Installation view of Geolocation at the Halsey Institute of Contemporary Art. Image courtesy of Rick Rhodes and the Halsey Institute.
Larson Shindelman, Geolocation: Have My Location?, 2011; archival pigment print, 24 x 20 inches.
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Larson Shindelman, Geolocation: I Know You Are Scared, 2011; archival Pigment Print, 24 x 20 inches.
Installation view of Geolocation at the Halsey Institute of Contemporary Art. Image courtesy of Rick Rhodes and the Halsey Institute.
Geolocation presents two series of works by artist duo Nate Larson and Marni Shindelman, Geolocation and #Mobilize. Using publicly-accessible geographic data from tweets, Larson Shindelman track down specific locations where Twitter users were when they posted on social media. Once there, the artists make a photograph from the location, connecting the tweet—stored on a remote server and readable around the globe—and the physical world. This body of work explores the connection between text and images, digital and analog, and private versus public.
“Our collaborative work is a means for situating this virtual communication in the physical realm. We imagine ourselves as virtual flâneurs, ethnographers of the Internet, exploring cities 140 characters at a time through the lives of others.”
Bryn Evans joins Marguerite (Margy) Adams and Joslyn Gardner—the cofounders of Emory University’s Black Feminist Working Group—to discuss The Ballad of Suzanne Césaire (2024) and the film's engagement with sound and camouflage.
Sherae Rimpsey speaks with Cheyenne Wyzzard-Jones about Toni Cade Bambara's The Salt Eaters, Blackness and the politics and spirit of place found in Introduction: Black Spiritual Ecologies at the Front, New Orleans.
Our monthly roundup of opportunities includes residencies in New York, Texas, and Alaska, public art commissions in Florida and Tennessee, an interdisciplinary artist-scientist grant, and juried exhibitions across the country.
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