“The power of mass culture rests on the trust of the public. This legitimacy is a paper tiger.”
–PTTV Manifesto

Borne of the residual political optimism from the sixties and a flush of infatuation with small-format video, Paper Tiger Television (PTTV) began as a series on Communications Update on public access. Featuring Herb Schiller tearing apart the New York Times’ “all the news that is fit to print,” Paper Tiger’s penetrating and playful critiques of Time, Rolling Stone, National Geographicand Cosmopolitan soon followed.

The public access movement took root at a moment of disillusionment with network television, generating hope that cable would offer a genuine alternative to TV wasteland. Over the last thirty years, the accessibility of public access TV centers has significantly declined, while for-profit corporate media consolidated from fifty into five companies that control 90% of the public’s media consumption.

Yet, with the growth of the internet and the proliferation of consumer grade production equipment, social media, crowd sourcing, online video, live streaming, and wireless technology, today’s media environment is rife with opportunities for innovation and collaboration.  Still, from the digital divide, to online filter bubbles, to the echo chamber of social distribution of mass media, to SOPA and Net Neutrality, an analysis of how these developments are used coupled with the threats coming from the policy level reveals that even these seemingly promising trends are nuanced.

Given these developments, what does a vibrant, radical media look like, how could it function? What lessons can we apply from Paper Tiger’s innovative media activism?  How can we use media strategically and creatively in the pursuit of social justice?

Moderated by Daniela Capistrano, Multi-Platform Producer of DCAP Media, the festive event features a keynote address, a screening of Paper Tiger Television’s Greatest Hits, selected by current Tigers, followed by a panel discussion on the future of rrradical media.

Keynote Speaker
Malkia Cyril, Executive Director, Center for Media Justice

Panelist
Andy Bichlbaum, The Yes Lab
Jamilah King, News Editor, Colorlines
Jennifer Pozner, Founder, Women in Media & News

Follow the links to detailed event description and DAY TWO schedule.

* Presented by Paper Tiger Television, the Vera List Center for Art and Politics, and the School of Media Studies at The New School for Public Engagement , on occasion of the Vera List Center’s 2011-2013 focus theme “Thingness.”

Posted on January 23, 2012

What is radical media? What has it been in the past? What can it be in the future? What is media’s relationship to social justice and movement building?

Paper Tiger Television, the Vera List Center for Art and Politics, and the School of Media Studies at The New School for Public Engagement present a two-day conference of activists, artists and media makers to celebrate, reflect and build on thirty roarin’ years (and counting!) of media art and activism.

In 1981, Paper Tiger Television (PTTV) pioneered a truly radical public access show, raising awareness amongst workers in the communication industries of the economic, political and social power structures perpetuated through the profit-driven mainstream media. Ever since then, the collective has been making fun, yet incisive video that demystifies the information industry and provides a platform for underrepresented perspectives. Collaborating with activists and artists, PTTV videos take many forms — from critical performative readings of the mass media & popular culture, to traditional style documentaries on social justice issues.

Thirty years later, how can we harness collaborative culture, critical analysis, participatory technologies and aesthetics to incite social change?  What content and platforms can we create that will respond to the limits and possibilities of the ever-shifting contemporary media landscape?

We invite artists, activists, scholars and media makers, movers and shakers of all stripes to explore these questions. Participants are challenged to collaboratively design prototypes for a new rrradical media, building on the ideals of non-hierarchical-participatory culture, critical analysis, activism and innovative aesthetics. A broad cross section of individuals, working together with varied proclivities, interests and abilities, opens up the potential for something truly revolutionary to develop.

Follow the links to detailed event schedules: DAY ONE and DAY TWO.

*Presented by Paper Tiger Television, the Vera List Center for Art and Politics, and the School of Media Studies at The New School for Public Engagement, on occasion of the Vera List Center’s 2011-2013 focus theme “Thingness.”

Posted on December 8, 2011

Michael Moore, award-winning filmmaker and author of the recent book Here Comes Trouble; Naomi Klein, Nation columnist, and best-selling author of The Shock Doctrine: The Rise of Disaster Capiltalism; William Greider, Nation National Affairs correspondent and author of Come Home, America: The Rise and Fall and (Redeeming Promise) of Our Country ; Rinku Sen, executive director of the Applied Research Center and publisher of Colorlines.com speaks about how the Occupy movement provide new political platform against corporate power.

