No-one Ever Cried At A Website (Speed Show) November 22, 5:00–6:30

No-one Ever Cried At A Website (Speed Show)

November 22, 5:00–6:30 pm EST, Computer training room, Facility for Arts Research, 3216 Sessions Road, Tallahassee FL

With FSU students: Monique Boileau, Alexis Cooper, Jonathan Davito, Danielle English, Justin Greenstein, Antoinette Janus, Scotty Johnson, Melissa Lidsky, Michelle Medrano, Denise Morrow, Lena NW, Meghan “Red” Yancey. Curated by: Owen Mundy

Students from the Fall 2013 Network Art and Typography classes in the Department of Art at Florida State are staging an exhibition titled No-one Ever Cried At A Website (Speed Show) on November 22 5:00–6:30 pm EST at the computer training room in the Facility for Arts Research, Tallahassee FL.

The exhibition title is modified from an article called, “No-one Ever Cried At A Website,” written by artist/coder Matt Pearson. The document examines how emotion is often forgotten when analyzing technologically-sophisticated works of art such as those which exist on the internet. It reminds readers that painting was once a technology, and asks how beauty, empathy, and interaction can all be triggers for emotional response regardless of the medium for delivery. The prompt for the works in this show, created mostly collaboratively, over the course of 10 days, and specifically for this exhibition, is to address how emotion can be used to engage online audiences to look, listen, and be moved by internet-based art.

Speed Show exhibition, popularized by artist, Aram Barthol, are arranged as following: “Hit an Internet-cafe (or computer classroom), rent all computers they have and run a show on them for one night. All art works of the participating artists need to be on-line and are shown in a typical browser with standard plug-ins.”

Poster: Print resolution and E-mail resolution

Allan Sekula, 1951-2013 (East of Borneo)

Allan Sekula, 1951-2013 (East of Borneo).

Allan Sekula had a remarkable, indomitable spirit. For over two years, from the first word that his body could not be repaired, he fought against the inevitable with inner strength and grace. At first he continued to travel for his work, then his many collaborators traveled to him so that several projects could move forward. He lost weight and he lost energy, but he never lost that keen eye and sharp mind that saw so clearly what was wrong with this world. Hospitalized again after suffering a massive hemorrhage, he finally gave up the struggle on Saturday, August 10.

As a writer, Allan described with great clarity and passion what photography can, and must do: document the facts of social relations while opening a more metaphoric space to allow viewers the idea that things could be different. And as a photographer he set out to do just that. He laid bare the ugliness of exploitation, but showed us the beauty of the ordinary; of ordinary, working people in ordinary, unremarkable places doing ordinary, everyday things. And, like the rigorous old-style leftist that he was, he infused that beauty with a deep sense of morality.

From the beginning he was concerned with the numbing regime of the punch-card, but over the past two decades expanded his frame to encompass the contemporary maritime world, the complex trading routes of international shipping lines and the vast oceans on which they ply their trade. This epic project grew from a relatively conventional Fish Story (1989-1995), with its didactic arrangements of photographs and texts, to “The Forgotten Space” (2010), the extraordinary film he made with Noel Burch.

The website for the film, which includes essays and photographs, as well as a trailer that allows us once again to hear Allan’s voice, can be found at http://www.theforgottenspace.net.

The image above is from a part of Fish Story, and is titled Dismal Science: Part 1. Middle Passage. Mid-Atlantic, November 1993.