tumblr

Earlier this week, the blogging platform Tumblr announced that it would be scrubbing itself of “adult content.” The move doesn’t just affect how people look at and exchange nude photos on a downtrodden platform—it portends a broad shift in how we experience intimacy and connection online, in how user-generated content is managed, and in how tech maintains its stranglehold on the digital commons.

The “adult content” Tumblr will be banning, the company wrote, “primarily includes photos, videos, or GIFs that show real-life human genitals or female-presenting nipples, and any content—including photos, videos, GIFs and illustrations—that depicts sex acts.” But what the company is really going after is a four-letter word strangely missing from its 538-word announcement: porn. Tumblr may be home to personal blogs, community forums, and foodie photo collections, but pornography makes up a huge part of its reputation. A friend of mine texted me that Tumblr ending porn is like “McDonald's ending hamburgers.”

Tumblr’s decision was partly motivated by a large child-porn problem. You can see why rather than pay for the expensive work of patrolling the age of people in porn, the company would simply want to overcorrect. But its adult content wasn’t strictly limited to porn. The site is—was—a haven for people who might not be able to connect sexually in other ways. As a reader who might be described as a member of the “cub” gay subculture wrote to me, “Porn and related content on Tumblr was the primary place I first saw more natural body types for guys.” Besides Tumblr, he said, there hasn’t always been “any place guys who are average to larger without growing six packs could admire themselves and other guys.”

Just as black Twitter gave voice and audience to black writers, Tumblr created the space for sexually nonnormative people to see and be seen in ways they weren’t elsewhere. There were Tumblrs for those who identify as bears, furries, HIV-positive, bisexual, disabled, and fat; for people into S&M, pegging, and group masturbation. Whatever your body type or fetish, there was probably a Tumblr community for you.

And this brings us to two problems that go well beyond Tumblr and the legal but still widely condemned sexual activities featured on it. The first is that Tumblr’s adult communities—like the platform writ large—are driven not just by amateur, user-generated uploads, but by the curation efforts of committed volunteers. Come December 17, when adult content is made private and un-shareable, these communities will effectively be shut down, their collectiveness made digitally homeless.

This is the end point of user-generated content on any social media platform: When people create content that has social benefit for them, it makes massive capital benefit for Silicon Valley and Wall Street. Yet the people who generate that wealth have no influence over the digital commons where it resides and no recourse if they’re evicted from it. The commons are, after all, privately owned—never really commons to begin with.

And here comes a second fact that the Tumblr fiasco exposes: how interwoven our intimate encounters, desires, and relationships (including, but not limited to, sexual matters) are with digital platforms. Consider how much of your personal and professional life experiences may be integrated with Facebook, Twitter, Instagram, and Tinder. Now consider that these companies could swiftly and legitimately shut their platform down, and sell all of your images and words for a trillion dollars. And you’d get no money and have no legal recourse.

Why is this so broadly dangerous? Because it’s not easy to opt out of using digital platforms, which are becoming as important as physical roads for human interaction. Professional, commercial, and even the sexual interactions that literally determine life itself are mediated through these privately controlled communications networks. And as the power of these networks is consolidated, the people who’ve built them up but who are deemed a threat to maximum profit—even as collateral damage in a purge of illegal material—will be jettisoned.

For there is a “larger, disturbing trend,” as the New York Times Magazine writer Jenna Wortham put it, “indicative of troubling, invisible heteronormative morality clauses on the web that we are all likely [to] enable and/or are complicit in enabling.” In March, Craigslist closed its “adult personals” section in response to a pair of bills, the Stop Enabling Sex Traffickers Act and the Allow States and Victims to Fight Online Sex Trafficking Act, that would hold platforms criminally responsible for any sex work facilitated through them. Facebook has also rolled out restrictive new community standards, which aim to “draw the line—when content facilitates, encourages or coordinates sexual encounters between adults,” dissuade people from discussing certain sexual preferences or positions and forbid “sexualized slang” or “sexualized language.”

Using social media intimately in our life hasn’t been all bad. Indeed, as a recent scientific article by Oliver Haimson on some 240 Tumblr gender “transition blogs” showed, social media can play “an important role in adding complexity to people’s experiences managing changing identities during life transitions.” In fact, “female-presenting nipples” will be allowed under Tumblr’s new adult-content ban if they are shown “in connection with breastfeeding, birth or after-birth moments, and health-related situations, such as post-mastectomy or gender confirmation surgery.” Tumblr will also allow “nudity related to political or newsworthy speech, and nudity found in art, such as sculptures and illustrations.”

