All posts in Katrina Sluis

32 Posts

Olia Lialina

Net Artist, one of pioneers. Writes on New Media, Digital Folklore and Vernacular Web. One of the founders of Moscow experimental film club CINE FANTOM.

Olia Lialina [online] Available from
<> [accessed 24 March 14]

Dr. Inke Arns

Curator and artistic director of Hartware MedienKunstVerein ( in Dortmund, Germany, since 2005. She has worked internationally as an independent curator, writer and theorist specializing in media art, net cultures, and Eastern Europe since 1993.’

Arns, Inke. 2014 [online] Available from
<> [Accessed 24 March  2014]


“March 2nd 2014: A reported drone strike killed three in the village of Al-Shabwan, 5km from Marib, while travelling in or sleeping near their vehicle. #drone #drones #yemen (at Erq al-Shabwan, Marib Province)”

Bridle, James. 2013. Dronestagram. [online] Available from
<> [Accessed 11 November 2013.]

The New Aesthetics and its Politics

“…just as my drone works are not about the objects themselves, but about the systems – technological, spatial, legal and political – which permit, shape and produce them, and about the wider implications of seeing and not seeing such technological, systematic, operations; so the New Aesthetic is concerned with everything that is not visible in these images and quotes, but that is inseparable from them, and without which they would not exist.”

Bridle, J. 2013. The New Aesthetics and its Politics [online] Available from: <> [Accessed 11 November 2013]

Camera Culture: MIT Media Lab

“We focus on creating tools to better capture and share visual information. The goal is to create an entirely new class of imaging platforms that have an understanding of the world that far exceeds human ability and produce meaningful abstractions that are well within human comprehensibility.”

Camera Culture. MIT Media Lab. 2014 [online] Available from
<> [Accessed 05 March  2014]

Carroll/Fletcher – Thompson and Craighead

Jon Thomson and Alison Craighead work across video, sound, sculpture, installation and online space, using technology as a means to reformulate fundamental human questions for contemporary times. Through sensitive appropriation of images, texts, and data from online sources, the artists produce generous, lyrical works that both exercise the dramatic conventions of cinema and examine the changing socio-political structures of the Information Age.

Carroll/Fletcher. 2014. Artists. Thompson & Craighead  [online] Available from
<> [Accessed 05 March  2014]


Arcadia Missa

Arcadia Missa. Gallery Home page.

Arcadia Missa. 2014. about. [online] Available from
<–artists/>[Accessed 05 March  2014]

Our programs, many of which happen online, include commissions, exhibitions, events, discussion, archives and portfolios. We support artists working at the furthest reaches of technological experimentation as well as those responding to the broader aesthetic and political implications of new tools and media. Our organisational voice draws attention to artists, their work, their perspectives and the complex interrelationships between technology, art and culture.

Rhizome.2014. Programs. [online] available from
<> [Accessed 05 March  2014]

JODI has over the years built quite a reputation, especially with their notorious CD-rom OSS/**** (Mediamatic, Amsterdam 1998) which, immediately after installation, executes a takeover of the computer.

V2. 2007. Archive. Organizations. [online] Available from
<> [Accessed 05 March  2014]


“Photoshop justice” UC Davis pepper spray incident

“The Pepper-Spray Cop gets Photoshop Justice. The casual way a policeman pepper-sprayed protesting students at UC Davis has caused outrage but also a mocking response.”

Jardin, Xeni. 23 November 2011. The Guardian. [online] Available from <> [Accessed 05 March  2014]


ASCII art is a graphic design technique that uses computers for presentation and consists of pictures pieced together from the 95 printable (from a total of 128) characters defined by the ASCII Standard from 1963 and ASCII compliant character sets with proprietary extended characters (beyond the 128 characters of standard 7-bit ASCII).
ASCII art (from a time before the Internet had pictures)

Wikipedia. 2014. ASCII Art. [online] Available from
<> [Accessed 05 March  2014]


“We believe that through creative and critical engagement with practices in art and technology people are inspired and enabled to become active co-creators of their cultures and societies.”

Furtherfield. 2013. [online] Available from
<> [Accessed 05 March 2014]


Paul Wombell

Extending human vision: Interview with Paul Wombell, guest curator for Le Mois de la Photo à Montréal 13

Paul Wombell is an independent UK based writer and curator of photography. Previously directing two of the UK’s top photography institutions as well as curating many photo festivals in Europe, Wombell was invited as guest curator for the 13th edition of Le Mois de la Photo à Montreal.

M-KOS.09.14. 2013.Extending human vision: Interview with Paul Wombell. [online] Available From
<> [Accessed 05 March  2014]

Annet Dekker

Annet Dekker is an independent curator and researcher. Subjects of interest are the influence of technology, science and popular culture on art and vice versa.

