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Telefone Sem Fio (3)

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criptocardiograma_remix_adj

This is a rough-cut studio shot of my piece in the "Telefone Sem Fio" show. The art is an animated GIF based on pictograms from an older (late '90s/early '00s) web piece by Brazilian concrete poet Augusto De Campos. There's a web page version of the GIF but for the physical exhibition I made a DVD loop of the GIF to run on a CRT television monitor. Those monitors are already retro-exotic but they work well with certain GIFs. (Stronger color, etc.)

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Telephone journal
Elizabeth Foundation for the Arts
Lecture tomorrow (Friday Nov 11) on De Campos (will have to miss this unfortunately)

Telefone Sem Fio (2)

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thessia_machado

Photo I took on the opening night of the Telefone Sem Fio show I am participating in at the Elizabeth Foundation for the Arts, 323 W. 39th St., NYC, a tribute to Brazilian concrete poet Augusto De Campos.

From the EFA website:

Thessia Machado, performing as link, will do a short solo with 'synf on the radio'. Synf is an analog synthesizer of her own design that combines 3 oscillators and a divider chip... For this performance its signal will be beamed through a radio transmitter to a portable radio, making it go through a series of translations and modulations.

Jennifer Schmidt's work is in the background, screenprints interpreting/responding to Augusto De Campos' poetry. On the floor is a piece by Brendan Fernandes, translating a Morse Code ("SOS") animation of De Campos'.

TELEFONE SEM FIO

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codigo

Some info about a show I am in, opening this Friday, Nov. 4 at Elizabeth Foundation for the Arts (323 W. 39th, NYC):

TELEFONE SEM FIO: Word-Things of Augusto de Campos Revisited
November 4 - December 17, 2011
Opening Reception, Friday, November 4, 6- 9 pm

A collaboration between Telephone and EFA Project Space
with Ugly Duckling Presse

Poets: Jean-Sébastien Baillat, Jen Bervin, Ray Bianchi, Macgregor Card, Nico Pam Dick, Kenneth Goldsmith, Thessia Machado, Benjamin Moreno, Charles Perrone, Steve Savage, and Edwin Torres.

Artists: Angela Lain & Rafael Detanico, Bibi Calderaro, Deric Carner, Brendan Fernandes, Rossana Martinez, Tom Moody, Trong Gia Nguyen, Jennifer Schmidt, Dannielle Tegeder, and Andrea Van Der Straeten.

Curated by: Sharmila Cohen and Paul Legault for Telephone; Michelle Levy for EFA Project Space

Telephone is pairing with The Elizabeth Foundation of the Arts to present a unique venture inspired by Brazilian concrete poet, Augusto de Campos.

Opening November 4th, the exhibition and corresponding publication “Telefone Sem Fio: Word-Things of Augusto de Campos Revisited” uses de Campos’s work as catalyst for a multi-disciplinary exercise in which a group of artists and poets have been invited to create “translations” in their own language and medium.

The Fall 2011 issue of Telephone will be concurrent with the exhibition, and the exhibition will be modeled after the journal. This issue, which will be published in collaboration with Ugly Duckling Presse, will double as an exhibition catalog. A web version, which contains sound and time-based components will exist on the Telephone website.

Augusto de Campos is a poet, translator, music critic, and visual artist whose work emphasizes the direct connections between language, sound, and image. He was one of the originators of the Brazilian concrete poetry movement that began in the 1950s and continues to influence the work of musicians, visual artists, and writers today.

De Campos began working in the 1950s with his brother Haroldo and fellow poet Decio Pignatari to promote concrete poetry, which they defined as a “tension of thing-words in space-time.” They sought to reduce language to its essential components of letters and sounds in an attempt to re-create a language that blurs the sensory lines of speech, sight, and sound with time. The Brazilian sector of the concrete poetry movement is uniquely characterized by the “verbivocovisual,” a term from James Joyce’s Finnegan’s Wake. Bringing to mind the combined sensory episodes experienced by synaesthetes, de Campos pushed boundaries of traditional text usage by introducing light, color, aesthetic arrangement of letters and words, sound and animation. Decades later much of de Campos’ work and influence is only known obscurely in the U.S

The poets and artists invited to invent translations of de Campos exist across a continuum of text, sound, and visual expression. They were asked: How do we look at such text/objects now? How do we enable this strange case of spatial and temporal translation—from Brazil to the U.S. and from the mid 20th century to the 21st century? How can we re-inject the heart of the original sentiment and intention into our current context?

