Reena Jana

  • 010101: Art in Technological Times

    Perhaps it’s time to look at “new-media art” as a response to new media (rather than as work that merely incorporates aspects of the digital world). That, at least, is the premise behind this ambitious, Intel-sponsored exhibition. At precisely one minute after midnight on Jan. 1, commissions by Mark Napier, Belgium’s Entropy8Zuper!, and other early Net-art stars will be launched online. The real-world component of “010101,” opening in March, will feature digital art and, surprisingly, some analog works as well: a Brian Eno sound installation, a Sarah Sze assemblage, a Lee Bul sculpture. But the

  • the “Wall Street Guggenheim”

    LOS ANGELES ARCHITECT Frank O. Gehry’s voluptuous designs for the new downtown Manhattan headquarters of the Solomon R. Guggenheim Museum have often been described as “cloudlike.” With its sweeping, expressive forms, the massive building that will rise on stilts from the East River certainly merits the adjective. But the term applies just as aptly to the tensions that hover over the project. A nimbus, after all, describes not only an aura of splendor, but also the harbinger of storms.

    Supporters say the ambitious new museum Gehry’s first major building project in New York City, will create

  • the Guggenheim Las Vegas

    WHILE THE LAS VEGAS STRIP is home to a facsimile of Manhattan, a faux Paris, and an ersatz Venice, the avenue’s newest addition, believe it or not, will be a real museum: the latest branch of the Solomon R. Guggenheim. Even stranger, in a second venture at the same site, the Guggenheim is partnering with the venerable State Hermitage Museum in Saint Petersburg, Russia, to bring the likes of Cézanne, Picasso, and Kandinsky to the land of Wayne Newton, drive-through wedding chapels, and Elvis impersonators. “Although I could have scarcely imagined working in Las Vegas even one year ago—my

  • NET WORKERS

    IN THE INTERNET UNIVERSE, time moves faster—sites debut and die, companies launch and go public quicker than a download on a DSL line. And the same rapid pace seems to apply to the rate of increase in institutional recognition and endorsement of Net art in the United States, which is finally catching up to Europe and Japan. The growing roster of Web-savvy media-art curators at major US institutions—which includes Steve Dietz, founding director of new-media initiatives at Minneapolis’s Walker Art Center, and Web artist and theorist Jon Ippolito, assistant curator of media arts at the Guggenheim—was

  • Chris Finley

    Literally toying with our understanding of the term “interactivity,” Chris Finley conducts the labyrinthine world of the computer game into the gallery. Since 1997, the artist has been producing a series of related exhibitions of figurative paintings based on his own digitally generated caricatures of suburban life juxtaposed with quirky installations of toys and domestic objects. His goal seems to be to turn the gallery-going experience into a decidedly low-tech yet arguably highbrow version of Nintendo.

    The title of each successive show in the series—“Level One,” “Level Two,” etc.—invokes the

  • Pix Kicks

    You’ve got the T-shirt, now you can have the screensaver. Jenny Holzer’s 5,000-edition foray into art for the monitor is one of the two offerings currently available from Antenna Tool & Die Company’s Kickstand series of artist-created screensavers. Antenna’s other offering is a 1,000-edition title by painter/illustrator Sue Coe. These “ambient art installations,” as Antenna calls them, not only give you a daily art fix but also prove (or so the company hopes) that the computer—even your run-of-the-mill desktop model—is a valid art medium.

    The Holzer screensaver features excerpts from the artist’s

  • Grace Note

    Sculptor/video artist Tony Oursler, eloquent spokesperson for the edgy contemporary psyche, has teamed up with writer/performer Constance de Jong and composer Steven Vitiello to create Fantastic Prayers, a CD-ROM published and prooduced by Dia Center for the Arts. Consisting of eight “environments,” this CD-ROM presents the user/viewer with an urban landscape layered with psychological and physical artifacts. Click on the “Jacket” segment for an example: in this text-driven section, a jacket’s physical characteristics are examined, revealing a wild history—tracing the garment’s roots back to