But what counts as “female-presenting” or male-presenting, or as “political” or “art”? Just what counts as “health-related”? What expressions of gender are acceptable or unacceptable? These are profound and debatable questions. The Tumblr of the AIDS activist group ACT UP New York wrote that a post of clothed people wearing Silence equals death shirts had been flagged a while ago. Some LGBTQ Tumblr users have reported that content as queerly innocent in nature as a line drawing of two boys hugging is already being flagged. They’re afraid such content may be removed, which happens on other platforms often. In a blog post, Tumblr CEO Jeff D’Onofrio acknowledged that “filtering this type of content … is not simple at scale,” before concluding, “We won’t always get this right, especially in the beginning, but we are determined to make your experience a positive one.”

But the Tumblr adult-content purge reveals the enormous cultural authority, financial extraction, and what the philosopher Michel Foucault called “biopower” that tech companies wield over our lives. As intimate interactions are ever more mediated by tech giants, that power will only increase, and more and more of our humanity is bound to be mediated through content moderation. That moderation is subjective, culturally specific, and utterly political. And Silicon Valley doesn’t have a sterling track record of getting it right.

We want to hear what you think about this article. Submit a letter to the editor or write to [email protected].

#technology #digital community #tumblr

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artsandsciencesprojects · 4 years

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Note posted April 10, 2020: the Arts & Sciences Projects website will be transitioning entirely to Tumblr as of May 1, 2020 due to our web host shutting down. We are posting images and texts from previous exhibition, events, and publications.

Arts & Sciences Projects is heading to Russia! (at least our books)

18 May – 1 June 2013

TAMIZDAT

at New Holland

St. Petersburg

Summer in New Holland 2013 will open with a pop-up show TAMIZDAT, by FAMILY BUSINESS, the New York based gallery initiated by artist Maurizio Cattelan and Massimiliano Gioni, the curator of the Venice Biennale 2013.

TAMIZDAT is an independent press ‘mini-market’, held in St. Petersburg. TAMIZDAT is the newest incarnation of the MEGABODEGA zine show that took place in July 2012 at Family Business Gallery in New York.

TAMIZDAT refers to the Russian term ‘samizdat’, which was a key form of dissident activity during the Soviet era in which individuals reproduced censored, foreign publications by hand, and passed the documents from reader to reader. The aim of the exhibition project is to revisit the strong Russian tradition of self-published, paper-based products that led to the democratization of information, where every person can make a book or a magazine expressing their thoughts and ideas, with a creative touch.

During the project there will be presented 400 self-published art pieces from all over the world. Moreover, nightly there will be zine presentations and book launches, as well as variety of events such as concerts, poetry readings and performances by international and local artists.

Curated by Victoria Yee Howe and Daria Irincheeva.

Arts & Sciences Projects publications included in the exhibit:

A Romance in Pictures by Calvin Lee

American Desire by Carl Gunhouse

3 by Ryan Compton

Friends & Family by Martin Masetto

Young Man with International Style by Philip Tomaru

More details here.

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allydsgn · 7 years

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Learning Graphic Design On Your Own

A Quick Note...

Everyone learns differently. Some people like to ask questions in class, others like to watch videos that they can pause and replay, and even more people could prefer to just tinker and see what happens (I’m personally a tinkerer). The first thing you should do when learning on your own (so probably online or through books) is to do some research and know how you like to learn.

So, let’s start with… what even is “Graphic Design”?

Let’s get this straight… graphic designers aren’t fine artists. They are problem solvers, visual communicators, and sometimes curators of information in an aesthetically pleasing way. We organize information and try to make the world an easier-to-understand and more beautiful place. Of course, there are other fields like advertising where we communicate to customers why they should buy certain products. Or there are User Interface/Experience designers that will develop websites and video game interfaces and design how you interact with it. Look into graphic design and see what field you want to be in. What do you want to do with graphic design?

Fun fact, the google definition says: “the art or skill of combining text and pictures in advertisements, magazines, or books.” and to that, I’d like to say we do SO MUCH MORE.

Now that you know what you’re doing…Here’s the VERY BRIEF process! (I may make individual posts for each step later on)

Learn the basics

Typography, how to use the basic principles of line, shape, color, and so on is usually for everyone no matter your field.

Basics like composition are also very important. If you’re into editorial then typographic spreads will be more of your focus. If you’re in web design then seeing how websites are typically laid out will be a thing to look into. Basic typography, color theory, and principles still apply!

Basics and principles are a google search (or a book) away! Everyone talks about these things ALL the time.

Look up inspiration and develop an “eye” for design

Follow design blogs! Follow other designers! On all of your social media! (There are so many Tumblr blogs and Instagram accounts solely dedicated to graphic design curation).

Look into the big names of the industry

Why were they remembered? Everyone else in the field probably remembers them for that, too.

What was so great about them? Apply what you learn to your own work!

If they’re well known, they probably have at least decent work to get inspired from!

Research is done... time to do some work!

If you’re just starting out, there are some things you’re probably not used to. Doing things by hand with sharpie markers on paper will definitely help train your eye and mind to think more about communication, not pretty things.