The hybrid nature of de Campos’s work has naturally elicited hybrid responses and many of the artists have made concerted efforts to physically interact with the content and literally reanimate it. Brendan Fernandes translates the original SOS animation into a Morse code pattern across the gallery floor that suggests a choreography for how viewers move through the space; Andrea van der Straeten interprets the same poem through sign language and an installation of cast shadow effected by a gentle breeze; Dannielle Tegeder sends the viewer on ‘scavenger hunts’ through New York Public Library Archives, requiring that one locate an authentic De Campos publication in order to retrieve his or her inserted original work on paper response; Brazilian artist team Angela Detanico and Rafael Lain revisit Pulsar, a pivotal animation and sound piece, to create the Flash animation “Amplitude” which uses a numeric formula to rewrite the poem in a language of concentric circles.

Many of the poets took this opportunity to push the boundaries of their genre by producing works which--like Kenneth Goldsmith’s digital maps--explore how the “concrete” can be incorporated into conversations happening currently around conceptual writing and translation; Jen Bervin refashioned de Campos’s impossible/verbal city, “cidade, city, cite” in silver paper; Steve Savage and Benjamin Moreno produced interactive works which literally require the space--albeit a digital one--in order for the user to “read” them. These are not standard poems. The contributions are as varied as the means of translation itself.

In its first year of publication, Telephone has become a respected voice in the poetry community. It features four to five poems from one foreign poet in each issue, which are then translated roughly ten times by multiple different poets and translators. There are no rules about how each poem should be translated. The first two issues focused on the work of Ulijana Wolf as well as a collaboration betwen Steve Savage & Renée Gagnon; the third will focus on Augusto de Campos. In this short time, the publication has been featured in Harper’s Magazine and BOMB. Its new incarnation as Telephone Books is set to launch in Fall 2012.

EFA Project Space focuses on exhibits and programs that explore various aspects of the creative process with a goal of inspiring new bonds in the diverse creative community. We collaborate with organizations, curators and artists to provide a comprehensive and critical perspective on creative practices. EFA Project Space is a program of the Elizabeth Foundation for the Arts, a 501 (c) 3 non-profit organization committed to providing artists across all disciplines with space, tools and a cooperative forum for the development of individual practice. EFA Project Space receives partial funding from the EFA, from the New York City Department of Cultural Affairs, and from the Lily Auchincloss Foundation.

UbuWeb on Augusto de Campos. Am excited to be involved in a project with UbuWeb honcho Kenneth Goldsmith (aka WFMU's Kenny G).

artist cv

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Solo Exhibitions

2017 Honey Ramka, New York, NY
2015 Honey Ramka, New York (Project Space)
2008 Telic Arts Exchange, Los Angeles, CA
2007 artMovingProjects, New York, NY (Project Space)
2006 artMovingProjects, New York
1999 UP & CO, New York
1998 Derek Eller Gallery, New York
1993 Gray Matters, Dallas, TX
1992 W. A. Graham Gallery, Houston, TX
1990 Neuhoff Galleries, Dallas

Two-Person Exhibitions

2006 And/Or Gallery, Dallas, Texas (with Saskia Jorda)
2002 homeroom, Munich, Germany (with Gregor Passens)

Group Exhibitions

2013-2021
"OKAY Hermetic" (virtual solo show), River Gallery, January 2021
"St Celfer: March of the Covids," music video performance, ICOSA Collective, Austin, TX, December 12, 2020
"PAUSE (prelude)," Künstlerverbund im Haus der Kunst, Munich, Germany, July 2018
Online residency, Gazelli Art House/Gazell.io, London, UK, March 2016
"The Wrong - New Digital Art Biennale," Utopia Internet Dystopia Pavilion curated by Valentina Fois, Maitino, Spain/online, 2015
"Control Panel," Honey Ramka, Brooklyn, NY, 2015
"Transnumeriques Awards 2015 @ Videoformes Festival," Clermont Ferrand, France, 2015
twohundredfiftysix colors, video screening, Union Docs Center for Documentary Arts, Brooklyn, NY, 2014
"The Limited Collection," La Scatola Gallery, London/Berlin, and Tumblr, 2014
"The Wrong - New Digital Art Biennale," Chambers Pavilion curated by Sara Ludy, Maitino, Spain/online, 2013
"Reuse Aloud," Basic.fm and NewBridge Project Space, Newcastle upon Tyne, UK 2013

