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“My recent restoration of the 1988 image that became the first publicly manipulated image in Photoshop, Jennifer in Paradise (originally taken by John Knoll, co-creator of the software), was not intended purely for the redistribution of the of the image itself. Originally, the image was used to show potential customers and investors of Photoshop the possibilities of the software. The image I restored, also named Jennifer in Paradise, was redistributed online through articles, tweets, blogposts, and other social media networks by various sources. Importantly, this restored image included a secret message woven into the code of the image file through a steganographic encryption.
“A hyperlink or list of links is not much of a boon. A link is an entry to another surf, a starting point. slots online These jewels are what separate surf clubs like Spirit Surfers from social bookmarking sites – the posts on Spirit Surfers are jewels publicly removed and reset.” Kevin Bewersdorf, Spirit Surfing, 2008. “I am greatly indebted to the surfers of Nasty Nets for getting me excited about art again. Simply by typing a series of letters into a browser I was connected to a shapeless organization of users who rearranged bits that were unimportant individually but who’s sum amounted to something so massive that it could only be thought about and never seen.
Ever since Nasty Nets ended, Paul Slocum and I have wanted to feel part of a strong surf community again. Over many phone calls our mutual feelings on surfing have solidified, and we have developed a philosophy of surfing that I will attempt to express here as part of the founding of a new surf club, spiritsurfers.net… [more here].” Kevin Bewersdorf, Spirit Surfing, 2008. As with clear.gif, Olia uses frames to direct our gaze, encouraging us to consider and celebrate the everyday objects and images of the internet – clouds, stars, silk and water – – the vernacular or folk art of the internet. “I am in London, talking to ‘new media artist’ Jeremy Bailey in Canada via Skype. Two people, three cameras, at least five screens and one giant puddle.
Many of the drawings are of software performances and videos Bailey has brought to life over the last decade, some are unrealised concepts in reference to future projects. Inhuman.me uses the technique of an ‘induced server error’ to frame the work. Dullaart used a similar technique to publish his 2013 manifesto ‘Balconism’ on the websites of Frieze, Artforum and Flash Art, while simultaneously publishing it in ArtPapers. An audio rendition of the manifesto can be listened to below, and a full publication including responses from James Bridle, Shumon Basar, Victoria Camblin, Aram Bartholl, Jonas Lund, and an interview between Omar Kholeif and Susanne Treister is available in the Carroll/Fletcher shop. Evan Roth (b. 1978, Michigan, USA) is an American artist based in Paris.
A unique avatar – a Bailey – is created for each visitor to JeremyBaileyNext.com. Each Bailey is capable of analysing and learning from its interactions with a visitor to create unique gestural artworks that respond sympathetically to conversational prompts in real-time – healing conversations with a famous new media artist, as paintings. Alongside the image file Dullaart has produced a series of lenticular prints, in which the image is manipulated using a photoshop filter, and a website – The website is a GIF constructed from Jennifer in Paradise images manipulated using the same Photoshop filters as the lenticular prints. The website’s source code contains a ‘post scriptum’ update to Dullaart’s September 2013 letter to Jennifer.
The artist has credited the commissioning body in both the tab and the website column in the History cache). “How many of us are aware that as soon as we use Google we implicitly signed their Terms of Service and become subject to the laws of California. ” Constant Dullaart, interview with Carroll/Fletcher, 2016. C-Prints, software installation and performance ephemera on view until 28 May. “Governments of the Industrial World, you weary giants of flesh and steel. On behalf of the future, I ask you of the past to leave us alone.
The image was digitized by Kodak in 1987 and supplied with early versions of the programme. Though initially widely available, it became increasingly difficult to track down. In 2013, in recognition of its cultural significance and intrigued by the story of Jennifer and John, Dullaart determined to restore and make readily available the image, and uncover its history. The drawings are available for sale either individually or as the whole series. A pdf containing high quality images of the series is available here. Jeremy Bailey Next runs parallel to Next Big Thing, a solo exhibition at Pari Nadimi Gallery in Toronto, Canada.
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