Abstract things down into simple shapes. Then try communicating that same object with fewer shapes. Maybe only lines? Geometric style? Play around with communication! This is key when you get into icons, logos, and other visuals that require a more minimal look.

Remember, you make information more easily accessible. The best logos are easy to remember because they are simple and effective. Your work may one day need that kind of punch!

The jump from traditional to digital

It’s time to learn about your program(s) of choice... my biggest piece of advice would be to just mess with it. Learning on your own by trying to make something is one of the best ways to train your mind and body on how to use the programs.

Try every tool. Try making basic shapes. Then make basic objects with those shapes. Then try making a person or something more complicated. Try to test every tool to see what you’d use it for!

Don’t know anything or how to do something? Google it! If you’re asking there’s probably 5+ different YouTube videos, 3+ articles, and 100+ tutorials on how to do it.

Let’s work on projects!

Now that you’re familiar with the history, principles, other designers, and the programs... just keep on making stuff!

Making your own projects (make your own website, business cards, a flyer for a club, a T-Shirt, and so on...) is my biggest recommendation on how to learn graphic design. Actually applying everything you’ve learned will make you think in a problem-solving way! Also sharing things that you’ve made that actually matter is way more fun than sharing a fancy circle you made with no context. (You can say “look at this T-Shirt I made!” instead of “look at this weird circle I made!”)

Get feedback from designers and non-designers

Once you’ve made stuff... ask everyone! Non-designers will give you a client’s perspective of your work. A designer’s perspective will help you grow as a designer and they may see things that you and your average person wouldn’t have noticed. (you’re always free to ask me if you’d like!)

Please remember to not take feedback personally (unless they’re being rude, then just ignore them). You’re learning and growing and there’s always room for improvement. A lot of feedback is not a bad thing!

Stay determined!

Being a designer isn’t easy. That T-Shirt you made that took you a couple days? Someone could say they don’t get it. Other designers could say there was a better way to execute your idea. Another person may even say it looks like something else!

When you design you have to expect to make revisions, rethinking, and making more revisions until it’s at a good enough place to publish. But no matter what, you have to remember that it’s not about PERFECTION. It’s about getting it DONE and learning to grow. No one is perfect, and it’s mostly subjective, so just take the criticism you agree with and don’t apply what you disagree with. As a designer, you should know what’s right, wrong, or what you should consider bringing up to other designers.

KEEP MAKING MORE STUFF! You can even remake older stuff as you go on! Just keep going!

That’s my super brief process!

Now honestly, I could’ve gotten down into the nitty gritty details of each step, but this is basically how I’d suggest going about it if you want to get a head start before getting into college, or you want to just learn on your own.

If you guys have any additional questions or want me to go more in-depth about anything, feel free to let me know! :)

#mine #graphic design #design #studyblr #studioblr #tutorial

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kay660games-blog · 5 years

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yeswearemagazine · 9 months

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Little People, Big Art...

I will be less inclined to selecting, highlighting, praising, writing texts, pointing to the YWAMag galleries of the scornful artists. There are two reasons for this hate (cold hate, most of the time, aka passive aggressiveness) : slander, and “anti-racism”, as I am considered by neo-collaborationnists as a “white racist”, which I’m actually not, but having daily worked for about 6 years on crime and terrorism, my fact reports and logical conclusions don’t please those neo-collaborationnists. Yet, the mag is literally full of neo-collabs’. It doesn’t matter, I can’t do otherwise, I just have not to know it or think about this shit.

These little people function by hate and boycott and this is opposed to art. I’m here for art. The Tumblr staff is strictly the same, recruiting on these ideological bases. So, I keep on praising, selecting, etc, just slightly less, for these little people, with big art. Basile Pesso - YWAMag director since 2 014 Nirvana, Serve the Servants

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basilepesso · 9 months

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After one year of pause, Yes We Are Magazine has now been back but only on Tumblr for more than three months, daily as usual. The Fb version is unfortunately still on pause as it’s my disappeared wife and collaborator Anne Pangolin Guéno who has the keys and refuses to give them when it’d be very nice for all of us to have the Fb version of the mag functioning.

For the newcomers, just watch a few pages to get the stuff, what it’s about, the level, the style, the spirit. And/or go to the “about”.

It’s mainly a photo magazine without a lot of blah blah, and mainly compositional analyses when they have to be made - yet all the main directions have been explained in this field over the years, so I don’t have much to say about it now.

For the visual artists (mainly painters) : you are welcome, as usual. The feature which had existed in 2 018/19 (The Tri-Weekly Most Successful YWAMag selection) has been back for several weeks. From 2 015 to 2 018 or 19 I have had 4 collaborators with their Weekly Selection. This feature is gonna be back soon with a newcomer. The files still have to be sent here between 1Mb and 4. All secure, no one has ever complained about that.

