Joseph Nechvatal on Sun, 10 Feb 2002 15:13:02 +0100 (CET)

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[Nettime-bold] Fwd: NIGHT VISION : For Immediate Release

>From: joy garnett <>
>To: 0101 <>
>Subject: NIGHT VISION : For Immediate Release
>Date: Sat, 09 Feb 2002 11:23:37 -0500
>FOR IMMEDIATE RELEASE  |  February 9, 2002
>an exhibition curated by Joy Garnett
>participating artists:
>Jordan Crandall  |  Christoph Draeger  |  Joy Garnett  |
>Adam Hurwitz  |  Bill Jones + Ben Neill  |  John Klima  |
>Joseph Nechvatal  |  Jonathan Podwil  |  Radical Software Group
>online at:
>opens February 26, 2002:
>     University Galleries
>     Illinois State University, Normal, Illinois
>     February 26 - April 3, 2002
>travels to:
>     White Columns, New York City
>     June 14 - July 21, 2002
>     g-module, Paris, France
>     April/May 2003
>NIGHT VISION takes it's title from the high-tech optical apparatus used
>in nocturnal military operations, whose green glow has become
>increasingly familiar since CNN's televised transmission of the Persian
>Gulf War one decade ago. The strategic advantage afforded by
>technologies that can penetrate the night provides the central metaphor
>for this exhibition. "Metaphors infiltrate real living," states the
>catalogue text; likewise, the works in NIGHT VISION may shift some light
>toward the murky implications surrounding this theme.
>"The camera introduces us to unconscious optics as does psychoanalysis
>to unconscious impulses," wrote Walter Benjamin in a famous analysis. In
>NIGHT VISION, the symbolic lens refers to actual technologies co-opted
>by the artists experimentally, as well as documentary sources or
>subjects used for reflection and analysis.
>NIGHT VISION showcases work by artists and art collaboratives based in
>New York and in Brooklyn.  Employing a variety of media, these artists
>are deeply influenced by ongoing developments in technology: the science
>of optics in the service of both military and social objectives, and
>networks as extensions of intelligence and creativity, or as portals for
>infiltration, surveillance and infection.
>A full-color 16-page catalogue with an essay by Tim Griffin accompanies
>the exhibition. Published by First Pulse Projects, Inc., New York, it is
>now available on, as well as in the galleries, and directly
>from the publisher: For information contact:
>Tim Griffin is an art critic, curator, poet and writer. He is the
>current Art Editor of Time Out New York, and former editor of ArtByte:
>The Magazine of Digital Culture. He most recently curated the group
>exhibition "Compression" at Feigen Contemporary, New York, an exhibition
>of contemporary works dealing with new formal treatments of space. He
>co-curated the exhibition "The Production of Production" at Apex Art,
>NYC. Mr. Griffin has written extensively on new media art and culture,
>and his articles have appeared in various journals including Art in
>America and art/text. His poetry has appeared in PURPLE, LINGO,
>EXPLOSIVE, KIOSK, and in HAT & FENCE. His book Contamination, produced
>by Peter Halley, is forthcoming from Gabrius in May, 2002; July In
>Stereo appears this summer from Shark Press.
>Joy Garnett is an artist and co-founder of First Pulse Projects, Inc.,
>an art/science publishing collaborative:
> She lives in New York City.
>Works by NIGHT VISION artists appear by courtesy of their galleries as
>Jordan Crandall courtesy HENRY URBACH ARCHITECTURE, NYC
>Christoph Draeger courtesy ROEBLING HALL, Brooklyn, NY
>Joy Garnett courtesy DEBS & CO., NYC
>Bill Jones + Ben Neill courtesy SANDRA GERING GALLERY, NYC
>Joseph Nechvatal courtesy JULIA FRIEDMAN GALLERY, Chicago, and UNIVERSAL
>SPECIAL THANKS to University Galleries (Illinois State U.), White
>Columns, g-module, Debs & Co., Roebling Hall, and Julia Friedman

Joseph Nechvatal


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