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Eivind Røssaak’s recent book, The Cory Arcangel Hack, makes a compelling argument for observing the first generation of twenty-first century post-conceptual artists as hackers who disturb the modernist picture plane. For groundbreaking multimedia artists like Cory Arcangel, the surface of an image, a computer, a floppy disk, a gaming console, a record or the Instagram feed is a starting point, an invitation for intervention, or, to use Røssaak’s terms, to cut through the flow to see what lies beneath the surface.
Working on research at NYU in the early 2000s, Røssaak had a front row seat to the shaping of Arcangel’s artistic milieu on the Lower East Side and its resonance across the art world during and after the first decade of the twenty-first century.
Røssaak and I also got to speak about archiving the web, his current research around archives and indigenous communities, as well as the impact of AI on scholarship shortly after he came back from launch events in New York.
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