The interviews, of which you can see some on ISSUU, are waiting for Anne’s come back. I don’t have the graphic design skills to make the visual part.

Boycott, especially political, is still a repellent and abhorrent practice that YWAmag firmly refuses. Basile Pesso - YWAMag director since 2 014

#basile pesso #yes we are magazine #writers on tumblr #writers #journalism #journalists on tumblr #independant journalists on tumblr #web art magazines #curators on tumblr

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marinareyesfranco · 6 years

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vimeo

Lino Diva$ Art Gallery from lino divas on Vimeo.

Post Internet Argentina

Partially published as New Media in Buenos Aires in VICE's The Creators Project blog, January 2014

Argentina boasts hundreds of artist-run initiatives, some of which occupy no permanent space at all, other than web space. There’s an infinite number of workshops, studios, exhibitions, residencies and galleries that may or may not have ever sold a work of art in their life, yet thrive culturally and contribute to budding local scenes all over the country. These projects, a lot of which are documented online in the website Proyecto CARA (full disclaimer: I’m also co-founder), are often much more interesting than whatever goes on in bigger galleries or museums because they are community-driven and respond to artists’ needs in the face of systematic institutional inaction. Some of these projects are so essential to some cities, that it’s become impossible to talk about art in the city of Córdoba without mentioning Casa 13, Rusia Galería in Tucumán or La Herrmana Favorita in Rosario. These projects not only exhibit artworks, but rather take on the responsibility of creating educational programs and constitute a network of artistic and, lately, curatorial residencies. Namely, these projects are doing what a lot of city, provincial and national governments are not doing: supporting contemporary art.

While a lot of projects rely on a physical space to exist, some are mutable or even virtual. In fact, these art workers are sustaining alternative art institutions with varying degrees of seriousness and play, but always with a lot of commitment, especially considering that basically no one makes a living off them. One of the most notable efforts of institutional transvestism is the Fundación para la Difusión del Arte Contemporáneo en Mercosur y Alrededores (FDACMA, or Foundation for the Dissemination of Contemporary Art in Mercosur and its Surroundings), an “auteur institution”, according to its founder, artist Lino Divas. FDACMA is only one of Divas’ many uni-personal cultural endeavors, which also include Fanzineteca (a zine archive), Videoarteca (video art archive) and the all important FDACMA Permanent Collection, comprised of art from emerging artists from the Mercosur economic community Argentina, Brasil, Paraguay y Uruguay and other affiliated states (Bolivia, Chile, Colombia, Ecuador, Perú and Venezuela). FDACMA exists online and takes on various physical forms wherever Divas is invited. The fact that the project is his doesn’t mean he doesn’t involve many other people. In fact, in 2009 Divas invited several artists to create the future capital of Mercosur in ThisIsNotAGallery, each contributing a miniature building or urban area, turning the whole gallery into a model city. Recent activities also include the 1era Bienal del Pasacalle (1rst Banner Biennial), which took place in various public spaces during July 2012 in San Miguel de Tucumán, Argentina. Hopefuls tweeted messages with the hashtag #bienaldelpasacalle to @fdacma over a 3 day period, after which 20 were selected via online voting. The chosen messages, which varied in content and character -from “Thanks Google for everything” to “<3 Legal abortion is life <3”- were then turned into banners and placed around town close to existing independent art spaces, creating a route that increased their visibility.

Lino Divas (an alias, not his real name) is also an illustrator, web designer, gif maker, creator of his very own online Lino Divas Art Gallery, art peddler in Mercado Libre (a Latin American Ebay) and an artists’ artist who will probably matter more to insiders than to collectors, if that’s even a concern for him. Divas actually seems to be the direct descendant of another secretly great artist, Benito Laren (also not his real name). Laren, a self taught artist, first burst into the scene in 1987, when he started creating his paintings on glass and participated in the tight-knit 90s art scene around the Rojas Cultural Center at the University of Buenos Aires. He is also a cheeky megalomaniac who wears several wigs á la Warhol, open collar shirts under white suits, always dreamed of becoming famous and claims to be inspired not just by God, but by Martians. With him, everything about his personal branding is and is not a joke. His work spans painting, video, literature, mail art and nation building. Laren is actually the king and only citizen of Larenland, for which he has issued postage stamps featuring himself in various poses and sent letters to faulty addresses worldwide, including Saddam Hussein’s, only to have them sent back to him, with the other country’s “return to sender” stamp as a sign of recognition of Larenland. If mail art is a precursor of net art, then Laren is definitely sending spam. Both Laren and Divas have created personas as part of their work and the internet is a continued source of inspiration and source images, but Laren is still lagging on the technological front, whereas Divas’ body of work is readily available online. Divas is all about the internet, whether he’s making illustrations about the spam he gets or digital art based on “ego shots” (now called “selfies”, but this was back in 2008). Both his preferred mode of inspiration and medium is simply low budget technology.