2011-2012
"Speculative Sound Performance with Disquiet Junto," Apex Art, New York, NY 2012
"Speed Show: Never Gonna GIF You Up," Central Internet Cafe, Grafton Street, Dublin, Ireland, 2012
"10000 Pixels," Art Micro Patronage (online exhibition), 2012
"Telefone Sem Fio: Word-Things of Augusto de Campos Revisited," Elizabeth Foundation for the Arts, New York, NY, 2011
"Street Show: The Things Between Us," USB Dead Drop, 540 W 21st St., New York, NY, 2011
"Graphics Interchange Format," Mulberry Gallery, Denison University, Granville, OH, 2011
"Glitch," CentralTrak, University of Texas at Dallas, 2011

2009-2010
"BYOB NY (Bring Your Own Beamer)," Spencer Brownstone Gallery, New York, NY, 2010
"Sanity Disobedience for a New Frontier," Camel Art Space, Brooklyn, NY, 2010
"Dump.fm - IRL," 319 Scholes, Brooklyn, 2010
"Made in Internet," ARTBOOM festival, Krakow, Poland, 2010
"Picturing the Studio," Sullivan Galleries, School of the Art Institute of Chicago, 2009
"The Last Dance," And/Or Gallery, Dallas, TX, 2009
Club Internet (online) at "IRL (In Real Life)," Capricious Space, Brooklyn, 2009

2007-2008
"The Web of Cokaygne; Candle and Bell" (video screening), The Nightingale, Chicago, IL, 2008
"ON_game," University of Texas at Dallas, Dallas, 2008
"The Program" (Dallas Video Festival), Dallas, 2008
"Bitmap: As Good As New," The Leonard Pearlstein Gallery, Drexel University, Philadelphia, PA, 2008
"Nasty as U Want to Be," New York Underground Film Festival, 2008
"Bitmap: As Good As New," vertexList Gallery, Brooklyn, NY, 2007
"Abstract Horror," Galapagos Art Space, Brooklyn, 2007
"Digital Political Time Lapse," Long Island University, Brooklyn, 2007
"Fresh NY," Threshold Artspace, Perth Concert Hall, Perth, Scotland, 2007
"Professional Surfer," Rhizome Time Shares, Rhizome.org at the New Museum, 2007

2006
"Art and Place I: Place as Muse," Space 301, Mobile, AL
"Moments of Greatness," Chicago Underground Film Festival
"Mods and Rockers," York Quay Centre (Case Studies), Harbourfront Centre, Toronto
"The GIF Show," Rx Gallery, San Francisco CA

2004-2005
O_show_circle_ (aka the O Show), curated by MatCh-Art, SICA, Long Branch, NJ, 2005, and Ramapo College, Mahwah, NJ, 2006
"23 Reasons to Spare New York," Ocularis at Galapagos Art Space, Brooklyn, NY, 2005
"Fuzzy Logic," Futuresonic 2005 festival, Manchester, UK, 2005
ART@><*WORK, curated by Tali Hinkis & Elana Langer, 520 8th Ave., Suite 1602, New York, 2005
"Sunday Afternoon," online exhibit curated by MatCh-Art, 2004
"The Infinite Fill Show," Foxy Production, New York, 2004
“Robot Landscapes,” Case Studies gallery at Harbourfront Centre, Toronto (music for Sally McKay video installation), 2004

