This is Not My Tree
March 26, 2021 - April 16, 2021
Curated by Nina Mdivani, this exhibition looks at human migration through ecological and biological lenses.
September 4, 2020 - December 13, 2020
Sixteen works from net art history showcase a range of forms — websites, software, sculpture, graphics, books, merchandise — and offer a space to consider the internet as social process, material infrastructure and lived experience. The works have been selected from Rhizome's online exhibition Net Art Anthology.
Visit the Gund Gallery website for more information.
The gallery is open Tuesday - Friday from 11 a.m. to 5 p.m. and weekends from 1 to 5 p.m.
August 28 - November 15, 2020
The Grunwald Gallery at Indiana University is pleased to present "State of Nature: Picturing Indiana Biodiversity", an exhibition featuring artifacts from Indiana’s prehistory alongside visual art documenting biodiversity in Indiana. This exhibit will serve to increase literacy about ecological developments, the impact of climate change on everyday life, and encourage awareness of our immediate natural surroundings.
"State of Nature: Picturing Indiana Biodiversity" will feature historically significant natural artifacts and visual art by over fifteen artists that have a connection with the state. In addition to being open to viewings by appointment, the exhibition will be available to view via the Grunwald Gallery’s website, including a virtual 3-D walkthrough of the exhibit. The exhibition will travel to the Indiana State Museum in Indianapolis in spring 2021.
The exhibit, conceived and curated by Betsy Stirratt, Director of the Grunwald Gallery and Distinguished Professor Roger P. Hangarter at Indiana University will contain art and artifacts that encourages an aesthetic appreciation of the natural world in Indiana. Artifacts, samples and specimens from IU collections related to Indiana’s prehistory and specimens from the extensive collections of the Indiana State Museum and Historic Sites will be featured.
Schneider Museum of Art (online)
June 11 - August 5, 2020
"Celebrating Wild Beauty" recognizes the 20th anniversary of the Cascade-Siskiyou National Monument (CSNM). It was established in a presidential proclamation on June 9, 2000 and expanded on January 12, 2017. The exhibition highlights artists who have directly worked in the monument, drew inspiration from it or similar wild spaces here in the Pacific Northwest.
Curated by Scott Malbaurn, director of the Schneider Museum of Art, the exhibition had originally been planned to open to the public for in-person viewing, but had to be moved online due to the COVID-19 pandemic. “We are saddened to not present this exhibition in-person but we are finding the resiliency of the artworld heartening,” stated Malbaurn. “Museums and galleries across the world have made major changes to the delivery of their exhibitions and programs, just as we are. I am so pleased that the Schneider Museum of Art staff and student team have made quick adaptions to this new way of working.”
"Celebrating Wild Beauty" highlights artists who have directly worked in the Cascade-Siskiyou National Monument, drew inspiration from it or similar wild spaces here in the Pacific Northwest. Each of the exhibiting artists are indebted to these kinds of lands. Exhibiting artists include Isabella Thorndike Church, Grayson Cox, Dot Fisher-Smith, Malia Jensen, Chris Russell, Rick Silva, and Mark Tribe. Isabella Thorndike Church has created her installation in a storefront located at 25 E. Main St, Ashland, OR for easy and safe viewing.
A Perfect Storm
February 15 - March 8, 2020
Curated by Faction Art's Curator-In-Residence, Natasha Becker, A Perfect Storm includes work by artists Tatiana Arocha, Lionel Cruet, Demian DinéYazhi´, Allison Janae Hamilton, Riitta Ikonen, Joiri Minaya and Mark Tribe. A Perfect Storm refers to a rare combination of events, arising from a number of negative factors, that creates an unusually bad situation. It is an apt expression for the urgent and unresolved challenges of global warming, pollution, climate change, and many more environmental problems that have become a reality for millions of people. Through drawing, painting, photography, and installation art, the artists presented in this exhibition offer varied interpretations on the interconnected realities of natural and human made environments, land and bodies, culture and memory. They take into consideration the voices of those with the most intimate knowledge of the environment and comment on their experiences of resistance, relocations, and adaptations.