Moderated by Richard Kim, Executive Editor of The Nation.

Sponsored by The Nation and The New School.

Posted on November 1, 2011

On occasion of the exhibition And Another Thing at The James Gallery at The Graduate Center, The City University of New York, the Vera List Center and the James Gallery presents a panel discussion featuring artists, scholars and writers on the subject of “thingness.”

What are the political and ethical implications of considering all objects—whether animal, vegetable, or mineral, even whether animate or inanimate– equivalent and thereby interchangeable? Moderated by the exhibition’s co-curator Katherine Behar, sociologist Noortje Marres, media scholar Shannon Mattern and urban designer David Turnbull discuss how this kind of perspective changes the conversation around sustainability as well as human interaction. What happens when technology reaches the scale of cities? Can an object bear responsibility that has previously been reserved for humans? Beginning with the artist’s sometimes contentious relationship to material presence as a platform for the examination of these questions, this panel considers the constellation of disciplines including architecture, ecology, global geography, urban studies, and anthropology that are tackling these questions.

Presented on occasion of the Vera List Center’s 2011-2013 focus theme “Thingness.”

Posted on September 26, 2011

The final talk of the spring 2011 Public Art Fund Talk series, Working with Sol is a conversation among some of the people who worked most closely with Sol LeWitt throughout his long career. Moderated by Public Art Fund Director and Chief Curator, Nicholas Baume, the talk features gallerist Paula Cooper, artist Pat Steir, and Principal Assistant of Structures, Jeremy Ziemann.

This talk ties in with Public Art Fund’s upcoming exhibition at City Hall Park, Sol LeWitt: Structures, 1965-2006, opening on May 24.  For the exhibition, a map is being produced featuring works by LeWitt in public spaces in New York City — among them The New School Art Collection’s Wall Drawing #1073: Bars of Color from 2003. Visit this two-storey mural, a gift of the artist and one of his last public commissions, at Arnhold Hall, 55 West 13th Street.

Posted on April 27, 2011

The second presentation in the spring Public Art Fund Talks at The New School series, New York Stories continues to explore the ongoing resonance of radical work created by artists who first came to prominence in the 1960s and 1970s.

Artist Rob Pruitt speaks about The Andy Monument. His homage to Andy Warhol stands on a corner of 17th Street and Broadway, just as Warhol did when he signed and gave away copies of Interview magazine. Pruitt’s sculpture adapts and transforms the familiar tradition of classical statuary, and depicts Warhol as a ghostly, silver presence: a potent cultural force as both artist and self-created myth. Public Art Fund director and chief curator Nicholas Baume, cultural critic Wayne Koestenbaum, and artist and writer Rhonda Lieberman join the artist in a lively conversation about Warhol’s lasting influence on art and culture.

Posted on April 11, 2011

In collaboration with the School of Art, Media, and Technology, Parsons the New School for Design, the Vera List Center for Art and Politics presents an evening of discussion on the work of John Knight. Curator Sabine Breitwieser, writer Anne Rorimer, art historian Benjamin H.D. Buchloh and critic André Rottmann convene to examine the artist’s pivotal role in the development of institutional critique and site-specific art. Moderated by New School faculty member, Simonetta Moro, the panel takes place on the occasion of the opening of Knight’s exhibition at Greene Naftali Gallery on April 7, 2011.

Since the early 1970s John Knight has dedicated his practice to mapping the intersections of art, design, and institutional power through a series of spatial interventions and graphic maneuvers. Following closely on the architectural implications of Minimalism, Knight belongs to a generation of artists including Michael Asher, Daniel Buren, and Dan Graham that has consistently addressed the ideological valences of constructed space. Working “in situ,” all of Knight’s projects address the specific demands of their context, whether it be the gallery, the museum, the library, or the commercial billboard. Recent projects include shows at Richard Telles Fine Art, Los Angeles (2009); Museu d’Art Contemporani de Barcelona (2009); Hamburger Bahnhof Museum, Berlin (2009); Galerie Rüdiger Schöttle, Munich (2008); Espai d’Art Contemporani de Castelló (2008).

