New Media Art - Introduction
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Philosophy in the Artworld: Some Recent Theories of Contemporary Art
philosophies Article Philosophy in the Artworld: Some Recent Theories of Contemporary Art Terry Smith Department of the History of Art and Architecture, the University of Pittsburgh, Pittsburgh, PA 15213, USA; [email protected] Received: 17 June 2019; Accepted: 8 July 2019; Published: 12 July 2019 Abstract: “The contemporary” is a phrase in frequent use in artworld discourse as a placeholder term for broader, world-picturing concepts such as “the contemporary condition” or “contemporaneity”. Brief references to key texts by philosophers such as Giorgio Agamben, Jacques Rancière, and Peter Osborne often tend to suffice as indicating the outer limits of theoretical discussion. In an attempt to add some depth to the discourse, this paper outlines my approach to these questions, then explores in some detail what these three theorists have had to say in recent years about contemporaneity in general and contemporary art in particular, and about the links between both. It also examines key essays by Jean-Luc Nancy, Néstor García Canclini, as well as the artist-theorist Jean-Phillipe Antoine, each of whom have contributed significantly to these debates. The analysis moves from Agamben’s poetic evocation of “contemporariness” as a Nietzschean experience of “untimeliness” in relation to one’s times, through Nancy’s emphasis on art’s constant recursion to its origins, Rancière’s attribution of dissensus to the current regime of art, Osborne’s insistence on contemporary art’s “post-conceptual” character, to Canclini’s preference for a “post-autonomous” art, which captures the world at the point of its coming into being. I conclude by echoing Antoine’s call for artists and others to think historically, to “knit together a specific variety of times”, a task that is especially pressing when presentist immanence strives to encompasses everything. -
Preserving New Media Art: Re-Presenting Experience
Preserving New Media Art: Re-presenting Experience Jean Bridge Sarah Pruyn Visual Arts & Interactive Arts and Science, Theatre Studies, University of Guelph, Brock University Guelph, Canada St. Catharines, Canada [email protected] [email protected] ABSTRACT Keywords There has been considerable effort over the past 10 years to define methods for preservation, documentation and archive of new Art, performance art, relational art, interactive art, new media, art media artworks that are characterized variously as ephemeral, preservation, archive, art documentation, videogame, simulation, performative, immersive, participatory, relational, unstable or representation, experience, interaction, aliveness, virtual, technically obsolete. Much new media cultural heritage, authorship, instrumentality consisting of diverse and hybrid art forms such as installation, performance, intervention, activities and events, are accessible to 1. INTRODUCTION us as information, visual records and other relatively static This investigation has evolved from our interest in finding documents designed to meet the needs of collecting institutions documentation of artwork by artists who produce technologically and archives rather than those of artists, students and researchers mediated installations, performances, interventions, activities and who want a more affectively vital way of experiencing the artist’s events - the nature of which may be variously limited in time or creative intentions. It is therefore imperative to evolve existing duration, performance based, -
Sabbatical Leave Report 2019 – 2020
Sabbatical Leave Report 2019 – 2020 James MacDevitt, M.A. Associate Professor of Art History and Visual & Cultural Studies Director, Cerritos College Art Gallery Department of Art and Design Fine Arts and Communications Division Cerritos College January 2021 Table of Contents Title Page i Table of Contents ii Sabbatical Leave Application iii Statement of Purpose 35 Objectives and Outcomes 36 OER Textbook: Disciplinary Entanglements 36 Getty PST Art x Science x LA Research Grant Application 37 Conference Presentation: Just Futures 38 Academic Publication: Algorithmic Culture 38 Service and Practical Application 39 Concluding Statement 40 Appendix List (A-E) 41 A. Disciplinary Entanglements | Table of Contents 42 B. Disciplinary