more from the July/August 2013 issue:
Whatever Bodies, Races, and Things
by Em Rooney
by Brad Troemel
Letter from the Guest Editors:
> 01 January 2013
Sitting up in our shiny gold bed with laptops in hand we share a French press, a low-acid, robust blend, and we begin again.
We are morning people.
iPhones are to our right and left (respectively), resting on stacks of books, some decorative and some academic. Our screens glow with the intensity of a sunrise. Fingers on track pads, alarmingly in sync, performing a choreography so ludicrous we give it a name: "Fuffing the Feed."
> 12 January 2013
We are up earlier than usual. We enter the endless stream again. We are sharing, liking, following, checking in. We are searching and gathering and collecting and posting, making something together. Another dialog begins.
With every like, click, heart, and ding we are reminded of our network–a community in the ether, simultaneously performing the Fuff. We are connectingóregardless of how vague or intangible this process feels.
> 26 Janaury 2013
We read David Joselit's After Art.
"Joselit describes how art and architecture are being transformed in the age of Google. Under the dual pressures of digital technology, which allows images to be reformatted and disseminated effortlessly, and the exponential acceleration of cultural exchange enabled by globalization, artists and architects are emphasizing networks as never before. Behaving like human search engines, artists and architects sort, capture, and reformat existing content. Works of art crystallize out of populations of images, and buildings emerge out of the dynamics of the
circulation patterns they will house."
> 02 February 2013
Sitting up in our shiny gold bed with laptops in hand we share a French press, a low-acid, robust blend, and we begin again. Punxsutawney Phil failed to see
> 10 February 2013
We discuss the importance of Nicolas Bourriaud's book Post Production and place it back on top of
"Since the early nineties, an ever increasing number of artworks have been created on the basis of
preexisting works; more and more artists interpret, reproduce, re-exhibit, or use works made by others or available cultural products."
"This era of postproduction is marked by the twin figures of the DJ and the programmer, both of whom have the
task of selecting cultural objects and inserting them into new contexts."
> 09 March 2013
We visit Saskia at the Armory Show in New York to discuss the possibility of MALONE guest editing an issue of ART PAPERS. We ramble on about recontextualization, appropriation, mashups, the remix, and social media.
> 12 March 013
We talk about including Brad Troemel's essay "Art After Social Media," (a transcription of a lecture delivered at MoMA PS1 on March 18, 2012). We reach out to see if he would be willing to contribute an expanded version for our proposed issue. He agrees.
> 30 March 2013
In New York Magazine, Jerry Saltz ponders the death of the gallery show, lamenting how social media and the
Internet are making the physical experience of viewing art increasingly rare.
> 09 April 2013
We send out the following call for submissions for
the issue you are now holding in your hands:
MALONE is a collaborative design/art studio established in 2012 by artists Alex P. White and
Strauss Bourque-LaFrance. We are the guest editors for the July/August issue of ART PAPERS.
For the issue, our investigation will focus on the effect social media is having on contemporary art and
curation–aesthetically, conceptually and professionally. We would like to invite you to submit a proposal
for a feature article, interview, column, or artist project, or perhaps some hybrid of these....
> 19 May 2013
Yahoo! purchases Tumblr for $1.1 Billion.
"The challenge has always been, how do you
monetize eyeballs?" said Charlene Li, the founder
of the Altimeter Group, a consulting firm. "Services like Instagram and Facebook always focus on the user
experience first. Once that loyalty is there, they figure out how to carefully, ideally, make money on it."
> 20 May 2013
Sitting up in our shiny gold bed with laptops in hand we share a French press, a low-acid, robust blend, and we
begin again—editing, watching 18+ videos, and looking at back issues of ART PAPERS.
> 31 May 2013
Beyoncé drinks wine, definitely not pregnant.
> 03 June 2013
As we sift through the perils and triumphs of our digital haze, we are reminded that we are flexible identities, that Web 2.0 offers us tools to re-present who we are, how we make, and where we make it over and over and over again.
> 15 June 2013
We are late turning in our guest editor's letter. We don't quite know how to summarize the content into a statement, so we decide not to. Instead we offer you this timeline and various notes.
> 17 June 2013
We decide to call the issue Suddenly, Last Summer after the title of the cover art by Jody Fausett – an emoji plot summary of the
movie by the same name. Jody has painstakingly recreated each of these emoji from real life subjects to layer a material, tangible process onto a digital one. This desire to reinsert
the physical, the body back into the virtual is an emergent theme in our issue.
> 18 June 2013
Sitting up in our shiny gold bed with laptops in hand we share a French press, a low-acid, robust blend, and we begin again. So from our laptops to the printed page, here it is, this, the fifth in a series of guest-edited issues of ART PAPERS, our collection of essays, reviews and artist projects.
We'd like to thank ART PAPERS for this generous opportunity. To our contributors – your ideas are so valuable, endless thanks for all of your hard work, patience, and support.
Alex P. White and Strauss Bourque-LaFrance