uncopy

Shard of Light (2011), by James Nizam

imagery, installation, light, nature, shard, shard of light, sun, white cube
Thursday, May 17th, 2012

More Light (2011), by Cerith Wyn Evans

imagery, light, neon, typography, white
Thursday, May 17th, 2012

Kopienkritik (2011), by Oliver Laric

art history, copy, critique, dummy, imagery, sculpture
Thursday, May 17th, 2012

Makeup Forever (2012), by Claus Rasmussen

display, dummy, green, imagery, monochromacity, sculpture
Thursday, May 17th, 2012

Sculpture Silhouette Prop (A. Rodin ‘The Thinker’ 1880) (2007), by Peter Coffin

art history, black, copy, imagery, sculpture, shadow, silhouette
Thursday, May 17th, 2012

Shadow Weave (Interlock, image) (2011), by Tauba Auerbach

black/white, geometry, greyscales, illusion, imagery, shadow, structure
Thursday, May 17th, 2012

Dark Current I (2010), by Andrea Longacre-White

black/white, copy, fold, gradient, greyscales, imagery, shadow
Thursday, May 17th, 2012

Holograms (2012), by Oliver Laric

hologram, imagery, light, monochromacity, opalescence, painting
Thursday, May 17th, 2012

Untitled (2012), by Ned Vena

black, door, gradient, greyscales, imagery, monochromacity, stripes
Thursday, May 17th, 2012

Color Picker (2012), by Anders Clausen

gradient, imagery, painting, photoshop, tool, work of art
Tuesday, May 15th, 2012

Exhibition Title Change (2012), by 0100101110101101.org (Eva and Franco Mattes)

black/white, change, exhibition, exhibition title, imagery, white cube
Tuesday, May 15th, 2012

Wall Drawing #289 (1978), by Sol LeWitt

architecture, black/white, deconstruction, drawing, imagery, shading, structure, wall, white cube
Sunday, May 13th, 2012

Wall Exploder A (2011), by Marius Watz

architecture, colour, drawing, explosion, generative, imagery, painting, white cube, yellow
Sunday, May 13th, 2012

Wall (2012), by Michael Kargl

architecture, black, drawing, imagery, painting, shading, wall, white cube
Sunday, May 13th, 2012

Paintings (2011), by Martin Creed

architecture, colour, drawing, imagery, painting, red, shading, structure, wall, white cube
Sunday, May 13th, 2012

Wall Paintings (2008), by Philippe Decrauzat

architecture, black, drawing, imagery, painting, perception, shading, wall, white cube
Sunday, May 13th, 2012

Wallpainting (2012), by Lotte Lyon

colour, drawing, green, imagery, painting, shading, structure, wall, white cube
Sunday, May 13th, 2012

Marble (2011), by Jakob Neulinger

architecture, ceiling, column, floor, imagery, marble, site specificity
Sunday, May 13th, 2012

Loess 2 (2012), by Marion Verboom

architecture, black, ceiling, column, floor, imagery, site specificity
Sunday, May 13th, 2012

Woodworks – Totem (2010), by Michael Strasser

architecture, ceiling, column, deconstruction, floor, imagery, readymade, site specificity, wood
Sunday, May 13th, 2012

Parasite Construction (2006), by Michael Kienzer

architecture, ceiling, column, deconstruction, floor, imagery, intervention, site specificity
Sunday, May 13th, 2012

Copy Disaster (2011), by Werner Schrödl and Manfred Grübl

copy, deconstruction, disaster, imagery, installation, iteration, light, neon, space
Saturday, May 5th, 2012

I COPY Therefore I Am (2011), by Superflex

art history, artist subject, commercialisation, copy, copy-paste, economics, imagery, quotation, reference
Saturday, May 5th, 2012

Scanning experiments (2011-), by Linn Wie

copy, copy-paste, failure, gradient, greyscales, imagery, scan
Saturday, May 5th, 2012

Personal Installation Secession (2003), by Manfred Grübl

artist subject, imagery, intervention, participation, performance, photography, viewer, white cube, work of art
Saturday, April 28th, 2012