Entanglements | Screenshots 70 C. Getty PST Art x Science x LA | Research Grant Application 78 D. Algorithmic Culture | Book and Chapter Details 101 E. Just Futures | Conference and Presentation Details 103 2 SABBATICAL LEAVE APPLICATION TO: Dr. Rick Miranda, Jr., Vice President of Academic Affairs FROM: James MacDevitt, Associate Professor of Visual & Cultural Studies DATE: October 30, 2018 SUBJECT: Request for Sabbatical Leave for the 2019-20 School Year I. REQUEST FOR SABBATICAL LEAVE. I am requesting a 100% sabbatical leave for the 2019-2020 academic year. Employed as a fulltime faculty member at Cerritos College since August 2005, I have never requested sabbatical leave during the past thirteen years of service. II. PURPOSE OF LEAVE Scientific advancements and technological capabilities, most notably within the last few decades, have evolved at ever-accelerating rates. Artists, like everyone else, now live in a contemporary world completely restructured by recent phenomena such as satellite imagery, augmented reality, digital surveillance, mass extinctions, artificial intelligence, prosthetic limbs, climate change, big data, genetic modification, drone warfare, biometrics, computer viruses, and social media (and that’s by no means meant to be an all-inclusive list). -
Contemporary Art in Indian Context
Artistic Narration, Vol. IX, 2018, No. 2: ISSN (P) : 0976-7444 (e) : 2395-7247Impact Factor 6.133 (SJIF) Contemporary Art in Indian Context Dr. Hemant Kumar Rai Richa Singh Asso. Prof., Research Scholar Deptt. of Drawing & Painting M.F.A. M.M.H. College B.Ed. Ghaziabad, U.P. Reference to this paper should be made as follows: Abstract: This article has a focus on Contemporary Art in Indian context. Dr. Hemant Kumar Rai Through this article emphasizesupon understanding the changes in Richa Singh, Contemporary Art over a period of time in India right from its evolution to the economic liberalization period than in 1990’s and finally in the Contemporary Art in current 21st century. The article also gives an insight into the various Indian Context, techniques and methods adopted by Indian Contemporary Artists over a period of time and how the different generations of artists adopted different techniques in different genres. Finally the article also gives an insight Artistic Narration 2018, into the current scenario of Indian Contemporary Art and the Vol. IX, No.2, pp.35-39 Contemporary Artists reach to the world economy over a period of time. key words: Contemporary Art, Contemporary Artists, Indian Art, 21st http://anubooks.com/ Century Art, Modern Day Art ?page_id=485 35 Contemporary Art in Indian Context Dr. Hemant Kumar Rai, Richa Singh Contemporary Art Contemporary Art refers to art – namely, painting, sculpture, photography, installation, performance and video art- produced today. Though seemingly simple, the details surrounding this definition are often a bit fuzzy, as different individuals’ interpretations of “today” may widely vary. -
WORDS MADE FLESH Code, Culture, Imagination Florian Cramer
WORDS MADE FLESH Code, Culture, Imagination Florian Cramer Me dia De s ign Re s e arch Pie t Z w art Ins titute ins titute for pos tgraduate s tudie s and re s e arch W ille m de Kooning Acade m y H oge s ch ool Rotte rdam 3 ABSTRACT: Executable code existed centuries before the invention of the computer in magic, Kabbalah, musical composition and exper- imental poetry. These practices are often neglected as a historical pretext of contemporary software culture and electronic arts. Above all, they link computations to a vast speculative imagination that en- compasses art, language, technology, philosophy and religion. These speculations in turn inscribe themselves into the technology. Since even the most simple formalism requires symbols with which it can be expressed, and symbols have cultural connotations, any code is loaded with meaning. This booklet writes a small cultural history of imaginative computation, reconstructing both the obsessive persis- tence and contradictory mutations of the phantasm that symbols turn physical, and words are made flesh. Media Design Research Piet Zwart Institute institute for postgraduate studies and research Willem de Kooning Academy Hogeschool Rotterdam http://www.pzwart.wdka.hro.nl The author wishes to thank Piet Zwart Institute Media Design Research for the fellowship on which this book was written. