Sara Cwynar, Rose Gold

Sara Cwynar Tracy (Gold Circle) 2017 Dye sublimation print on aluminum 30 x 38 in. (76.2 x 96.52 cm.) Edition of 3 with 2 AP SC_FP3737 Framed and glazed with OP3 UV Plexiglas

Sara Cwynar Tracy (Stepping Forward, Stepping Backward) 2017 Dye sublimation print on aluminum 30 x 38 in. (76.2 x 96.52 cm.) Edition of 3 with 2 AP SC_FP3741 Framed and glazed with OP3 UV Plexiglas

Sara Cwynar Tracy (One Hundred Consecutive Years) 2017 Dye sublimation print on aluminum 30 x 38 in. (76.2 x 96.52 cm.) Edition of 3 with 2 AP SC_FP3742 Framed and glazed with OP3 UV Plexiglas

Sara Cwynar
Rose Gold
7 April – 14 May, 2017
Foxy Production

“Foxy Production is pleased to present Rose Gold, Sara Cwynar’s second solo exhibition at the gallery. Rose Gold comprises a new film and a new series of photographs.

Cwynar’s film Rose Gold focuses on Apple’s Rose Gold iPhone, tracking how the phone acts as a talisman of desire for objects, people, power, and money. The film considers how individuals — the artist is one of its protagonists – negotiate complicated feelings of love and hate for commercial objects and how features such as touch and 3D resonate directly with the user’s emotions and imagination.

Rose Gold is a research-oriented mediation on the emotional impact of color: how color can manifest desire. It has the tone and structure of an educational film, like the National Film Board of Canada documentaries produced in the 1960s and ‘70s. Its complex voice-over includes quotes of, or references to, the writings of Lauren Berlant, Toni Morrison, Judy Wacjman, and Ludwig Wittgenstein, among many others, as well as excerpts from the Encyclopædia Britannica and the Apple website. It includes studio-based performances and travelogues of iconic symbols of American progress: the New Deal’s Hoover Dam and the boomtown of Las Vegas.

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Post-Internet & the Moving Image

PathExtrude by Brenna Murphy

PathExtrude by Brenna Murphy

Post-Internet & the Moving Image
Wed March 22, 2017, 5pm
The 55th Ann Arbor Film Festival

Plenty has been said about the term “Post-Internet Art,” and since the term emerged sometime around 2010, it has glided throughout the contemporary art lexicon inciting both adulation and contention. Little has been said about “Post-Internet Cinema,” a term which this program, “Post-Internet & the Moving Image,” seeks to define. This collection of recent (2011-2017) artist-made videos typify the profound influence of the Internet and technology on the cinema of today and tomorrow. Content and source material is culled from the Internet; images and media are appropriated and re-contextualized; new technological processes (webcam video, screen capture video, desktop hacking) are employed to create moving images; a process of creating and uploading is embraced. Here we find a new type of moving image based-art that would not exist without the advent of the Internet or without digital technological processes that emerged during the proliferation of the Internet. Is it the future of cinema? Is digital technology ephemeral? Time will tell. (AR)

Featuring work by: Trisha Baga, Darja Bajagić, Petra Cortright, Joe Hamilton,, Shana Moulton, Brenna Murphy, Jaakko Pallasvuo, Jon Rafman, Nicolas Sassoon & Rick Silva, Jon Satrom, Amalia Ulman, and Andrew Norman Wilson. Curated and presented by Andrew Rosinski.

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Netcapsule is a digital time capsule. The purpose of netcapsule is to use the internet and the domain name to collect & archive text & digital objects from many individuals throughout the course of one year. Thereafter, the netcapsule will be sealed & locked for 20 years. After 20 years, the netcapsule will unlock for public exhibition in 2037.

The Internet, Then and Now: An Interview with Olia Lialina

Olia Lialina (photo credit: Boudewijn Bollmann)

Olia Lialina (photo credit: Boudewijn Bollmann)

Olia Lialina, a Russian born German-based internet artist and media-art theorist, has been creating internet art since back in the days of HTML frames, most notably with her 1996 web art project “My Boyfriend Came Back From the War,” which has inspired many remixes by other artists, and is cited in academic textbooks. Other notable projects by Lialina include the “Digitale Folklore Reader” (2010), Once Upon” (2011), “Animated GIF Model” (2005–2012), and the beautifully simple “Midnight” (2006).

Lialina’s practice has explored many creative processes across digital platforms. She was an early member of the Blingee community, she remains fascinated with animated gifs and many elements of the ‘Old Internet,’ and currently she has pursued an extensive archival project titled “One Terabyte of Kilobyteage,” a project in which Lialina and collaborator Dragan Espenschied continue to meticulously unwrap a 900 GB torrent archive of nearly all former GeoCities websites, taking screenshots of each website and uploading to Tumblr to create a visual snapshot of GeoCities.

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