2000-2002
"The Freight Elevator Project 2," D.U.M.B.O. (Brooklyn), New York, 2002
"Are 'Friends' Electric?" online exhibition (unofficial) at nerve.com, 2002
"Ink Jet," Aldrich Museum of Contemporary Art, Ridgefield, CT, 2000-2001
"Byte Size," homeroom, Munich, Germany, 2000
"Cyber Drawings," Cristinerose Gallery, New York, 2000

1999
"Skin Tight," The Work Space, New York
"Size Matters (400 Artists)," GAle GAtes et al., Brooklyn, New York [related: NeoImages]
"Optopussy," Angstrom Gallery, Dallas
"Digital Sites," Numark Gallery, Washington, DC
"Ultra Buzz," JCCC, Overland Park, KS
"Post-hypnotic," Illinois State University, University Galleries, Normal, IL (traveled to: The McKinney Avenue Contemporary [The MAC], Dallas, TX; The Contemporary Arts Center, Cincinnati, OH; The Atlanta College of Art Gallery, Atlanta, GA; The Chicago Cultural Center, Chicago, IL; SECCA, Winston-Salem, NC; The Tweed Museum, University of Minnesota, Duluth, MN; Philharmonic Center for the Arts, Naples, FL; Massachusetts College of Art, Boston, MA) (catalog)

1998
Group Show, Ericsson CyberLab, New York, NY
"Static," Eugene Binder, New York, NY (catalog)
Group Show, Derek Eller Gallery
"Op at UP," UP & CO., New York, NY
"Brite Magic," Islip Art Museum, Islip, NY

1996-1997
"Post-Pop, Post-Pictures," Smart Museum of Art, University of Chicago, Chicago, IL (1997) (catalog)
"Dots and Lines," Eighth Floor Gallery, New York, NY (1996)
"Fascination," The Lobby Gallery at 31 W. 52nd , New York, NY (1996)

1994
"Faith in Doubt," University at Buffalo Art Gallery/Research Center in Art + Culture, Buffalo, NY (catalog)
"Tad Griffin, Tom Moody, John Pomara, David Szafranski," Parts One and Two, Eugene Binder Gallery, Dallas, TX (catalog)
"Forging Ahead," Center for Research in Contemporary Art, University of Texas at Arlington (catalog)

1985-1993
"The Return of the Cadavre Exquis," The Drawing Center, New York, NY (1993)
"The Next Best Show," Gray Matters, Dallas, TX (1992)
Inaugural Group Show, Gray Matters, Dallas, TX (1991)
"Me, Myself, & I," Allen Street Gallery, Dallas, TX (1990) (catalog)
"The TV Show," Dallas Museum of Art (1989)
"Metz/Pomara/Moody," The Gallery at 3004 McKinney, Dallas (1989)
TFAA's "Texas Annual 1986," juried by Walter Hopps, Laguna Gloria Art Museum, Austin, TX (Juror's Choice Award and Touring Citation)
500X Gallery, Dallas, TX (with Dennis Scharnberg and Matt Miller) (1986)
Brazos Gallery, Richland College, Dallas, TX (with David Baker and John Snygg) (1985)
500X Gallery, Dallas, TX (with Dennis Scharnberg and P. M. Summer) (1985)

Collections

"Polygamy," an artist's book in Abaton Book Company's 5&10c compendium, is in the collection of the Museum of Modern Art, NY
Various private collections in New York, Belgium, Maryland, and Texas

