Mark Dion, Xylotheque detail—12, wood, glass, electric lighting, porcelain cabinet knobs, wood inlay, plant parts, paper, papier-mache, clay, wax, paint, wire, vellum, leather, plastic, ink, dimensions variable. A tiny gallery can contain days of art. The result is that we filter and graze, skim and forward.
His formulation plays off and departs from current theo- ries of scanning and saccadic vision. Or maybe this is about a trip to a museum. Choosing to focus on the failure of the mainstream in this arena gives the essay a healthy line of questioning, but in relegating an entire sphere which has — for some time — repeatedly dealt with these questions and more, it raises what is effectively a pointless query.
I am not claiming that these artis- tic strategies are conscious reactions to or implicit denunciations of an information society; rather, I am suggesting that the digital is, on a deep level, the shaping condition—even the structuring paradox— that determines artistic decisions to work with cer- tain formats and media.
In the early s, Susan Hiller amassed a series of postcards that she found in British seaside towns, Dedicated to the Unknown Artists, — Conversely artists who once specialised in digital art, Cory ArcangelMiltos Manetas — to name two very famous examples — have previously broken out into the mainstream.
He is also digital, and his presentation across multiple for- mats is not only socially acceptable but easy to process mechanically and palatably.
Its subterranean presence is comparable to the rise of television as the backdrop to art of the s. How many thematize this, or reflect deeply on how we experience, and are altered by, the digitization of our existence? Where would this leave festivals like transmediale, or not-for-profit collectives like Furtherfield — how would they respond?
Rizzoli,11— Zoe leonard, You see I am here after all,approx. And when you look at con- temporary art sincethe year Tim Berners-Lee invented the World Wide Web, it is striking that so little of it seems to address the way in which the forms and languages of new media have altered our relationship to perception, history, language, and social relations.
Why not cut off the need to reconcile digital thematisation with a set of historical, and commercially ideological principles which may not take kindly to the more ambitious and darker questions that the social and political arena of global digitalisation have thrown up.
But today this assertion needs to be subject to scrutiny.
It is always underpinned by a respect for intellectual property and carefully assigned author- ship Warhol and Levine are hardly anonymous, and their market status is fiercely protected by their gal- leries. K Section A, hD video, color, 33 minutes 5 seconds. The work attempts to reconstruct as much Presented as carefully displayed collections, their installations belie the extent to which everyone with a personal computer today has become a de facto archivist, storing and filing thousands of documents, images, and music files.
The digital, by con- trast, is code, inherently alien to human perception. It is, at base, a linguistic model.
Of course, digital files are also subject to degradation through resizing and compression; the products of these processes are referred to as lossies. Books, performances, films, and modernist design objects are incorporated into new works of art and repurposed: His image is essentially already in syndication.
Overnight, VHS became obsolete, rendering its own aesthetic and projection equipment open to nostalgic reuse, but the older technology of celluloid was and remains the favorite.Readings • Reading #1 INTRODUCTION from Digital Art by Christiane Paul • Reading #2 Digital Divide: Contemporary Art and New Media by Claire Bishop • Reading #3: Allergy to Originality by Drew.
Of worthy mention is the essay Digital Divide by the art world’s antagonistic critic of choice Claire Bishop, a writer whom a little under 8 years ago, deservedly poured critical scorn over the happy-go-lucky, merry-go-round creative malaise that was Bourriaud’s Relational Aesthetics and all of the proponents involved.
DESCRIPTION. SEPTEMBER ARTFORUM Digital Divide ClAiRE BiShOP On COnTEMPORARy ART AnD nEw MEDiA Carol Bove, La traversée.
SAVE THE DATE: WED APR 15 DDA's Spring Visiting Lecture Series presents a talk by CLAIRE BISHOP, "THE DIGITAL DIVIDE" polkadottrail.com My Readings Reading #1 INTRODUCTION from Digital Art by Christiane Paul Reading #2 Digital Divide: Contemporary Art and New Media by Claire Bishop Reading #3 Allergy to Originality by Drew ultraredgreenblueme.
Digital Divide – by Claire Bishop Response by Lucas Olscamp Claire Bishop sets out to examine the idea the largely the genre of “digital art” has been ignored and somewhat consciously forgotten by the world of contemporary art.Download