The internet and the possibilities of Open Source, along with a lot of low tech and PC related imagery, are closely linked to the output of several Buenos Aires-based artists. There are more conventional venues like Fundación Telefónica, which focuses on “art and technology” or FASE, an annual exhibition featuring new media art, but both support a simultaneously dated and hi-tech version of art, which heavily features robots and LED lights. Other artists explore ways in which technology can be used to discuss such varied topics as the perceived notions of institutionality, politically correct humor and even the Patriarchy through gifs, websites and tumblrs, but also using otherwise old school mediums such as painting, sculpture and photography.

Facundo Pires

One such artist is Facundo Pires, whose work expands photography, sculpture and installation, yet does so through printing experiments with failing machinery and researching amateur porn posted online, among other subjects. Mostly, what Pires is really doing in exploring the mechanics and limits of photography, both analog and digital, as well as image manipulation. In his most recent solo exhibition, “La línea del horizonte” (The horizon line) at Miau Miau gallery, Pires researched pornographic images and videos amateur performers would post online, retouching them into oblivion. Some film rolls, already a thing of the past because of digital photography, were encapsulated in clay and displayed on a shelf. A printed photo was displayed lightly resting on a rod that protruded from a wall. Pires is steadily developing an archaeological approach to images and paraphernalia: “what did we use this for, again?”

Adriana Minoliti, from the Queer Deco series

Adriana Minoliti considers herself a painter, yet her practice expands way beyond the canvas into feminist activism through art, curating exhibitions and editing publications. What Minoliti proposes is a transformative approach to art and life, providing a more integral vision of sexuality that takes into consideration feminist and queer theories. Her practice includes painting but also installation and photomontages, always working with abstraction and geometry as a biopolitical tool. Aside from the huge and stunning paintings in her show Playroom at Daniel Abate Galería in 2012, Minoliti has been amassing an impressive body of work with her Play G and Queer Deco series, both of which are photomontages. In Play G, which she proposed to Playboy Argentina but was turned down for being “too artsy”, Minoliti mixes naked women and geometric forms that interact with them. According to the artist, the abstract porn she works with “is post-pornographic because they mean to excite the spectator’s nervous system but criticize the statutes of pornography.” The Memphis Group, an Italian architecture and design from 1980s Milan is a clear reference throughout Minoliti’s work, but particularly the Queer Deco series, in which she places anthropomorphic geometric constructions in the midst of design magazine spreads. Most recently, Minoliti teamed up with mexican born but Buenos Aires based net artist and curator Gaby Cepeda, to create a series of gifs for an online exhibition that mixed both Minoliti’s paintings and their interests, ranging from Rihanna to cats, japanimation and the affirmation of power through sexiness.

Girls of the Internet Museum, a project by Gaby Cepeda

Another project that stems from the online exploration of feminism is the Girls of the Internet Museum. According to Cepeda, it's founder, the GIM was “born from a necessity to put together references, works and context that build sense around the girly internet experience, wether they stem from art or from the most random digital production.” The project came about in November 2012 during a workshop on temporary museums and express exhibition making by curator Pablo León de la Barra at the Centro de Investigaciones Estéticas. For the past year, Cepeda kept working on the project, developing a Tumblr-as-museum as a feminine, if not strictly feminist, institution. Integrating post-internet theory and international artists, from Jennifer Chan, Angela Washko or Jesse Darling, who are more upfront about their feminism, to Petra Cortright and Emilie Gervais, as well as the Argentine Laura Códega or Bolivian Narda Alvarado. The GIM manages to exist as both online exploration of “girls”, but also as IRL exhibitions and the ultimate thesis research tumblr.

Franco Ferrari’s show at La Ene in Buenos Aires

Franco Ferrari is another artist fascinated by the idea of museums. First in an apartment show and then at the Nuevo Museo Energía de Arte Contemporáneoand the University of La Plata, Ferrari has been working with the idea of high art, theft, copyleft and the possibilities the internet provides for creating your own high art Open Source museum. Working with high resolution images stolen from the web, Ferrari prints them -mostly in a 1:1 scale- to play with the idea of the palace-as-museum, that 18th century space that, through revolution, was opened to the public and served as a tool for civilization. Searching for frescoes by Tiepolo, he found The Immaculate Conception on the Google Art Project -a 100MB file- and became obsessed with the quality of the images he could get online. He looks for the gloss, crackle and the paintings in their original frames. “It was a matter of improving the internet search to get high resolution pictures. I realized that I could open a museum anywhere.” he says. Ferrari clearly admires the greatest of the art of the past, but also questions its exclusivity, bringing the masterpieces to Argentina or someone’s home through appropriation, his DIY attitude and a little bit of theft.