Hanging Around (2010), by Michael Kienzer

colour, hammock, imagery, installation, interaction, participation, public sphere, red, viewer
Saturday, April 28th, 2012

Floating Maze (2007), by Peter Sandbichler

ecology, floating, imagery, installation, interaction, participation, public sphere, spiral, viewer, water
Saturday, April 28th, 2012

The point of departure for the selection of texts in this reader is the social dimension of participation – rather than activation of the individual viewer in so-called “interactive” art and installation. The latter trajectory has been well rehearsed elsewhere: the explosion of new technologies and the breakdown of medium-specific art in the 1960s provided myriad opportunities for physically engaging the viewer in a work of art.
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Participation (2006), by Claire Bishop

body, installation, interaction, metaworks, participation, theory, viewer
Saturday, April 28th, 2012

Green Smoke (2009), by Werner Schrödl

cloud, colour, green, imagery, intervention, new york, photography, public spehere, smoke, urban space
Friday, April 27th, 2012

Hyperborea (Saint Petersburg) (2011), by Anton Ginzburg

cloud, colour, imagery, intervention, public sphere, red, smoke, snow
Friday, April 27th, 2012

Not Moscow Not Mecca (2012), by Slavs and Tatars

fruit, geography, green, history, imagery, intervention, mecca, melon, moscow, public sphere
Monday, April 23rd, 2012

A LOST (2011), by Julien Berthier

advertising, billboard, deconstruction, deletion, imagery, public sphere
Wednesday, April 18th, 2012

One More Kilometre (2012), by John Wood & Paul Harrison

conceptual, flow, imagery, paper, performance, space, video
Tuesday, April 17th, 2012

Unicode (2011), by Jörg Piringer

archive, black/white, flow, imagery, sound, unicode, video
Tuesday, April 17th, 2012

How does a rethinking of Richard Serra’s Verb List relate to the Post‐Internet use of forms? Taking one selected verb from each column of Serra’s original list we find: To Open [...] To Collect [...] To Expand [...] To Continue. Drawn from a list of more than one hundred proposed actions, these four terms speak directly to our cultural situation.
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Richard Serra’s Verb List, Post-Internet Appropriation, and the Culture of the Use of Forms (2011), by Brandon Bauer

conceptual, internet, metaworks, net art, post-internet, theory, verbs
Tuesday, April 17th, 2012

Since its beginnings in the late 90s, internet art has had a fickle relationship with the museum. While commissions and granting initiatives have been established for media arts in Europe and America, the relationship between internet art and its fluctuating appearance in institutions demonstrates that it has not yet been wholly embraced by mainstream contemporary art.
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From Browser to Gallery (and Back): The Commodification of Net Art 1990-2011 (2011), by Jennifer Chan

commercialisation, commodification, internet, metaworks, net art, post-internet, theory
Tuesday, April 17th, 2012

I am typing this text for you (2011), by Mikko Kuorinki

artist subject, black/white, book, imagery, publication, writing
Monday, April 16th, 2012

Publication (1970), by David Lamelas

black/white, book, conceptual, imagery, publication, question, response
Monday, April 16th, 2012

For Publication (1975), by Dan Graham

black/white, book, conceptual, imagery, publication
Monday, April 16th, 2012

Blah blah blah book (2011), by Gogelmogel

black/white, blahblahblah, book, imagery, publication
Monday, April 16th, 2012

Dedalus and Icarus (from the series Permanent Collection, 2008), by Tim Davis

art history, failure, flash, imagery, light, painting, photography
Thursday, April 12th, 2012

Extreme text-stretch. From p. 31 of I and Thou, by Martin Buber (2004).) (2012), by The Art of Google Books (Krissy Wilson)

book, collection, copy, failure, google, imagery, scan
Thursday, April 12th, 2012

The Next Horizon (2011), by Kasper Pincis

copy, failure, horizon, imagery, landscape, xerox
Thursday, April 12th, 2012

Secret painting (1967-1968), by Mel Ramsden

artist subject, black, conceptual, imagery, monochromacity, painting, secret, work of art
Sunday, April 8th, 2012

General Strike Piece (1969), by Lee Lozano

artist subject, commercialisation, conceptual, imagery, instruction, paper, strike, work of art
Sunday, April 8th, 2012