Posted on March 31, 2011

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In the United States, the AIDS crisis is now almost completely within the control of public health management systems. Through global NGOs, we have exported our programs for managing this epidemic, along with US public health ideologies that downplay or avoid politically sensitive concerns with sexual rights (such as the rights of commercial sex workers), harm reduction (such as drug legalization and needle exchange), and the oppression of racial and sexual minorities (in the form of multi-generational poverty, incarceration). Increasing infection rates among poor women, rural populations, and young men of color who have sex with men and the inability of many around the world to access affordable, life-saving treatments remind us that social violence and structural inequalities are not resolved by the efficient management of the epidemic.

As long as this global health structure remains in place, the AIDS crisis is always still beginning. Film screening of Jean Carlomusto’s award-winning film Sex Is An Epidemic (2010), followed by an open discussion on how to organize against the AIDS crisis.

Posted on October 28, 2010

The sound-art collective Ultra-red is concerned with the intersection of sound and politics. Collective listening procedures serve as foundation of their exhibition Vogue’ology (at Parsons’ Aronson Gallery, November 17 through 30) which examines the possibilities for establishing an archive of the House/Ballroom community. These procedures have been deployed by the exhibition’s curatorial and archive teams to process and select fragments and phrases from House/Ballroom oral histories and vogue descriptions for the exhibition. Their interpretation will be further provoked and utilized to encourage visitors to move through the exhibition space. On occasion of Vogue’olgy, members of Ultra-red consider this intersection of sound and politics in a public event with artists, union organizers, historians and representatives of Ballroom ministries. The audience is invited to engage with sound as an object of reflection and with listening as a means of political organizing.

* Presented on occasion of the Vera List Center’s 2009/2011 focus theme “Speculating on Change.”

Posted on October 26, 2010

Aperture Foundation, the Photography Program in the School of Art, Media and Technology at Parsons and the Vera List Center for Art and Politics present a panel entitled Contemporary Documentary Practices, as part of the ongoing series, Confounding Expectations: Photography in Context.

Martha Rosler’s seminal critique of documentary photography in the 1981 text In, Around and Afterthoughts on Documentary Photography, this panel explores the viability of documentary practices today, both within the contemporary art realm and in the larger context of visual culture. In the 1981 text, Rosler claimed that documentary photography has yet to be realized in its full potential. Moving from a direct critique of documentary photographic practices, many contemporary photographers are utilizing art strategies to initiate and maintain social and political engagement through the use of the photographic medium. This discussion aims to examine photography’s ability to fostering social change in the contemporary moment and in generating a discussion about the importance of institutional and discursive framing in determining photographic meaning. Moderated by Susan Bright, panelists include LaToya Ruby Frazier, Chris Verene, and Michael Wolf.

Posted on October 26, 2010

The Aperture Foundation, the photography department in the School of Art, Media and Technology, and the Vera List Center for Art and Politics present a provocative panel discussion Images, Surveillance, and Power. Since its invention, the camera has been used to make images surreptitiously and to satisfy the desire to see what is hidden. Today, cameras on street corners, in shops, and public buildings silently record our every move, while web-based tools such as Google Earth adapt satellite technology to ensure that there is no escape from the camera’s all-seeing eye. Moderated by Tom Vanderbilt, panelists Trevor Paglen, and Jill Magid discuss how they use contemporary photographic technologies to examine issues of voyeurism, privacy law, security control and freedom of media.

Posted on October 18, 2010

Comprehensive and sly, “Change Encounters” is a new project by Lin + Lam, developed over the course of the duo’s 2009-10 Vera List Center at the New School Fellowship and now making its debut.

Conceived in response to the Vera List Center’s focus theme “Speculating on Change,” Lin + Lam have collected an interdisciplinary array of cultural and historical predictive devices, appropriations from popular culture, historical sources, and academic scholarship, including original interviews with professionals from diverse backgrounds, and arranged this archive into an interactive website. “Change Encounters” offers multiple vantage points on the nature and the process of change and speculation and is accessed through a random number generator based on the 64 hexagrams of the I-Ching, one of the oldest books in the world and a predictive device that is still commonly used today.

The project takes its name from the title of René Clair’s 1944 film It Happened Tomorrow, a comedy in which a journalist longs for the ability to know the future in advance in order to get a jump on breaking news. This desire for precognition determines human behavior across many fields of experience. Many a head of state – emperors, presidents and dictators, including Napoleon, Hitler and Reagan – has turned to oracles to authorize and consolidate their power. The capacity to aspire to a different future is, as anthropologist Arjun Appadurai writes, critical to the possibility for the underprivileged to overcome dire conditions. Can the capacity to aspire be learned and shared? What enables future thinking that is not a product of denial, defense or mere fantasy, but is constructive to change? For contemporary forecasting on our current recession and repressions, professionals from divergent fields join Lin + Lam and present their perspectives on how the future is speculated and formed.