The term post-internet refers to a state of mind that conceives the world as a network; another way of thinking. In the context of these artists’ production, we can apply it to how they create being conscious of the networks they are operating in - from inception to production and how it is distributed. But it doesn’t just apply to how artists produce art, but to how they team up with other art workers to generate other projects. Buenos Aires is an exciting art city mostly because of all the galleries and collectives you might not hear of, yet are essential. Some of the artist-run galleries that have been important in the past few years won’t necessarily be there when their lease expires -Rayo Lazer, Urgente, Inmigrante, Isla Flotante, Bonjour, Big Sur and Militantes are some of the standouts- but they all would have shaped a generation of artists that conceive their work as part of a greater, multi-platformed art world.

#la ene #franco ferrari #adriana minoliti #gaby cepeda #girls of the internet museum #facundo pires #lino divas #FDACMA #buenos aires #argentine art #argentina

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instantlyzealousland-blog · 6 years

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micaramel · 6 years

Link

Artist: Cheryl Donegan

Venue: Kunsthalle Zürich

Date: August 26 – November 19, 2017

Click here to view slideshow

Full gallery of images, press release, and link available after the jump.

Images:

Images courtesy of Kunsthalle Zürich. Photos by Annik Wetter.

Press Release:

My Plastic Bag is Cheryl Donegan’s first ever comprehensive exhibition and refers to the small retrospective Scenes + Commercials, which was organized by American curator Johanna Burton in 2016 at the New Museum in New York. In its condensed form, Scenes + Commercials pinpointed the difficulty of understanding Donegan’s work in established discourses, thus offering an explanation as to why her work has remained subversive until today. In this regard it is interesting to note that Donegan has largely been seen as a video artist even though she is also a painter. In her practice, Donegan confronts painting with new media and its modes of production and immateriality. She does so with a persistence and pleasure that taunts the professionalism and production criteria that have come to dictate the art (and our lives) in the last two decades. This results in an art that is knowledgable, but chooses to undermine its knowledge. It is based on a casualness that shows itself to be searching, strangely elegant, and – perhaps not surprisingly – erotic.

Donegan, born in 1962 in New Haven, on the East Coast of the United States, becomes well-known for her two films Head (1994) and Kiss My Royal Irish Ass (K.M.R.I.A.) (1993), both of which will be on show at Kunsthalle Zürich. The films are unabashedly and erotically charged stagings of painting as performance and parody. In the mid-1990s, Head and Kiss My Royal Irish Ass (K.M.R.I.A.) are widely acclaimed and critically received amidst the context of the emerging “Body Politics” in North America. Video art is the newest trend, and Donegan soon becomes known as a “video artist”, and invited to numerous international group exhibitions. She shows works at Aperto at the Venice Biennial in 1993, the Whitney Biennial at the Whitney Museum in New York in 1995, and the Semaine Internationale de la Video in Geneva in 1997, where she receives the grand prize for her film Line (1996), now also on view at Kunsthalle Zürich. In 1997 she paints the large-format, 11-part series Scenes + Commercials, which she shows together with a film at the New York gallery Basilico Fine Arts. The exhibition receives harsh reviews, leading Donegan to destroy one painting and file away the remaining in a barn. Twenty years later they are now on view once more at Kunsthalle Zürich.

Donegan’s career slows down, not lastly because gallery representation becomes complicated: Basilico Fine Arts shuts its doors, as do a number of other galleries that have come to represent the artist. This turns into an even bigger handicap as the art market is more and more seen not only as an important channel of distribution, but also as an endorsement machine. Whoever has success in the market is understood as relevant. Donegan continues to create low-fi films such as Flushing (2003, also in the exhibition) and to paint, or rather, to “make” paintings. From 2009 onwards the works seem to mock the smooth and polished surfaces of the digital media era. It is art that presents itself as anachronistic (but never nostalgic) and committed to the earlier do-it-yourself attitude. It might be described with the term “Provisional Painting”, which art critic Raphael Rubinstein coined when he wrote about the works of Michael Krebber, Albert Oehlen and others in Art in America in 2009. Donegan examines the relationship of painting and the new technologies in the same way that she exposed painting to video art in the early 1990s. She is a painter who just happens to have mislaid the paintbrush – or thrown it out.

Around 2009, Donegan starts experimenting with patterns appropriated from the fashion world, such as gingham and checked patterns, which appear in the designs of Rei Kawakubo for Comme des Garçons. She scans textiles and utilizes web-based services, such as www.paom.com, to produce fabric by the yard. By declaring the resulting material to be canvas and stretching it onto frames, she obtains objects that purport themselves as paintings. A variation of this process has her commissioning clothes from the scans – something that is now possible for everyone, not only large-scale companies such as Nike with their “Full Customization” tool, due to Internet, production on demand, and low-wage countries. Today, everyone can create his or her own fashion line in just a few days and with just a few clicks, and organize a fashion show, which Donegan did on the occasion of her exhibition at the New Museum in New York in 2016. Is Digital the new Do-It- Yourself? After all, Donegan uses the digital tools in a way they weren’t necessarily created for: Firstly, to produce paintings. Secondly, for the design and production of apparel that is self- referential and ready to serve as sculpture, performance outfit or as an actual tracksuit, depending on what is needed. By this, Donegan feeds the technology back into the art and its discourses, developing what could be called a “refashioned ready-made.” This not only pushes the modernist ideals of an “art for and by everybody” to a new level, but at the same time perverts it by asking if nowadays the consumer is the true artist.