Old and Bold I Search for a Gallery (2008), by Goran Trbuljak

artist subject, black/white, commercialisation, conceptual, gallery, imagery, white cube
Sunday, April 8th, 2012

In Defence of Free Forms (2011), by Esther Stocker

black/white, canvas, display, imagery, overlay, painting, pop-up-window, space
Saturday, April 7th, 2012

Popup Windows (2005), by Jan Serych

greyscales, imagery, monochromacity, overlay, painting, pop-up-window
Saturday, April 7th, 2012

Setting #14 (2008), by Christoph Meier

colour, display, imagery, light, monochromacity, projection, screen
Saturday, April 7th, 2012

Golden Measure 1 (2010), by Kasper Pincis

black/white, golden measure, imagery, moiré, overlay, paper, transparency, typewriter, typography
Wednesday, April 4th, 2012

A Flat World (2009), by Claude Closky

black/white, flatness, imagery, paper, pattern, printer, random
Wednesday, April 4th, 2012

Leak (1997), by Kay Rosen

black/white, deletion, floor, imagery, installation, roof, space, wall, wordplay
Wednesday, April 4th, 2012

Visual Explanations: Edward Tufte (Readings) (since 2011), by Jan Avendano

abstraction, black/white, book, book title, deletion, graphic design, imagery, reading, typography
Wednesday, April 4th, 2012

Stenotype (detail) (2010), by Alex Martinis Roe

black/white, imagery, iteration, pattern, sound, speech, speech-to-image
Wednesday, April 4th, 2012

Falun Collages (2011), by Alison Lohman

black/white, body, collage, copy, cut, dance, imagery, xerox
Thursday, March 29th, 2012

Birds on Paper (2011), by Paula Swisher

bird, book, collage, diagram, drawing, imagery, note
Thursday, March 29th, 2012

Untitled (The Reader) (2011), by Sónia Almeida

collage, grid, imagery, painting, pattern, reading
Thursday, March 29th, 2012

Text Document out of Focus (2008), by Jan Robert Leegte

black/white, blurring, domain, imagery, reading, single-serving-site, text/image, textuality, writing
Wednesday, March 28th, 2012

Desktop Views (2012), by Adam Cruces

browsing, computer, desktop, domain, imagery, internet, private, single-serving-site
Wednesday, March 28th, 2012

Post Internet Survival Guide (2011), by Katja Novitskova

animated gif, animation, black/white, book, browsing, collection, google, imagery, internet, post-internet
Wednesday, March 28th, 2012

Antlers WiFi (2011), by Rick Silva

animated gif, animation, collage, formal, geometry, imagery, internet, landscape, post-internet, reflection
Wednesday, March 28th, 2012

The Overview (2010), by Michael Pohl

architecture, art history, drawing, frame, imagery, iteration, space, white cube
Friday, March 23rd, 2012

re:space/settings (2011), by Michael Kargl

architecture, art history, drawing, imagery, iteration, space, white cube
Friday, March 23rd, 2012

Untitled (Poster Paintings) (2008), by Klara Lidén

black/white, deletion, imagery, painting, paper, poster, readymade
Thursday, March 22nd, 2012

Conclusie ‘Santa Moritz’, ‘Swiss Landscape’ (2008), by Ger van Elk

black/white, deletion, frame, imagery, monochromacity, painting
Thursday, March 22nd, 2012

Blue Crush (47 Shades of Blue) (2011), by Jonas Lund

blue, colour, computer, imagery, internet, monochromacity, pop-up-window, single-serving-site
Tuesday, March 20th, 2012

Blue Monochrome .com (2008), by Jan Robert Leegte

blue, colour, computer, google, imagery, internet, monochromacity, single-serving-site
Tuesday, March 20th, 2012

International Klein Blue (Google Monochromes) (2008), by Ryan Barone

art history, blue, colour, computer, imagery, internet, monochromacity, single-serving-site
Tuesday, March 20th, 2012