March 20, 2020 - July 31, 2020
In its decades-long history, net art has served as a testing ground for artists. Through net art, artists have interrogated politics, economies, and material cultures. The Art Happens Here offers a selection of works from Rhizome’s Net Art Anthology. The exhibition restages historical works of net art from its fragments – a timely approach as many institutions now frame the internet as a historical subject, rather than a novelty.
Net art is made up primarily of practices, not objects. This poses problems around how net art is historicized and exhibited. The Art Happens Here explores the new modes of authorship, collaboration, and distribution that have evolved through net art.
Rhizome champions born-digital art and culture through commissions, exhibitions, digital preservation, and software development. Founded by artist Mark Tribe as a listserv that included some of the first artists to work online, Rhizome has played an integral role in the history of contemporary art engaged with digital technologies and the internet. Since 2003, Rhizome has been an affiliate in residence at the New Museum.
January 16, 2020 - March 1, 2020
“The Art Happens Here: Net Art’s Archival Poetics” presents sixteen artworks selected from Net Art Anthology (anthology.rhizome.org), a major online exhibition charting the history of net art through one hundred key works. Organized by the New Museum’s affiliate Rhizome, “The Art Happens Here” culminates this two-year research and preservation initiative. More than just the creative use of the internet, net art involves diverse practices that “happen” via encounters among users and machines on and through networks. Its live, performative quality means that questions regarding its archival status often emerge—at the point of a work’s creation, when it is taken up by an institution, or in response to changing technological circumstances. How can net art be made to last without losing its variability? How can it be reperformed and recirculated as network contexts change? How can we note its absence or loss? This exhibition brings together works in a variety of mediums—including websites, software, sculpture, graphics, books, and merchandise—that map out possible responses to these questions. Including archival gestures by artists and restorations by Rhizome’s internationally renowned digital preservation team, the exhibition underlines the importance of rehearsing aspects of network culture that might otherwise recede from view. In doing so, “The Art Happens Here” suggests that by engaging poetically with net art’s past, we can better reckon with the challenges and contradictions of a rapidly changing network culture.
October 23, 2019 - November 19, 2019
"HARVEST" is formatted as a living artist showcase and marks the first public program undertaken by Sidel & McElwreath, a new female-founded contemporary art advisory practice committed to supporting living artists. The exhibition proudly presents works by Todd Bienvenu, Jennifer Caviola, Max Colby, Rachel Garrard, Jeila Gueramian, Fumihiro Matsuzaki, Caris Reid and Mark Tribe.
This exhibition uses as its foundation the symbolic concept of harvest. The curatorial focus is placed both on the literal convening of a broad range of media, mediums, and concepts, as well as the constellation of complex personal biographies represented by the work of six artists. Featuring iconographies ranging from bucolic and astral, to figurative and expressionistic, the works on view emphasize the artists' interests in both human and natural ecologies.
September 13, 2019 - December 6, 2019
Curated and organized by Rhizome, DePauw University presents an exhibition reflecting on the process of narrating archives and histories of online artistic practice.
“The Art Happens Here: Net Art’s Archival Poetics” features sixteen works from throughout net art history, showcasing a wide range of forms—websites, software, sculpture, graphics, books, and merchandise—while offering a space for considering the internet as social process, material infrastructure, and lived experience. The works on view have been selected from “Net Art Anthology,” Rhizome’s major online exhibition featuring one hundred works that sketch a possible canon for net art.
Presented online at anthology.rhizome.org, “Net Art Anthology” represents a major archival effort, leveraging Rhizome’s unique expertise in the history of network culture and the display and preservation of born-digital artworks. Open-ended, performative, and ephemeral, artworks that circulate on and respond to the internet often survive only as fragments and traces, offering glimpses of a larger networked context that can never be fully grasped.