Monoskop. 2014. Annet Dekker. [online] Available from
<>  [Accessed 05 March  2014]

Online Project. stimulates, initiates and (co)produces work and research at the fringes of art, popular culture and technology. aan focuses on innovative and explorative artistic work that is prompted by social and cultural urgency. aan is not an institute nor does it have its own space, it is a flexible organisation that consists of human hardware. For all its projects aan connects to existing organisations and complements holes in the existing cultural grid. Directors: Annet Dekker and Annette Wolfsberger. 2014. about. [online] Available from
<> [Accessed 05 March  2014]


Robert Sakrowski

“As a label [CYT s.1997] stands for the exploration of the Web 2.0 phenomena on the example of the online video sharing portal, Youtube. Approaching the phenomena from different angles and views comprises a variety of projects. Based on the assumption that the fusion of the net and real life has progresses to an extent where there is no difference between the net, that is virtual and real life, one could say, that work in the net is also work on the net and therefore real life

Curating YouTube. 02 September 2013. Author Archives: sakrowski.  [online] Available from
<>  [Accessed 11 November 2013.]

James Bridle

Bridle. James 2009. Portfolio/ project/interviews. [online] Available from
<> [Accessed 11 November 2013.]

Bucher, Tania. 16 October 2013. Machine visions: James Bridle on drones, bots and the New Aesthetic. Furtherfield.[online] Available from
<> [Accessed 11 November 2013.]

Olga Goriunova

“Humour, fun and nonsense often figure greatly in the current modes of communication on the web, whereby memes and sardonic blog comments are commonplace — if not expected.”

Rhizome. 2010. Editorial. Interview With Olga Goriunova Curator of Fun with Software. [online] Available from
<> [Accessed 05 March  2014]

Marco Bohr’s Visual Culture Blog

Marco Bohr’s blog on visual culture

Bohr, Marco. 2013. Visual Culture Blog. [online] Available from
<> [Accessed 11 November 2013.]

Rainer Usselmann

Image Source. The Art of Retouching 2: Rainer Usselmann,

“From images whose colour palette reflects the glamour of the Kodachrome age, to integrating ‘giant’ women into cityscapes, award-winning retoucher Rainer Usselmann is a master craftsman”

Smith David. 2011. The Art of Retouching 2: Rainer Usselmann. Image Source. com [online] Available from:  <> [Accessed 11 November 2013.]

Wendy McMurdo

“Wendy McMurdo works with traditional photography and computer technology to produce pictures of children who seem slightly ‘out of this world’.”

Invia. 2005. Dare. Wendy McMurdo. [online] Available from
<> [Accessed 05 March 2014]

Wendy McMurdo’s web page with examples of her work and infomation

Wendy McMurdo. 2013. Info. [online] Available from
<> [Accessed 11 November 2013.]

Dr LopLop

All your Cat MeMes belong to us. The Photographers Gallery.
“Panel discussion Featuring Dr LopLop exploring the image ecologies of the web.”

The Photographers Gallery. 2013. All your Cat MeMes belong to us.[online] Available from
<> [Accessed 05 March  2014]

Dr LopLop – Flicker Profile
doc loplop. 2013. (Flicker Profile) [online] Available from
<[Accessed 11 November 2013.]

David Raymond Conroy – It was part of it before. And now.

“I’m not interested in irresolvability, because if you’ve decided that something is irresolvable it is really resolved and if I know that I cannot resolve something, if there is no resolution to be found, and that is the point, I lose interest. I’m not sure of the value of continuing in vain. Part of me wants solutions but on the other hand, I know that if there is an end, and that end is in sight and you know where it is and you reach it, then you’re done. It’s finished.”

Conroy, David Raymond. 2009. Proposal.[online] Available From
<>  [Accessed 05 March  2014]

David Raymond Conroy. 2013. Works. [online] Available from
<> [Accessed 11 November 2013.]

Mishka Henner

Examples of Mishka Henner’s Work from his Website:

Mishka Henner. 2013. Works. [online] Available from
<> [Accessed 11 November 2013.]

Penelope Umbrico

“Photography is as much the subject of my work as it is the medium in which I work. I employ traditional photographic techniques and methods of appropriation, extraction, multiple production, and intervention, to explore how we, as a culture, make and use images.”

Penelope Umbrico. 2013. Words. [online] Available from
<>[Accessed 11 November 2013.]

Alessandro Ludovico

“Neural is a printed magazine established in 1993 dealing with new media art, electronic music and hacktivism. It was founded by Alessandro Ludovico and Minus Habens Records label owner Ivan Iusco in Bari (Italy). In its first issue (distributed in November 1993) there was the only translation in Italian of the William Gibson’s Agrippa (a book of the dead) book.”

