To expand and vent a bit I would like to talk more about art fair transparency. Did you know artists featured in the Whitney Biennial don’t get paid? Why would the curators and board members deserve more money than the artists? The Biennial is one of the hugest fucking things and the artists are expected to only be compensated by exposure or the chance to sell? We need to be setting the precedent in our smallest art economies that artists deserve fair compensation. There should be enough of a community among fellow artist to sustain fairs by ourselves. Institutions (especially publicly funded ones) should be smart enough to provide spaces for artists, if not then they should be lobbied. There should be creative solutions so nothing needs to be paid for except the art itself, that should be the biggest priority. I run events. I know that there are always costs, but those costs should be dealt with as a sustainable community. The showrunners’ payment should be the ability to participate in the economy they help create. Allowing artists to expect that they need a certain amount of money to participate eliminates poor artists. This is true of art school itself, it is true of unpaid internships, but it doesn’t need to be true in diy spaces. We, as average participants in culture, can creatively control how we compensate art. It takes time and communication, but if you have access to those two commodities, I promise it can be done. 

Let me do a thinking blog rant okay?

I recently joined Newhive.

(it’s literally a doll maker for web art)

I’ve been going through my old shit and here is my 5 years of glitch tag.

Takashi Murata made Pink Dot in 2007. Cory Arcangel and Paper Rad had a show at Deitch project 5 years before that.

I like using glitch as a method of collage history/art theory, but I don’t know if that’s relevant anymore. Glitch is also a great metaphor/extension of the emotional/familiar self. But more and more it is just the pretty new aesthetic. If I kept making work like this it would go into a realm of art making I don’t want to be a part of. I don’t want to make cool visuals, I want to make thoughtful visuals. I also don’t know how much irony I want to convey, and I hate overly academic (read: inaccessible) works. I asked Shana Moulton about sincerity once and she said treading the line is the best spot to be probably. I want to abandon these social network sites because I think it hinders creative agency on the web, but also I love the audience I’ve met in these places. It’s all a scale in my head, broken by the fact that I need to make rent and buy food.

Anyway, I made Dithered Weirdos as a way to bookmark thoughtful digital artists (and some just weird stuff too, but who can say where the line is). 

ok bye




     ∧ ∧
~′ ̄ ̄(´ー`)<初期型
 UU ̄ ̄ U  U
    ∧ ∧
~′ ̄(´ー`)<現在
 UU ̄ U  U
 ____ ∧ ∧
|\ /(´~`)\<変化球
| | ̄ ̄ ̄ ̄ ̄|
| |=みかん=|
  ∧ ∧
 ̄ ̄ ̄ ̄|




I finally made this site to keep track of all the weirdos that I look to for aesthetic motivation and friendship.

Go on and have a time.