Among the works on view are Shu Lea Cheang’s Garlic=RichAir (2002), an interactive online trading game and performance in which garlic functions as currency in an imagined postcapitalist future; Alexei Shulgin’s 386DX (c. 1998), the world’s first cyberpunk rock band, which performs MIDI and text-to-speech renditions of musical hits; Sister Unn’s (2012), an installation by Bunny Rogersand Filip Olszewski based on a mysterious storefront in Queens that led passersby to an equally enigmatic website, exemplifying the links between real and virtual space; and a new restoration of Mark Tribe’s Starrynight (1999), a landmark artist-made interface to Rhizome’s listserve archives that Tribe created with Alexander Galloway and Martin Wattenberg.
Material Resources: Intersections of Art and the Environment
December 6, 2018 - June 2, 2019
"Material Resources: Intersections of Art and the Environment" explores the intersections of art and the environment with works drawn from the Museum’s permanent collection. Featuring objects from antiquity to today, "Material Resources: Intersections of Art and the Environment" examines artists’ dependence on Earth’s material resources, while presenting art as an integral “material” resource in the study of the environment.
January 22, 2019 - May 26, 2019
“The Art Happens Here: Net Art’s Archival Poetics” features sixteen works from throughout net art history, showcasing a wide range of forms—websites, software, sculpture, graphics, books, and merchandise—while offering a space for considering the internet as social process, material infrastructure, and lived experience. The works on view have been selected from "Net Art Anthology," Rhizome’s major online exhibition featuring one hundred works that sketch a possible canon for net art. Presented online at anthology.rhizome.org, “Net Art Anthology” represents a major archival effort, leveraging Rhizome’s unique expertise in the history of network culture and the display and preservation of born-digital artworks. Open-ended, performative, and ephemeral, artworks that circulate on and respond to the internet often survive only as fragments and traces, offering glimpses
of a larger networked context that can never be fully grasped.
University Art Gallery, Cal Poly
November 15 - December 7, 2018
Solo exhibition featuring "Balsam Lake Mountain Wild Forest, Ulster County, NY, October 15, 2016."
Cal Poly’s University Art Gallery will present “New Nature,” a one-take, 24-hour-long video that captures a day and a night in the life of a wild place, by artist Mark Tribe to run Thursday, Nov. 15, to Friday, Dec. 7.
Tribe will give a talk about his work at 5 p.m. on Thursday, Nov. 29, in Room 149 of the Dexter Building (No. 34) on campus. A reception will follow at 6 p.m. in the gallery, located on the ground floor of the Dexter Building.
Shot in a single take on a stationary digital cinema camera, these pictures of Balsam Lake Mountain Wild Forest in New York are meant to be exhibited on large ultra-high-definition screens with immersive sound systems. Tribe is interested in the traditions of Western landscape painting and photography and how they are reflections of the ideologies that were prevalent in the societies that produced them. If, for example, the paintings of the Hudson River School and the frontier photographs of Carlton Watkins and his peers are expressions of the idea of manifest destiny, what kinds of landscape images might flow from the ideology of environmentalism in an age of climate change and mass extinction, as artists and society recognize that even the wildest places are being transformed by human impact.
“I am also thinking about the increasingly fuzzy boundary between reality and representation, particularly with the rise of technologies like first-person-shooter games and weaponized drones,” Tribe said. “I’m interested in simulations of nature that seem real and in representations of landscape that trouble the status of nature as something that exists beyond culture. In an age of virtual reality and inescapable human impact, is nature as real as it used to be? And how could we use technologies of simulation — including video — to preserve the experience of a vanishing wilderness?”
June 23 - October 23, 2018
"Natural Wonders" showcases the work of thirteen American artists who engage nature in all its fierce magnificence. Beyond just highlighting nature’s beauty, the featured artists—Suzanne Anker, Lauren Fensterstock, Patrick Jacobs, Maya Lin, Roxy Paine, Miljohn Ruperto & Ulrik Heltoft, Diana Thater, Jennifer Trask, Mark Tribe, Kathleen Vance, T.J. Wilcox, and Dustin Yellin—also hint at the more disquieting aspects of the natural world. As such, the works in this exhibition can be viewed as a type of neo-sublime, mixing the beautiful and terrifying to produce awe in the beholder in accord with tenets of eighteenth-century philosopher Edmund Burke. And not unlike nineteenth-century sublime landscapes of the Hudson River School or the Romantic era, these recent works conjure the raw power and unruliness of nature along with its harmonious effects—a state at once captivating and unsettling. Indeed, a menace can be found lurking within most of the work in "Natural Wonders", and this danger often stems from human intervention.
