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Tina Rivers Ryan

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    Lowell Nesbitt, I.B.M. Disc Pack, 1965, oil on canvas, 64 × 80". © Estate of Lowell Nesbitt/licensed by VAGA at Artists Rights Society (ARS), NY.
    On Site
    BINARY PLASTIC LANGUAGE
    Tina Rivers Ryan on “Coded: Art Enters the Computer Age”
    View of “The Machine as Seen at the End of the Mechanical Age,” 1968–69, Museum of Modern Art, New York. Left: Nam June Paik, Rondo Electronique, 1966–68. Right: Nam June Paik, McLuhan Caged, 1967; Nixon Tape, 1965; Lindsay Tape, 1967. Photo: James Matthews. © Nam June Paik Estate.
    Features
    THE SCREEN AGE: VIDEO’S PAST AND FUTURE
    Tina Rivers Ryan on “Signals: How Video Transformed the World”
    Sasha Stiles, Analog Binary Code: plant intelligence, 2020, photographic documentation of a site-specific technobiological poem coded in black walnuts and leaves under their source tree, dimensions variable.
    Interviews
    Sasha Stiles
    Transcending digital dualism through networked poetry
    By Tina Rivers Ryan
    Electromedia portrait of Aldo Tambellini at The Black Gate Theater, New York, 1967. Photo: Richard Raderman. © Aldo Tambellini Art Foundation.
    Passages
    Aldo Tambellini (1930–2020)
    Tina Rivers Ryan on Aldo Tambellini
    By Tina Rivers Ryan
    Caitlin Cherry, Domain Vague (Art McGee), 2020, oil on canvas, 59 x 101''.
    Interviews
    Caitlin Cherry
    Caitlin Cherry on digital abstraction and Black femininity
    By Tina Rivers Ryan
    View of Eva & Franco Mattes’s No Fun, 2010, Fotomuseum Winterthur, Switzerland. Photo: Angela Baumgartner.
    Slant
    No Fun
    Tina Rivers Ryan on Net art in the age of COVID-19
    By Tina Rivers Ryan
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