In-Between by Olivia FoxCatalog Number (M-OF01-IB01)There seems to be a reoccurring narrative for many young ‘zine writers. A confusion as to what direction they are supposed to take take with their lives. Where and how they should live. If the way in which they are living is the correct one. In this respect Olivia Fox’s “In-Between” (publish within months of her college graduation) is no different she even admits, “In short, I feel confused about my identity. I feel in-between.” What separates her zine from so many other examinations of this uncertain time in person’s life is not only Fox’s self awareness, but the way in which she recontextualizes the panic and uncertainty of early adult life as an examination of the the way in which technology has limited her potential futures.Fox is past the conundrum of what to do with her life. She has chosen to be an artist. The problem she is trying to sort out (“I have a manic need to create art and feel conflicted about it.”), is how to retain a sense of self as an artist in a world that has become increasingly reliant on machines. Having just completed art school, she directs her first critique at the divided position her education has placed her in. On a personal level she feels that “paying so much money for a degree in fine art is decadent.” This decadence coming from her belief that “All art is narcissistic, and all art coming from art school is decadent, privileged, and over abundant.” And with “too many students majoring in unsustainable studies,” the submergence of merit and expression for money becomes less a theoretical concern and instead a very tangible real one. Many students boxed in by debt so that “when the time comes to pay back student loans, the impulse is to create for money rather than purpose.” The art schools even perpetuating this mindset of “careerism and standardization,” of art as product. So that to function in the adult world, we have to wield our laptops towards the creation of sellable product, towards “content”. In this world where creative goods have become the new mass produced product is the artist then simply a machine operator? Is computer generated art formed more by the toolset than the artist? Fox states, “I find Apple computers to be dangerously ubiquitous.” Even bringing up the fact that her former alma matter will soon require “students to have a macbook pro (equipped with the adobe suite). It is this blind careerist capitulation to technology that Fox is so worried about, admonishing that “The computer should be properly analyzed as a form of artistic discipline to combat a generation of entitled / misinformed artists.” In previous generations, creative output was carefully considered, “I know the tube of paint has been considered since its inception.” But now, when creative energy is spent primarily in the creation of “content”; the tools of creation are no longer means of expression but means of (economic) survival. Fox addresses this in parodying The Rifleman’s Creed as the “macbookman’s Creed”. Here, the users ability to hone and focus his creative energies sharper than his opponent, “I will click straighter than my enemy who is trying to kill me. I must click him before he clicks me,” allow him to earn a living, or at least survive. More than that, proficiency will allow the user’s own specific meme to not only survive but thrive. All web content producers are acutely aware that, “what count’s in this web is not the letters we type, the noise of our trackpad, or the divs we make. We that it is the hits that count. We will hit…” The final line’s ellipses turning it into the almost mantra of the artist producing ideals within the current deluge of information. If the laptop has then become our rifle, our means to conquer our enemies, to ensure our survival; what then is our personal relationship to this object? In the “macbookman’s Creed” Fox writes about said laptop, “I will learn it as a brother… We will become part of each other.” In such a heightened war-like reality it makes sense to “learn its weaknesses, its strength, its parts, its accessories.” But given breathing room to consider that the computer’s role as an art making tool, Fox sees this intense fetishization of the machine’s content generation ability as at cross purposes with individual expression. The invisible hands of everyone who created the program you use to make your art, then change that production into a secret collaboration between you and the software designers. Fox is wary of this teaming and writes, “I feel uneasy about my collaborators being corporations. I wish I had a more one-to-one relationship with my computer.” Users don’t typically work with the software designers, they work within the limits and structures set by the designers. This is especially true of hardware, where changing your desktop image is actually one of the few places for personalization on a computer. While we might believe “This is my macbook. There are many like it, but this one is mine,” no amount of clever stickers covering the Apple logo makes this true. With the rifle we expect predictable results, but when it comes to the computer as a tool for the expression of ideas the word “predictable” becomes far more ominous. Analog art mediums have infinite wiggle room, “There is no technological determinism to paint.” But in examining the ever tightening restrictions in design and software in the Apple branded products advertised as being pro-creativity, Fox posits that, “If Apple had their way, they would have a monopoly on every type of hardware and software… it would not only be an economical monopoly; Apple would have a monopoly on innovative and creative people as well.” iMovie updates taking the same position as Expressionism in the art history cannon. Our expressions becoming prisoner to the machines and programs by which we express them. Which then makes us prisoners, and in Fox’s mind “The Prisoner”.In discussing 1967’s “The Prisoner” she finds it deeply prescient. The danger to Number 6 coming from ‘“The often shuffled and confusing powers-that-be are constantly trying to conform him for the explicit purpose of extracting information from him.” Our computers offer us a similar resort island as trap dichotomy. Our reliance on standardized information channels (Facebook, Tumblr, Twitter, etc…) creating the illusion that we are freely sharing information with one another; all while said data is “being categorized, numbered, bought and sold within a larger environment.” Yet we submit to each increasingly curious terms-of-service change “because we’re content with the service they provide us.” If our corporate Number 1’s have their way, then the standardization of artistic tools will ensure that we do their work for them and better than the could ever do. Fox, much like the rebellious Number 6, rejects (“I feel trapped in a gilded culture I despise.”) this narrowing of expression in favor of new technology. If the definition of art, true art, is an expression of the internal regardless of structures, of taste, of aesthetic, and If we believe that the computer is an extension of ourselves, we must also realize that “we’re not all the same, and our computers shouldn’t be.” Fox wants to, “assert control over the part of me that is a machine, and that part of the machine that is my artwork,” so that “I can exist in-between… I do not need to have a macbook to be up-to-date and equipped to practice relevant art.” It is these small rebellions that allow the artist to carve out a space within the modern world of ideas. Choosing technological obsolescence to maintain autonomy is quickly becoming the most forward thinking choice an artist can make. - Robin Enrico

