Art Lies, Volume 67, Fall/Winter 2010 Page: 11
112 p. : col. ill. ; 28 cm.View a full description of this periodical.
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Interim Editor Editor's Statement
Kurt MuellerInterim Director
Elizabeth Murray
PR/Marketing Coordinator
& Events Manager
Kaylan Tannahill
PR/Marketing Representative
Lauren Adams
Assistant Editor
Ariel Evans
Copy Editor
John Ewing
Corresponding Editors
Risa Puleo, Austin
Matthew Bourbon, Dallas l Ft. Worth
Kate Bonansinga, El Paso
Ben Judson, San Antonio
Design
Small Project Office
Editorial Advisory Board
Regine Basha, Annette DiMeo Carlozzi,
Frances Colpitt, Gean Moreno,
Valerie Cassel Oliver, David Pagel,
Noah Simblist, Franklin Sirmans,
Michelle White
Correspondence
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Houston, Texas 77251-1408
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The content of the published articles is
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the authors.
Copyright Art Lies 2010The New Flesh
This issue of Art Lies catches our journal in an exciting moment of expansion between
the printed publication you are holding and its potential virtual, digital, Web, Net, online,
screen-based or social media complement. Enamored by the engagement of both pulp
and pixels, Art Lies is refreshing itself as a more dynamic online and print periodical.
Starting with this issue, dubbed "The New Flesh," you'll find original online
features posted regularly at Artlies.org. Commissioned in concert with the printed pub-
lication, these articles, as well as curatorial and artist projects, extend Issue No. 67's
"conversation" materially and temporally, across media platforms and over a multi-
month timeline. Appropriately, we've turned this issue's print (and Web) pages to this
very topic: How are artists, curators, dealers and writers navigating the divide between
virtual and traditional media?
The Web undeniably invites new forms of artistic production, display and criti-
cism, but as the Internet grows increasingly mainstream, how is this promise being
met? Fresh digital spaces should lead to opportunities for more and new voices, as well
as inventive and unorthodox structures, logics, systems and experiences. Yet, in prac-
tice-as every museum, gallery, and artist (of any generation) generates a website and
Facebook presence-do they? Does the Web transcend daily experience and escape the
trappings of "meatspace," or do online media merely offer new flesh for old concerns?
The Amazon Kindle and other e-readers that digitally approximate the printed page
would suggest that as much as we adapt to technological invention, we also adapt and
retrofit innovation to our traditions, habits and locales. Progress, more often than not,
must double back in order to advance.
Addressing such concerns in Issue No. 67, Beryl Graham and Sarah Cook propose
critical acceptance for new media work by defining it in terms of analog experience and
art historical precedent. A survey of arts writers Paddy Johnson, Kelly Klaasmeyer,
Tom Moody and Lauren O'Neill-Butler indicates that writing on the Web may have
already achieved a status quo on par with its predecessors. Considering the new online
publication East of Borneo, Andrew Berardini describes its promise in relation to a sin-
gular geographic and cultural place, Los Angeles. For artists, the Web increasingly offers
not a virtual unknown or ideal but, rather, a compromise between the familiar and unfa-
miliar, a hybrid space increasingly more normal than new.
Tobias Leingruber explains the Web's potential through real-world spatial met-
aphors, while Kristin Lucas inverts this mirror, understanding her self through
technology's logics. Kari Altmann digitally excavates the deteriorating landscape of
contemporary tech, while a discussion between Cliff Evans and Kenneth Tin-Kin Hung
reanimates the original act of media appropriation-photomontage. It should be of little
surprise, then, that Joel Holmberg and Guthrie Lonergan's mythologizing tale of the
Internet artist ends in a return to the printed page.
Simon Grennan and Christopher Sperandio revisit the hidden, interactive mes-
saging of a Mad magazine fold-in. A special insert by Susan Silton also enhances the
issue with a postcard project addressing (public) persuasion and perception. Finally, in
the reviews section you'll notice two new headers. Taking our criticism pages beyond
exhibition reviews to individual practices and art objects, Art Lies now features "Subject
Matter," an essay on a single artist, and "Object Lesson," an essay on a single work of
art. As the artists and writers contributing to Issue No. 67 bridge Internet and offline
zones, Art Lies also begins to venture across media, approaching these platforms
not as surfaces but as connective tissues and substantive spaces for critical thought
and action.
- Kurt Mueller, Interim Editor11 ART LIES NO. 67
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Mueller, Kurt. Art Lies, Volume 67, Fall/Winter 2010, periodical, 2010; Houston, Texas. (https://texashistory.unt.edu/ark:/67531/metapth228032/m1/13/: accessed July 17, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; .