Program

2:00 to 3:00 p.m. Introduction by Carin Kuoni, director, Vera List Center World Premiere of “Change Encounters” by Lin + Lam

3:00 to 4:00 p.m. Panel Discussion

Patricia Ticineto Clough Professor of Sociology and Women’s Studies at the Graduate Center and Queens College of the City University of New York

Mitch Horowitz Editor-in-chief of Tarcher/Penguin and author of Occult America: The Secret History of How Mysticism Shaped Our Nation

Orit Halpern Assistant Professor of Department of History at The New School for Social Research

H. Darrel Rutkin Independent scholar, historian of science with an emphasis on the history of medieval, Renaissance and early modern astrology 4:00 to 5:00 p.m. Celebratory Slideshow: Interactive demonstration of speculative devices and reception

Presented on occasion of the Vera List Center’s 2009/2011 focus theme “Speculating on Change.”

Posted on August 30, 2010

On the occasion of the 20th anniversary of the Congressional decision to require the National Endowment for the Arts (NEA) to consider “general standards of decency and respect” in awarding grants, the National Coalition Against Censorship and the Vera List Center for Art and Politics at The New School collaborate on two panel discussions and a video interview project evaluating censorship and arts funding today. Prominent artists, non-profit arts organization directors, art dealers, and founders of alternative spaces examine issues related to how the introduction of the decency clause in particular, and the culture wars in general, have affected funding, free speech and self-censorship, and how attitudes towards notions of decency and respect for the values and beliefs of the American public have changed over the past twenty years. Click here for information on Panel Discussion I.

Panel Discussion II
Decency, Respect and Community Standards: What Offends Us Now?
This panel looks at changing attitudes towards notions of decency over the past twenty years. It addresses how representations of nudity and sexuality have changed in contemporary art, and proposes a redefinition of what is considered offensive or inappropriate under our current political climate. The panel brings together artists whose work provoked the culture wars twenty years ago and those who deal with taboo topics today.

Moderated by Laura Flanders, GRITtv.

Posted on June 10, 2010

How to design democracy? This program features political scientists Steven J. Brams (New York University) and Christian List (London School of Economics) in a conversation with designer and artist Colleen Macklin (Parsons The New School for Design) on the design of democratic decision-making procedures that are broadly associated with Rational Choice Theory and reflective of game theory.

Titled after List’s research – who coined the term – “The Democratic Trilemma” probes the quandary stemming from three basic requirements for the successful design of a democratic, collective decision-making process: value pluralism, majoritarianism, and rationality. A trilemma ensues, as these three requirements are mutually inconsistent although, separately, any pair is perfectly consistent. Depending on which one we reject or violate, we end up with a very different conception of democracy.

List is joined in this cross-disciplinary conversation by Steven J. Brams and Colleen Macklin. Brams presents his research on the relevance of Rational Choice Theory (RCT) to real-life situations, drawing in particular from his recent book, Mathematics and Democracy: Designing Better Voting and Fair-Division Procedures. Voters today often desert a preferred candidate for a more viable second choice in order to avoid wasting their vote. A leading authority in the use of mathematics to design decision-making processes, Brams discusses how social-choice and game theory could enable voters and participants to better express themselves, thereby making political and social institutions more democratic. Macklin presents Budgetball, a newly developed sport designed to increase awareness of the national debt and reward strategic thinking and collaborative problem-solving around the issues of fiscal responsibility.

Ultimately, the focus of the program is on how theory can contribute to society and, in particular, how abstract results such as those identified as the “Democratic Trilemma” may guide us to view our discourses about democratic decision-making in a new light. The program echoes the VLC’s previous cycle on democracy as an eternally deferred state. * Presented on occasion of the Vera List Center’s 2009/2010 program theme Speculating on Change, and initiated and organized by Begum Yasar, a graduate student at Columbia University and Vera List Center Program Intern.