Here, again, we face the motif of casualness, without being quite sure whether to accept or reject it. Isn’t art the opposite? Unique, absolute and genius? Something else becomes apparent as well: The state of homelessness of today’s art. This is the price art paid for its liberation in the 20th century, and by defining itself through self-referentiality. This autonomy came with an unexpected price tag. Independence not only brought freedom, but also rootless disposability: My Plastic Bag*. The place for art has been lost. This is the dilemma that Donegan eloquently traces in her work, and this is why it is so important in its apparent casualness.

Daniel Baumann, Director Kunsthalle Zürich

Donegan’s works will be shown in 2018 at the Contemporary Arts Museum in Houston, curated by Bill Arning, and at the Aspen Art Museum, curated by Heidi Zuckerman. Both curators worked with Cheryl Donegan in the 1990s. A comprehensive catalog of Donegan’s practice will be published in 2018 on the occasion of all three exhibitions.

Cheryl Donegan lives and works in New York.

* My Plastic Bag, the title of the exhibition at Kunsthalle Zürich, is a play on Cheryl Donegan’s Fashion Tumblr “Your Plastic Bag”.

—–

Bomb Magazine, February 25, 2014

Cheryl Donegan by Sam Korman

Link: Cheryl Donegan at Kunsthalle Zürich

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://bit.ly/2z3TqCZ

#micaramel

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exfrenchdorsl4p0a1 · 7 years

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20 Photography Magazines You Should Definitely Follow on Instagram

It’s 2017, and Instagram is now 600 million users strong; that’s a lot of new images/videos and stories each day. An effervescent but non curated activity. Beside all the personal accounts and brands, there’s a few magazines. Some of them revolve around the third art: photography. Let’s get a deeper look…

Left and right: Cody Cobb Noice Magazine — Green issue Noice magazine

Noice is an online and paper publication for photographers. It has a very meticulous style when it comes to minimalism. Line, colors, and light are key elements of Noice publications. They have a limited paper zine.

Instagram: @noice_mag #noicemag Website: noicemagazine.com

Paper journal — Best of Instagram Vol.1 Left: Olga de la Iglesia — Right: Max Marshall Paper journal

Paper journal is an online magazine based in London with contributors from all over the world. It creates a series of independent exhibitions, printed publications, talks, and events. It is updated weekly with interviews, features, studio visits and photobook reviews and aim to bring the best of contemporary visual arts.

Instagram: @paperjournalmag #paperjournalmag Website: paper-journal.com

Left: Marco Barbieri— Right: Gregory Halpern Archive Collective printed issues Archive Collective

Archive collective is an online magazine, a printed publication, and a platform that promotes the talents of a global creative community. It is heavily photography-based and everything is curated with a very high attention to detail and aesthetics. Definitely a must of this list.

Instagram: @archivecollectivemag #archivecollectivemag Website: thearchivecollective.com

Left: Lane Coder— Right: James Nizam Somewhere magazine

Somewhere is an online lifestyle magazine based in Stockholm, Sweden, with a focus on Photography, fashion, film, travel, and design. They publish both on Instagram and on their website.

Instagram: @somewheremagazine #somewheremagazine Website: somewhere-magazine.com

Obscuraland x Subjectively objective magazine Left: Luca Tombolini — Right: Christopher Shaw Subjectively Objective

Online gallery (on Instagram and via their exclusive newsletter) and books; mini monographs of artists or books + prints. Subjectively objective has a particular focus on contemporary landscape and conceptual photography.

Instagram: @subjectivelyobjective #subjectivelyobjective Website: subjectivelyobjective.com

Left: Noel Dong— Right: Elham Ehsas Fujifeed

Fujifeed is an online magazine publishing the work of both emerging and established photographers around the world. Daily on Instagram and weekly through articles and interviews. Fujifeed publishes photographers working with the Fujifilm cameras system.

Instagram: @fujifeed #fujifeed Website: fujifeed.com

Left: Andy Feltham — Right: John MacLean YET magazine issue #10 YET magazine

YET is a triannual photography publication that showcases editorials and photographic series from artists worldwide. They publish both emerging and well-known photographers, taking into account the quality of the submitted project.

