This event is sold out. You may add your name to the standby list in person only, beginning at 11 a.m. on the day of the event. We will be seating those on the standby list for the Second Session at 4 p.m. Please note: There is no guarantee that additional tickets will be made available.
Full-Day Conference Pass
General Public: $30
Half-Day Conference Pass
General Public: $20
The New Museum and Rhizome jointly inaugurate Open Score an annual symposium that will explore the state of art and technology today. Convening luminary artists, curators, researchers, and writers to discuss how technology is transforming culture, the first edition of Open Score will consider how artists are responding to new conditions of surveillance and hypervisibility; how social media’s mass creativity interfaces with branding and identity for individual artists; how the quality and texture of art criticism is evolving in a digital age; and what the future of internet art might be in light of a broader assimilation of digital technologies. Supported by the Robert Rauschenberg Foundation, Open Score: Art and Technology 2016 will mark the fiftieth anniversary of the groundbreaking initiative Experiments in Art and Technology. The conference’s title is taken from Rauschenberg’s live performance Open Score during one of E.A.T.’s most iconic events, “9 Evenings: Theatre and Engineering.”
4 PM: Introduction to Second Session
Zachary Kaplan, Executive Director, Rhizome
4:15 PM: Art in an Overseen World
Being seen by a boundless audience is now the norm—be it friends and followers or data-mining bots who are looking on. This panel will explore the ways artists and activists are responding to our new conditions of visibility by considering tactics of withdrawal, obfuscation, and even assimilation (“normcore”), while others are questioning whether such tactics limit the potential to build empathy and solidarity. This session will focus on questions such as: What new works or activist tactics are emerging in this context? Are withdrawal and obfuscation “weapons of the weak” or potent means for transgressing and critiquing power? And, how do online communities—artistic, political, or subcultural—form amid a cultural space so quick to appropriate and commercialize difference?
Speakers: Simone Browne, Associate Professor, Department of African and African Diaspora Studies at the University of Texas at Austin; Adrian Chen, writer and researcher; Rob Horning, writer, Marginal Utility, and Editor, the New Inquiry; and Emily Segal, Cofounder, K-HOLE
Moderator: Lauren Cornell, Curator and Associate Director, Technology Initiatives, the New Museum
5:15 PM: The Future of Internet Art
Over the course of two decades, the nascent field of internet-based practice has exploded into the mainstream and become ubiquitous. The internet is no longer a new medium but a mass medium that permeates every aspect of culture and society internationally. In light of this, what is the future for the field of art engaged with the internet? Will it continue to offer artists the opportunity to connect with publics directly, without relying on art institutions? How will the history of internet art continue to inform its future, given the problems of creating digital social memory? How will the web’s increased competition from locked-down applications change digital cultural production and distribution? What has internet art’s embrace by the mainstream of contemporary art and popular culture done to its form and visibility? Will there be such a thing as internet art ten years from now, or will all art created before the internet, as the artist Oliver Laric has suggested, simply be “pre-internet art”?
Speakers: Constant Dullaart, artist and winner of the Rhizome Prix Net Art; Shawné Michaelain Holloway, artist; Peter Russo, Director, Triple Canopy; and Colin Self, artist
Moderator: Michael Connor, Artistic Director, Rhizome