Posted on April 5, 2010

This panel discussion examines the viability of the conventionally printed and published book —monographic, serial, facsimile, high-value, low-budget, no-budget, and otherwise—as a means of artistic production in view of digital media. At a time of mass convergence, when much of the social experience is structured by virtual, electronic means, how might the physical and material residue of small-scale publications distinguish themselves from a space apart for resistance and subjectivity? Moderated by Gil Blank, the panel includes artists Roe Ethridge and Collier Schorr, alongside with James Hoff and Miriam Katzeff of Primary Information.

The Aperture Foundation, publisher of Aperture magazine, is a not-for-profit institution dedicated to the support and advancement of photography as a fine art. In collaboration with the Photography Program in the School of Art, Media and Technology at Parsons Confounding Expectations XI is generously supported by the New York City Department of Cultural Affairs, the Henry Nias Foundation, the ASMP Fund, and the Milton and Sally Avery Arts Foundation. The lecture series has been hosted by The New School since 2001.

Posted on March 29, 2010

Thirty years on from Rosalind Krauss’ seminal text Sculpture in the Expanded Field, a panel of artists and critics reconsiders the concept of the “expanded field” in light of contemporary art production. Co-sponsored by SculptureCenter and the Vera List Center for Art and Politics, the discussion reflects upon how performative, discursive, and design models developed since the essay’s publication may have shifted the formal, political, and semiological parameters of sculpture today.

Posted on March 11, 2010

Held in conjunction with The Bronx Museum of the Arts’ exhibitions “Road to Freedom: Photographs of the Civil Rights Movement, 1956-1968″ and “After 1968: Contemporary Artists and the Civil Rights Legacy,” the Vera List Center and the Bronx Museum present a panel discussion with photographer Julian Cox, curator of African American culture and of the exhibition “Road to Freedom”; Doris Derby, a Bronx-born, Atlanta-based photographer of the movement whose work is included in this exhibition; photographer Eric Etheridge; artist LeRoy Henderson; curator and gallery owner Steven Kasher, and artist Nadine Robinson. Moderated by Deborah Willis, Chair and Professor of the Photography and Imaging Department at New York University’s Tisch School of the Arts.

During the span of twelve years, a series of events, later hailed as the Civil Rights Movement, forever changed the social and political course of America. From March 28 to July 11, 2010, The Bronx Museum of the Arts will present two sweeping exhibitions that chronicle both these pivotal moments in the nation’s history and their legacy surveyed through the works of young African-American artists. The first, “Road to Freedom: Photographs of the Civil Rights Movement, 1956-1968,” features 150 vintage photographs, images that not only exposed rampant acts of discrimination in America’s past, but also revealed shinning glimpses of equality and unity amongst its citizens. The second, smaller exhibition, “After 1968: Contemporary Artists and the Civil Rights Legacy,” includes works by seven African-American emerging artists and collectives – all born in or after 1968 – who have created new work examining the heritage of the Civil Rights Movement and its affect on the lives of this new generation. Both exhibitions were organized by The High Museum of Art in Atlanta.

Posted on December 17, 2009

This panel will explore the multiple ways in which contemporary artists have utilized projection and installation strategies to display still photographic images, creating immersive and cinema-like experiences in museum and gallery environments. Departing from the large-scale, tableau treatments of the photographic image printed and framed as wall-based objects, exemplified in works by Jeff Wall, Andreas Gursky, and Gregory Crewdson, in recent years contemporary artists have increasingly employed projection devices––ranging from analogue to digital high-definition––to display photographic images as immaterial light projections, often incorporating temporal and audio-visual elements that evoke experiences recalling cinematic contexts and yet retain distinctly photographic qualities. The Aperture Foundation, publisher of Aperture magazine, is a not-for-profit institution dedicated to the support and advancement of photography as a fine art. The lecture series has been hosted by The New School since 2001. It is made possible, in part, by public funds from the New York State Council on the Arts and the New York City Department of Cultural Affairs. Presented by the Aperture Foundation in association with the Department of Photography at Parsons The New School for Design and the Vera List Center for Art and Politics, with generous support from the Ketterling Family Foundation and the Henry Nias Foundation.

Posted on September 20, 2009

The economic crisis has raised fundamental questions about how income is generated and what constitutes work that is both dignified and secure.  Is there such a thing as a “postindustrial economy” and what does that mean for working Americans? Can we prosper without a vital manufacturing base?  Is the global free market a fatally compromised myth, and if so, what is the alternative?