Instagram: @yetmagazine #yetmagazine Website: yet-magazine.com

Left: Giovanni Cocco — Right: Guia Besana Burn

Edited by Magnum photographer David Alan Harvey, Burn is an evolving journal for emerging photographers. It was launched in December 2008. They publish new stories on their website at least two times per week.

Instagram: @burnmagazine #burnmagazine Website: burnmagazine.org

Left: Emily Garthwaite — Right: Alan Schaller Street photography international

A collective of street photographers and an online magazine promoting the best of street photography. Their Instagram is a very good source on that particular genre.

Instagram: @streetphotographyinternational #spicollective Website: streetphotographyinternational.com

Aperture magazine — printed issue Left: Paolo Ventura — Right: Sally Mann Aperture

A quarterly photography magazine and a book publisher based in New York. The magazine is published by the Aperture Foundation, a non-profit organization devoted to fine art photography.

Instagram: @aperturefnd #aperturefoundation Website: aperture.org

Left: Kadiya Qasem — Right: Ben Thomas Minimal Zine

Minimal Zine is an independent platform to share a minimal view on contemporary visual culture. They publish regularly on Instagram and they recently started doing interviews with photographers on their Tumblr.

Instagram: @minimalzine #minimalzine Website: minimalzine.tumblr.com

Left: Matteo Meoni— Right: Leonardo Magrelli Phroom magazine

Phroom is an online exhibition space dedicated to contemporary fine-art photography. Running on Instagram, Tumblr, and Facebook, but also on their website. They have a very distinct curation style.

Instagram: @phroom_magazine #phroommagazine Website: phroommagazine.com

Of the afternoon — printed issues Left: Fernando Samalot— Right: Isabella Stahl Of the Afternoon

Launched in 2012, Of the Afternoon started out as a one-off printed publication then expanded as a bi-annual print magazine distributed in 21 countries. Their aim is to share the very best of photography, art and visual culture in an accessible way.

Instagram: @oftheafternoon #oftheafternoon Website: oftheafternoon.com

Left: Elsa Bleda — Right: Joe Greer IYL-If you leave — printed issue If you leave

Started in 2009 by Laurence Von Thomas, this photography blog has gone from strength to strength. They’re simply one of the most visually appealing curated stream of contemporary photographers around the Web. If you have to follow only one zine, this is the one.

Instagram: @ifyouleavestagram #ifyouleave Website: if-you-leave.tumblr.com

Left: Ernst P.Sanz — Right: Manon Gillet Feature Shoot

Feature Shoot showcases the work of international emerging and established photographers. With contributing writers from all over the world, they feature contemporary work in all genres of photography—from documentary to landscape.

Instagram: @featureshoot #myfeatureshoot Website: featureshoot.com

GUP magazine — printed issues Left: Jonathan Higbee — Right: Ken Hermann GUP magazine

GUP (Guide to Unique Photography) has existed since 2005. It is an international authoritative publication on photography, connecting its communities with the sharpest conceptual photography, the latest photo books, and compelling writings. It is published four times a year via premium printed issues.

Instagram: @gupmagazine #gupmagazine Website: gupmagazine.com

Left: Sjoerd Knibbeler — Right: Andrejs Strokins Foam magazine — issue #39 talent Foam magazine

Foam is a photography museum in Amsterdam, but also an international photography magazine published three times a year around a specific theme. It features both world-renowned image makers and relatively unknown emerging talent.

Instagram: @foam_magazine #foammagazine Website: foam.org

Left: Isaac Julien — Right: Steven Beckly Organica magazine

An online publication curated by Dina Lün on Instagram and Tumblr, focused on contemporary photography and revolving around themes such as nature, still life, portraits, and landscapes.

Instagram: @organicamagazine #organicamag Website: organicamagazine.tumblr.com

Aint–Bad — printed issue Left: Kelsey McClellan — Right: Stephanie Brunia Aint–Bad

Aint–Bad publish new photographic art through printed periodicals, monographs, and exhibitions. Founded in Savannah, Georgia in 2011, the collective reveals an ever-more urgent, critical conversation about the human condition by way of thought provoking imagery.

Instagram: @aintbadmagazine #aintbadmagazine Website: aint-bad.com

Left: Dave Imms — Right: Valérie Six Open doors gallery — Print by Alexandre Souêtre Open Doors gallery

Set up originally as a pop-up gallery, Open Doors (OD) looked to encourage community cohesion and a sense of local pride through a program of open submission exhibitions. Different artists take over their Instagram account to post their work. On the Open Doors website, you can buy limited edition fine art prints from previously featured photographers.

Instagram: @odtakeovers #opendoorsgallery Website: opendoors.gallery

About the author: Samuel Zeller is a freelance photographer based in Switzerland, an ambassador for Fujifilm and the editor of Fujifeed magazine. You can contact him here and follow his recent work here. This article was also published here.

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