Well I’m floored. I don’t even know what to say. I might cry. Thank you so much for taking the time to think about my work and including it in the library.
Feel free to read In-Between here
08.27.13 /01:22/ 55


[A statement on art in-between conflict]

Synopsis of the written portion for my senior thesis

Self Øbsessed//Self Esteem

Collaged with screen caps from Eduware’s Prisoner game for Apple II


Dean Haspiel/Pat Giles/Deborah Taylor’s write-ups about making comics for The Purchase Load
A pretty fascinating read about illustration-minded people banding together in a fine arts environment. Something that many students can still relate to today.
We’ll be discussing Dean and Pat’s time with both of them at SUNY Purchase at @4 in Whitsons during Zinefeast (This Sunday). There will be comix readings, screenings, and discussions. I scanned the above comic from The Load while I was working for the Purchase Library’s Visual Resource Center. You can actually read the paper here! This is from before Pat/Dean’s time, Vol. 4 No. 14 (1976). I’m excited to talk about the Purchase’s relationship to apathy (something I’ve been thinking about since I wrote an editorial about the load back in November of 2011 here) as well as the imaginary borders between different types of art making/sensibilities that art schools perpetuate (an idea the Purchase Critique Club was founded on). My dad, Ted Fox, went to Purchase as well, and actually created The Purchase Load so maybe he’ll make an appearance as well. I really hope I see you all at the panel.
-Ølivia Fox

Comix by Dean Haspiel originally published in The Load

So much to think about on Sunday
04.30.13 /22:51/ 24

Note: Piece was originally written in November of 2011 (and was only published a couple months after that in the Art Co-Op’s zine barely anyone saw). The information is no longer relevant. I hear The Indy/The Brick are actually merging so that sounds good. Also I feel like I’ve gained some writing skills in the 1 and a half+ since I wrote this, but oh well. I just wanted to think about this in preparation for moderating the Dean Haspiel/Pat Giles/The Load panel at Zinefeast this Sunday. Check out their write-up about their time at Purchase here. See you at the panel.


How Purchase News Media Can Raise its Game:            

Taking Tips From its Roots and Present-day Consumption

by Olivia Fox (

            We’re so lucky to be a part of an amazingly resourceful campus. There are public resources for pretty much any type of help a student might need. Unfortunately, students tend to be unaware of many of the tools available to them, but let’s not get to that problem just yet.  Let me get to the point: I work in an obscure department within the Purchase Library called the Visual Resource Center. Say you’re trying to find a little known Picasso drawing you read about but can’t find a picture anywhere-well, you could come to the VRC and we’d help you locate it. This semester, I was given the task of digitizing The Load, Purchases’ first campus newspaper established in 1972 (fun fact: the library has hard-bounded copies of every publication the school has ever produced). 

Scanning The Load was enlightening. From the very first issue, students are urged to think, listen, and get involved stating: “Purchase, a new school departing from some of America’s befouled traditions of education and living” (1) and “Hopefully, [The Load] will help pull together a real ‘community,’ but that will only happen when the commitments are made to this community” (2) The Load was both a space for ideas and an outlet for critical reports on the school’s progress. It became an active and central part of the campus. The third issue headlines apathy as a problem in educational places “A favorite pastime at Purchase is bitching and moaning; we can bitch and moan until our teeth fall out, but this will never bring about changes” (3). The editors, designers and reporters genuinely cared about reaching the students and getting them involved.