Bibliography

2012-2021
Verville, Pierre-Luc, "Tom Moody," Le Parergon, June 7, 2021
Kane, Carolyn L., "GIFs that Glitch: Eyeball Aesthetics for the Attention Economy," Communication Design, 2016, Vol 4, Nos 1-2, pp. 41-62
Moioli, Chiara, "The Surfer's Conspiracy: Investigating with Tom Moody," Link Editions, February 7, 2016 [PDF]
Cornell, Lauren and Halter, Ed, Mass Effect (Cambridge, MA: MIT Press, 2015), pp. 124, 144-5, 285, etc.
Juni, Johanna, "'Control Panel' at Honey Ramka Gallery," On-Verge, July 22, 2015
Hudson, Suzanne, Painting Now (New York: Thames & Hudson, 2015), pp. 110, 113
Johnson, Paddy, "GIF of the Day: Tom Moody," Art F City, October 24, 2014
Johnson, Paddy, "A Brief History of Animated GIF Art," artnet, Part One, August 2, 2014, and Part Two, August 15, 2014
Johnson, Paddy, "Will Galleries and Museums Ever Embrace Animated GIF Art?" artnet, April 11, 2014
Johnson, Paddy, "GIF of the Day: Sketch_J3," Art F City, March 31, 2014
Connor, Michael, "The Commenter: A Lament," Rhizome.org, March 19, 2014
Wentz, Zack (editor), "Works by: Tom Moody," New Dead Families, December 2013
Ekin, Annette, "The web’s abuzz with GIFS + the artists who make them," Studio 202, December 22, 2012 [archived]
Friedman, Zach, "Word-Things of Augusto De Campos Revisited," BOMBLOG, February 21, 2012
Thalmair, Franz, "Minikino im Selbst­ erfahrungsmodus Zur Rolle sogenannter 'animierter GIFs,'" Springerin, January-March 2012 [pdf] [English]
Hyperallergic Labs, "Tom Moody, 'OptiDisc,'" hyperallergic.tumblr.com, 2012

2009-2011
McHugh, Gene, "Tom Moody," Post Internet, 2011 (Brescia: Link Editions), pp. 208-214, 260 [Rhizome-org-archived version]
Chayka, Kyle, "Turn On, Plug In, Walk Out: How 'Street Show' Transforms a Single USB Stick Into a Guerrilla Art Gallery, ARTINFO, July 27, 2011
Kaganskiy, Julia, "A Guide to Enjoying (And Making Your Own) GIF Art," The Creators Project, May 3, 2011
Johnson, Paddy, "Graphics Interchange Format At Denison University’s Mulberry Gallery" (curator's statement), Art F City, February 15, 2011
Mueller, Kurt, "Postscript: Art Writers Online" (interviews), Art Lies, Fall/Winter 2010, pp. 40-45
McKay, Sally, "The Affect of Animated GIFs (Tom Moody, Petra Cortright, Lorna Mills)," art&education, September 2010
Wikipedia: "Tom Moody (artist)"

2007-2008
Dockray, Sean, interview and booklet, Telic Arts Exchange, December 6, 2008
Fallon, Michael, "The New Dada," The Rake, July 10, 2008
Johnson, Paddy, "Net Aesthetics 2.0, The Long of It," Art F City, June 12, 2008
Weidenbaum, Marc, "Simple Tom Moody Mp3," Disquiet, February 26, 2008
Weidenbaum, Marc, "Tom Moody's 8 Bit Mp3s (and Other Media)," Disquiet, November 26, 2007
Johnson, Paddy, "Blog for Sale," Art F City, May 23, 2007
Fabuš, Palo, "Tom Moody's BLOG," Furtherfield.org, April 7, 2007

2006
Johnson, Paddy, "Video Game Culture Thrives in New Documentary," The Reeler, October 3
Harrison, Thomas B., "High Concept," Press-Register (Mobile, AL), September 3
Johnson, Paddy, "Geeks in the Gallery," Art F City, June 12-14, 2006 (part 1 / 2 / 3)
O'Brien, Titus, "And/Or Opens with Top Talents," Fort Worth Star Telegram, February 12
Fallon, Roberta, "Whol-y O's, heavy O's and Cheerios," Fallon & Rosof's artblog, January 28 (photos)

2004-2005
Hobbs, Jack, et al, "The Visual Experience," 2005 (Worcester, MA: Davis Publications), p. 15
Kraft, Jessica, "Feature: Art Blogosphere," Artkrush, December 14-27, 2005
"Art Joins the Party: Jessica Kraft on Entering the Blogosphere," Contemporary, Issue 73, 2005
Arcangel, Cory, "Interview with Tom Moody by Cory Arcangel," Rhizome.org at the New Museum, October 28, 2005
"Moody Paintbrush," Generator.x, October 20, 2005
Yassin, Aaron, "Not Just Flying Toasters" (interview), NY Arts, September/October 2005
Cornell, Lauren, "How to Succeed in the Arts (By Really Trying)," Net Art News (Rhizome.org at the New Museum), May 18, 2005
Rubinstein, Raphael, "Art in the Blogosphere," Art in America, January 2005 [scan] [text]
Omann, Marie, "Art Blogs: Why Such a Timid Emergence?" student paper, masters program in Design, Communication and Media, IT University of Copenhagen [PDF]
Vassallo, Christina, "Infinite Exhibition" (catalog excerpt), Digital & Video Art Fair: A Tribute to Bruce Nauman, New York, 2005 [PDF]
"Art Blogs Beyond Photography, and One Path Away From the Darkroom," Coincidences, March 12, 2004
Hicks, Cinque, "Give It Away, You'll Still Have It," Bare and Bitter Sleep (blog), 2004