Bookforum, in conjunction with the Vera List Center for Art and Politics, presents a discussion to question how work has changed, how it will be defined in the coming years, and how it can be fairly rewarded in an era of changing standards. After years of business deregulation, American workers have little or no representation. The government serves business at the highest levels, covering debt and protecting shareholders while the labor unions vanish, disparaged as anachronistic in the new corporate culture, leaving American workers without security or benefits.  As Americans come to resemble their counterparts in those countries where we’ve exported so many jobs, must the workers of the world unite? Or are they doomed to compete? How will the government’s efforts to renew the American economy translate into jobs, and will those jobs be secure? What standards will apply for people seeking “green” employment and who are the employers? And can America hope to reinvent its economy without an overhaul of its educational system, particularly in math and science? Assuming the answer is no, what will sustain us in the meantime? American culture remains one of our greatest exports. New York and Los Angeles depend on it. But can we live solely on art and music, fashion and film? Is that possible without the support of a wealthy and confident public? Without Wall Street’s excess, can New York continue to employ its many thousands of people working in the arts?

Presented as part of the Vera List Center’s 2009/2010 program cycle “Speculating on Change.”

Posted on September 20, 2009

Drawing from critical perspectives on labor, social media, political theory, this panel discussion addresses the nature of the work of Internet users and networked workers, focusing on the relationship between invisible labor, play, exploitation, pleasure, and the production of value. What constitutes work in the digital era? What are some alternatives to the seamless corporate expropriation of value from millions of net users? Is it possible to acknowledge the moments of ruthless exploitation while not eradicating optimism, inspiration, and the many instances of individual financial and political empowerment?

As annotations to the panel, several web-based projects by artists including Burak Arikan, Jeff Crouse, Ursula Endlicher, Scott Kildall, Aaron Koblin, Stephanie Rothenberg and Victoria Scott will be installed in the same lecture hall from 5:30 p.m. onwards through the evening.

This event is presented as a prelude to “The Internet as Playground and Factory,” a conference organized by Eugene Lang faculty member Trebor Scholz that will take place at Eugene Lang College (The New School), from November 12 to 14, 2009 (www.digitallabor.org). The conference will address the massive transformations in economy, labor, and life related to digital media and confront the urgent need to interrogate what constitutes labor and value in the digital economy.

Presented on occasion of the Vera List Center’s 2009/2010 program theme “Speculating on Change.”

Posted on September 20, 2009

The Aperture Foundation, the Photography Department at Parsons The New School for Design, and the Vera List Center for Art and Politics present a new season of panel discussions focusing on photography. This event celebrates the launch of the innovative Los Angeles County Museum of Art book project Words Without Pictures, which documents roughly one year of conversations about the most pressing issues shaping contemporary photography.  Please join us for a panel discussion about Words Without Pictures and the contemporary landscape of artist books and photo publishing.

This lecture series is presented with generous support from the Kettering Family Foundation and the Henry Nias Foundation. The program is made possible in part by public funds from the New York State Council on the Arts and the New York City Department of Cultural Affairs.

Posted on September 20, 2009

Presented in conjunction with an exhibition of recent video art from the Middle East on view at the Art in General gallery, this discussion considers the contributions of video art to political developments in the region. Speakers include Galit Eilat, writer, curator and founding director of the Israeli Center for Digital Art, Holon and Reem Fadda, a Ramallah-based curator, art historian and former director of the Palestinian Association for Contemporary Art (PACA).

Eilat and Fadda consider the role of art as a tool for civil disobedience and passive resistance that affects its surroundings, wielded by individuals during times of social or political distress. Within this context they discuss Liminal Spaces, a long-term project examining the possibility of joint action in light of the ever-growing existential hardship of Palestinians living under Israeli occupation. Video works that were produced during this project will be on view at Art in General as part of the Mobile Archive, a cross-national library of video art.

The Israeli Center for Digital Art was founded to promote, distribute, and exhibit video, media-, and Internet-based art in Israel. An exhibition space with a library open to the public, the video archive contains hundreds of works, including pieces by Israeli artists who have exhibited at the center and others who have contributed to the archive over time.

For the last two years, the Mobile Archive has traveled to art institutions in Europe and the Middle East, acquiring new works in each location. The exhibition at Art in General will be the Mobile Archive’s first stop in the United States.

Presented in collaboration with Art in General and the Israeli Center for Digital Art, Holon.

Posted on September 20, 2009