Does that legacy hold up? Let’s take another Load quote which states the Purchase community “should not eat plastic food on plastic plates with plastic knives and forks and plastic cups just because it is ‘cheaper’” (2) On the one hand, we aren’t served the best food here, given that Chartwellsâ is part of a giant, multi-national, for-profit, corporation called Compass Group (4), but hey, at least our utensils have been (mostly) biodegradable for the past 30 years.

Are The Indy/The Brick hubs of enthusiastic student energy and passion that The Load called for?  The Indy does a great job with distribution, but it tends to read more like a casual magazine. The Brick has multimedia tools The Indy’s printed format could never have, but hardly gets around campus at all by comparison. Seems to me like pooling the resources of The Brick and The Indy together would benefit their organizations and our campus greatly.

Look at the state of print media! It’s dying. Major and local papers have had to completely revamp their methods to incorporate technology and social media or face bankruptcy. A printed newspaper on its own isn’t enough anymore, but making allowances for a faster consumer intention span is tricky. An independent website doesn’t grab enough attention on its own. Social media and good old-fashioned networking practices need to play a bigger role. Additionally, some news outlets fill their 24-hour cycle with fluff and entertainment; this is not appropriate for our campus news outlets and should only be done in moderation.

Earlier, I mentioned students being uninformed of many of the amazing resources within our school. This should be a major function of our news media. Since the ‘70s, our information has been dispersed into many different departments. We get update emails from the president, Reslife, student affairs, our department heads, and tons of other sources. It’s a lot for the individual student to digest. The Load laid out schedules, budgets, construction updates, maps and other campus facts in an accessible and convenient way. Perhaps current newspaper staff could sift through these emails for information they find most important for the student body to know about. Having all this information in one place made The Load a sacred tome of Purchase knowledge. Everybody read it, which meant everyone was subject to important articles about protest, elections and important current events as well.

As Purchase expanded, more and more departments were established, which became polarizing to the student body as a whole. The Brick and The Indy need to merge. Having two sets of staff that are passionate about informing the Purchase student body that aren’t working together is a detriment to the cause of each publication. This proposed multimedia publication could also be featured weekly in the update feed of the Purchase College Facebook and a weekly campus-wide email. No more update divisions!  Let’s collaborate! While we’re at it, let’s get the journalism program involved. Perhaps a class could be taught around the campus media, similar to “Exhibitions Seminar,” an art history class that teaches students how a museum runs using the Neuberger. This new project would help bridge campus journalism resources together in a similar way. If the groups can work together, they can create a fantastic news source that would help consolidate information and distribute it in a more accessible and productive way. It could also bring pertinent campus information together with current affairs topics, making sure everyone understands what’s happening on campus and around the world. The name might be a little weird, though…”The Independent Brick?” “ The Brindy? “ Perhaps “The Load” would be a fitting title.

Check out the Purchase Load here (more issues added every week):


1. The Load Vol. 1 No. 1 Editorial by Andrew Hugos (assistant editor, later editor-in-chief) entitled “Listen”

2. The Load Vol. 1 No. 1 Editorial by Webb Smedley entitled “Think”

3. The Load Vol. 1 No. 3 Editorial by Theodore J. Fox (editor-in-chief) entitled “Move”

4. official website 


I changed the “wide” in my school’s motto “Think wide open.” and pasted over all the pictures of academic activities with that of various sports on a fallen banner I found on the mall. My school is trying to shed its arts image to appeal to a more general population of prospective students. One way they’re doing this is funneling money into their NCAA program and cutting funds to others. Thanks Olivia for the help with large format printers, typeface, and cutting.

Sorry I was so dead when I was helping with this, I wish I did a better job, but I think it&#8217;ll look great hung up. Can&#8217;t wait to see it! It&#8217;s a fantastic concept and a nice find PK! Awesome way to criticize the school&#8217;s policies given you&#8217;re coming from such a new/productive art class. I think the Tactical Practical class is a great way to promote inovation in the arts/the arts on campus. I&#8217;d like there to still be a legacy of artistic discipline within SUNY Purchase after we graduate this semester. In fact, I&#8217;d like the standards to be raised, and maybe find the place better than where we left it. Then maybe our groundwork will have meant something.    
03.12.13 /02:03/ 86