2000
Schmerler, Sarah, "Cyber Drawings," Art on Paper, May/June 2000
Hawkins, Margaret, "Exhibit Shows Why Op Was On Top," Chicago Sun-Times, May 5, 2000
Thea, C., et al, "Mob Rule," NY Arts, March 2000
Viveros-Faune, C., "Computer World," New York Press, February 2000
Gardner, Nina-Marie, "Tom Moody: The Art of Approaching the Babe," netsetgoods.com

1999
McCabe, Bret, "Con/texts," The Met (Dallas), September 29
Rees, Christina, "Cool Your Eyes," Dallas Observer, June 24
Protzman, Ferdinand, "The Big Pixel," Washington Post, May 13
Drumming, Neil, "Digital Sites," Washington City Paper, April 23
Thorson, Alice, "High Art," Kansas City Star, February 28
Trafton, Robin, "Ultra-Buzz: Guaranteed Dazzle," Review (Kansas City), March issue
Porges, Tim, "A Demolition Derby of Art," The Octopus (Bloomington, IL), January 15

1995-1998
Johnson, Ken, "Tom Moody and David Clarkson," New York Times, April 10, 1998
Kino, Carol, "Op 'til you drop," Time Out New York, June 25, 1998
Camper, Fred, "Aiming Low," Chicago Reader, September 12, 1997
Hawkins, Margaret, "Gen X Artists Flaunt Their Indifference," Chicago Sun-Times, September 5, 1997
Colpitt, Frances, "Going Against the Grain," Art in America, April 1995
Odom, Michael, "On View: Dallas," New Art Examiner, January 1995

1994
Huntington, Richard, "Something funny happens to contemporary art," Buffalo News, November 22
Isola, Marina, "Small Differences," The Met (Dallas), October 6
Odom, Michael, review, New Art Examiner, Summer issue
Tyson, Janet, "Excellent Offerings in Dallas," Fort Worth Star Telegram, April 6
Kutner, Janet, "Four Different Languages," Dallas Morning News, March 19
Mitchell, Charles Dee, "Casting Doubt," Dallas Morning News, March 13
Kutner, Janet, "Making the Case for Abstract Art," Dallas Morning News (Guide), March 4

1993
Emenhiser, Karen, review, Art Papers, March/April
Mitchell, Charles Dee, "Portrait of the Artist as a Nerd," Dallas Morning News, March 1
Tyson, Janet, "Dallas Dishes Up a Smorgasbord," Fort Worth Star Telegram, March 7
Emenhiser, Karen, "Rude Mannerisms," Dallas Observer, February 25

1985-1992
Goldman, Saundra. Review, Art Papers, March/April 1992
Emenhiser, Karen, review, Detour, December 1991
Roberts, Tre, review, Art Papers, May/June 1989
Mitchell, Charles Dee, "A Gallery of One's Own," Dallas Observer, March 9, 1989
Roberts, Tre, review, Art Papers, March/April 1989
McCombie, Mel, "Emotional Times Surface in Art," Austin American Statesman, Nov. 27, 1986
Compton, J.R., review, Artscene (Houston), Spring 1986
Kutner, Janet, review, Dallas Morning News, January 17, 1985

Education

School of Visual Arts, New York (Summer) 1978
Corcoran School of Art, Washington, DC 1977-78
BA, English Literature and Studio Art, University of Virginia, Charlottesville, VA 1977

Related activites

See curriculum vitae of critical writing, exhibitions curated, lectures, and other activities.