The work of the curator consists of placing artworks in the exhibition space. This is what differentiates the curator from the artist, as the artist has the privilege to exhibit objects which have not already been elevated to the status of artworks. In this case they gain this status precisely through being placed in the exhibition space. Duchamp, in exhibiting the urinal, is not a curator but an artist, because as a result of his decision to present the urinal in the framework of an exhibition, this urinal has become a work of art.
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On the Curatorship (2008), by Boris Groys

curating, exhibition, metaworks, readymade, theory
Monday, March 19th, 2012

Museums, like asylums and jails, have wards and cells – in other words, neutral rooms called “galleries.” A work of art when placed in a gallery loses its charge, and becomes a portable object or surface disengaged from the outside world. A vacant white room with lights is still a submission to the neutral. Works of art seen in such spaces seem to be going through a kind of esthetic convalescence. They are looked upon as so many inanimate invalids, waiting for critics to pronounce them curable or incurable. The function of the warden-curator is to separate art from the rest of society. Next comes integration. Once the work of art is totally neutralized, ineffective, abstracted, safe, and politically lobotomized it is ready to be consumed by society.
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Cultural Confinement (1972), by Robert Smithson

confinement, curating, metaworks, museum, theory, white cube
Monday, March 19th, 2012

Inventory VI (2010), by Miriam Böhm

copy, deletion, display, imagery, iteration, mise-en-abyme, photography
Sunday, March 18th, 2012

The one I shall now describe, if I can… (2011), by Cynthia Daignault

copy, imagery, installation, interpretation, overhead projector, painting, projection, text/image
Saturday, March 17th, 2012

Stehimbiss #7 (2012), by Olivier Foulon

copy, copyright, imagery, originality, painting, paper
Saturday, March 17th, 2012

The scan is an ambivalent image. It oscillates back and forth: between a physical page and a digital file, between one reader and another, between an economy of objects and an economy of data. Scans are failures in terms of quality, neither as “readable” as the original book nor the inevitable ebook, always containing too much visual information or too little.
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The Scan and the Export (2010), by Sean Dockray

copy, copyright, metaworks, publishing, reading, scan, theory
Saturday, March 17th, 2012

Portable Monuments (2011), by Adam Broomberg and Oliver Chanarin

colour, deletion, iamgery, monument, photography, text/image
Saturday, March 17th, 2012

I love you Lawrence Weiner (2011), by Ben Carrick

art history, conceptual, context, hommage, imagery, private
Saturday, February 18th, 2012

Uh Duh (2011), by Sarah Jacobs

black/white, book, imagery, onomatopoeia, punctuation, speech, translation
Monday, January 23rd, 2012

Hello (2011), by Simon Dybbroe Møller

colour, drawing, imagery, measurement, space
Saturday, January 21st, 2012

Ein grünes Haus, ein rotes, rosa-blau, blau-gelb, blau auf dunkelrot, meergrün… (2007), by Sophie Thorsen

architecture, colour, history, imagery, research
Saturday, January 21st, 2012

Definitions of Nothing (2011), by Karo Szmit

definition, diagram, everything/nothing, imagery, nothing, post-it
Thursday, January 19th, 2012

Reality/Possibility (2010), by Karo Szmit

billboard, black/white, diagram, imagery, possibility, reality, statement, urban
Thursday, January 19th, 2012

In continuing this written monologue about conversation, I am becoming aware of the sheer weirdness of thinking in this way about something that behaves so differently than writing “for the record.” But if, as Maurice Blanchot demonstrates, conversation can be defined as a series of interruptions—perhaps the most powerful of which being the neutrality of silence—then writing, which is a kind of silent speech, may itself constitute an interruption to the way conversation is imagined.
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Art of Conversation, Part II (2009), by Monika Szewczyk

communication, conversation, discourse, metaworks, theory
Sunday, January 15th, 2012

Much has been said of late about “the conversational” or “the discursive” in and around the field of contemporary art. And yet we seem reluctant to talk about an art of conversation in the same breath. Maybe it is the all-too-powdery whiff of seventeenth-century aristocratic ladies and gentlemen, fanning themselves amidst idle chatter, whose connections to our own aspirations we would rather sweep under the shaggy carpet?2 Or perhaps it is because we are desperately hoping to talk ourselves out of stale notions of art as a cultural practice that to suggest an art of conversation might at first seem utterly oxymoronic?
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