Neural. 2014. About. [online] Avaliable from
< > [Accessed 05 March  2014]

Post Digital Print – The Mutation of Publishing Since 1894.
In this post-digital age, digital technology is no longer a revolutionary phenomenon but a normal part of every- day life.

Ludovice, Alessandro. [online pdf ] Avaliable from
<,_Alessandro_-_Post-Digital_Print._The_Mutation_of_Publishing_Since_1894.pdf>  [Accessed 05 March  2014]

Tate Encounters

“An encounter between students with a migrant family background and Tate Britain, the project aims to provide an in-depth account and analysis of a sustained encounter between London South Bank University (LSBU) students who have a migrant family background and Tate Britain as an important national cultural site.”

Tate. 2013. Tate Encounters. About. Projects. [online] Available from
<> [Accessed 11 November 2013.]

View original context in the Katrina Sluis conversation.

Photography is dead! Long live Photography

“No, photography is not dead, not by a long shot. All its vital signs are pretty damn good since it mediates our culture more pervasively and effectively than any other visual technology. As curator Linda Michael points out, for artists photography is “more alive than ever . . . as basic as drawing, a source of images, a social index, a voyeuristic device, a means of quick record”.

Miliner, Jacqueline. 2006. Photography is dead! Long live Photography. [online] Available from
<> [Accessed 11 November 2013.]

View original context in the Katrina Sluis conversation.

Photography Curation Today (and Tomorrow)

The New Wave: With this new movement goes a new approach. To sample this ethos we have asked three up-and-coming curators to tell us what they think the role of photography exhibitions is today and will be in the future. Katrina Sluis is the curator of the new Digital Programme at The Photographers’ Gallery.

Source. 2012. Photography Curation Today (and Tomorrow). Source magazine Issue 73
[online] Available from
<> [Accessed 04 March 2014.]

View original context in the Katrina Sluis conversation.

‘A Life More Photographic’

“Recent changes in the production, distribution, consumption and storage of images caused by the merging of photography with the Internet have had a notable effect on varied and diverse social and cultural processes and institutions”

Rubinstein, Daniel and Sluis, Katrina (2008) ‘A LIFE MORE PHOTOGRAPHIC’, Photographies, 1:1, 9 – 28 To link to this article: DOI: 10.1080/17540760701785842 [online] Available from
<> [Accessed 11 November 2013.]

Online PDF also avalible from
[Accessed 11 November 2013.]

View original context in the Katrina Sluis conversation.

Born in 1987 The Animated Gif

“The Photographers’ Gallery launches its new digital programme with Born in 1987: The Animated GIF, an exhibition devoted to an overlooked image format exclusive to the computer screen. Presented on The Wall, a digital display located on the ground floor, this exhibition will feature over forty GIF images by practitioners from a range of creative disciplines.”

The Photographers’ Gallery. 2013. Born in 1987 The Animated Gif. The Wall May 19 -July 1 2012. Press Release. [online] Available from
<> [Accessed 08 May 2013]

View original context in the Katrina Sluis conversation.

How to Curate a Digital program

“When the Photographers’ Gallery reopened in May as well as redesigned gallery spaces it also boasted a new Curator of Digital Programmes, Katrina Sluis. Visitors to the Gallery were also immediately greeted by a large screen next to the cafe and over the staircase that leads down to the bookshop.”

West, Richard. August 2012. How to Curate a Digital program. Source Photographic Review [online] Available From
<> [Accessed March 2013]

View original context in the Katrina Sluis conversation.

Curation and image-making culture

“Marc Garrett interviews Katrina Sluis, the new curator of the Digital Programme at The Photographers’ Gallery, London. We discuss about the gallery’s recent show Born in 1987: The Animated GIF and what kind of digital exhibitions and projects we can expect from the gallery in the Future.”

Interview on the Photographers Gallery
Garrett, Marc. 07 November 2012. An Interview with Katrina Sluis, Digital Curator at the Photographers’ Gallery. Furtherfield. [online] Available From
<>  [Accessed March  2013]

View original context in the Katrina Sluis conversation.

Welcome to the NEWFOTOSCAPES.


The impetus for the NEWFOTOSCAPES encounters, Catalysts are the present questions that occupy each collaborator, having guided their current thinking, research and practice. Catalysts can be filtered by theme allowing the community to navigate through and across each encounter, encouraging intersections of contextual relevance.

Pre-publication curated transcripts resulting from each discussion with the NEWFOTOSCAPES collaborators. Encounters can be explored directly or via Catalysts and Antennae.

Where might the ideas and questions raised during the NEWFOTOSCAPES encounters lead us in terms of a future artistic and professional practice, what further questions might arise and how might we continue these conversations?

Find out more about NEWFOTOSCAPES here.