swissnex San Franciso
February 8 - April 20, 2018
"You had to be there" is a group exhibition at the swissnex Gallery that playfully examines what remains beyond the completion of a public artwork or an action, and imagines various modes for experiencing projects in their aftermath. Through close collaboration with the artists and groups involved, the exhibition hopes to tell a story that diverges from the official lines read and promoted through art history. Through unconventional displays of firsthand accounts, reenactments and ephemera, "You had to be there" aims to tell a story that is not necessarily the story. "You had to be there" also questions the role of care and myth-making in the preservation of public works by exploring the legacy of such practices in San Francisco and Sierre, Switzerland. It will present educational initiatives; site-based projects, such as the Center for Land Use Interpretation; and Furk’Art, a little-known artist residency program that has been operating in relative isolation in the Swiss Alps since 1983. "You had to be there" is the first time archival documents, videos, and images from Furk’Art have been exhibited outside of Europe.
MCAD Main Gallery
Minneapolis College of Art and Design
January 16 - March 4, 2018
Through the use and lens of digital tools and technology, "Stream Capture" asks how we might engage with a reimagining of the natural environment if we cannot physically enter it. The work in the exhibition explores human perception, simulation, mapping, time and scale shifts, and historical study and preservation. The exhibition offers a sense of the future and the possibility of movement from place to place (here to there) and from time to time (present to future).
July 1 – August 26, 2017
Group exhibition with Edgardo Aragón, Christoph Draeger, Dora García, Frédéric Moser & Philippe Schwinger, Mark Tribe, Ant Farm & Uthco, organized by Bénédicte le Pimpec & Isaline Vuille.
The exhibition "say again?" brings together artistic praxes where moving images do not act as the simple repetition of an identical historical fact but propose an updating thereof, in a present-day context. Making reference to particularly difficult events in our recent history – especially the Vietnam war, the dictatorships in South America or terrorist acts linked with geopolitical movements – they are dealt with through different filters, such as theatricality, poetic contemplation or literature, and they pinpoint these elements of the past while clearly including them in the present.
While the image (static or moving, media-related or private) is a special witness of the narratives of history, and plays an ever more significant role in the construction of contemporary history, the artists brought together here confront source images with those they produce. In the interpretation that they offer, they also underscore the way in which memory—personal or collective—is formed, and how our perception evolves with time and from event to event.
524 W 24th Street, New York City
June 7 - July 29, 2017
Group exhibition and super PAC HQ organized by Eric Gottesman and Hank Willis Thomas with Nina Chanel Abney, Edgar Arcenaux, Shimon Attie, Zoe Buckman, Paula Crown, Wendy Ewald, Chitra Ganesh, Maria Gaspar, Mariam Ghani, Jim Goldberg, Pablo Helguera, Sohrab Hura, Matthew Day Jackson, Rashid Johnson, Titus Kaphar, Marilyn Minter, Trevor Paglen, Michele Pred, Norman Rockwell, Kameelah Rasheed, Kelly Sherman, Xaviera Simmons, Bayeté Ross Smith, Alec Soth, Will Steacy, Mikhael Subotzky, Mickalene Thomas, Fred Tomaselli, Mark Tribe, Nari Ward, Leslie Wayne and Carrie Mae Weems.
Fotodok - Utrecht, NL
March 3 - April 24, 2017
"(Re)Inventing Nature" examines the changing relationship between humans, nature and technology, and will be on display in Utrecht from 3 March to 23 April. The exhibition features work by international photographers including Sjoerd Knibbeler (NL), Drew Nikonowicz (US), Reiner Riedler (AT) and Diana Scherer (NL), Leo Erken & Frieda Gustavs (NL), Yves Gellie (FR), Stijn Elshuis (NL), Floris Kaayk (NL), Sjoerd Knibbeler (NL), Diana Scherer (NL), Drew Nikonowicz (VS), Reiner Riedler (AT), Daniel Stier (DE), Mark Tribe(US) and Universal Assembly Unit (UK).
The line between nature and technology is becoming increasingly blurred: vision and hearing can be restored thanks to brain implants; robots keep lonely seniors company; and beloved family pets can be cloned before they die. At the same time, all this technology seems to be distancing us from nature. What if we stopped seeing technology as the cause of our problems and started looking to it for solutions?
In "(Re)Inventing Nature", photographers and image makers explore new relationships with nature. The exhibition also looks at the scientific search for future-proof solutions and alternative ways of experiencing nature such as video games and virtual reality. An increasing part of our life takes place in the virtual world. Screens, simulations and digital versions of reality are everywhere: in our work, leisure and social lives. What impact do these worlds have on our perception of the physical world? "(Re)Inventing Nature" makes an optimistic case for a new view of nature: not back to nature, but forwards.
Queens Museum - Queens, NY
April 10 - July 31, 2016
"Queens International 2016" characteristically looks to the idea of thresholds, and the way these spaces for transition, contact, and exchange become markers for the complexity of the forces that shape contemporary life. Many of the 34 participating artists, collectives, and partner organizations, use performance-based and site-specific approaches to activate the museum’s architectural and historical context. Ongoing projects in "Queens International 2016" include experimental and often participatory events, genre-bending musical concerts, and international collaborations between Queens artists and their global counterparts. The politics of borders and border-crossing are expanded through the exhibition and complementary public programs to include not only the discourse of physical territory and migration, but also the act of transgressing between artistic disciplines, linguistic or ideological divides, digital and human interfaces, and prescriptive narratives of the past, present, and future.
University of Michigan Museum of Art - Ann Arbor, MI
October 17, 2015 – January 31, 2016
Blanton Museum of Art - Austin, TX
February 17 – May 15, 2016
Montclair Art Museum - Montclair, NJ
February 8 - May 17, 20915
This group exhibition includes my first net art project, Traces of a Constructed City (1995/2014). I'm showing a photograph in the gallery (pictured above) and linking to the project from the exhibition's mobile website. I restored the project website for this exhibition because the HTML code, which I originally wrote in 1995, had become obsolete.
Other artists in the exhibition: Doug Aitken, Laylah Ali, Janine Antoni, Aziz + Cucher, Alex Bag, Matthew Barney, Mark Dion, Andrea Fraser, Felix Gonzalez-Torres, JODI, Glenn Kaino, Karen Kilimnik, Byron Kim, Nikki S. Lee, Glenn Ligon, Sharon Lockhart, Daniel Joseph Martinez, Julie Mehretu, Mariko Mori, Vik Muniz, Prema Murthy, Mark Napier, Shirin Neshat, Keith + Mendi Obadike, Manuel Ocampo, Catherine Opie, Gabriel Orozco, Pepón Osorio, Laura Owens, Jorge Pardo, Elizabeth Peyton, Jason Rhoades, Beverly Semmes, Shahzia Sikander, Gary Simmons, Frances Stark, Diana Thater, Rirkrit Tiravanija, Kara Walker, Fred Wilson, Andrea Zittel and Marina Zurkow.
Diverse Works - Houston, TX
Opening reception November 21, 7-9pm
On view November 22, 2014 - January 10, 2015
This two-person exhibition featured six photographs and a single-channel video from Posse Comitatus, along with Chinoise A, three Port Huron Project videos, and several of Chelsea Knight's video works.
Corcoran Gallery of Art - Washington, D.C.
July 19 - September 28, 2014
A solo exhibition featuring 9 aerial photographs of virtual landscapes from the Plein Air series. The Corcoran Gallery of Art closed (meaning it was dissolved as a museum) shortly after this exhibition. Works from the Gallery's collection were transferred to the National Gallery of Art.
One piece from my exhibition (Colusa, UV print on Dibond, 62x94”, pictured above) was acquired by the National Gallery of Art.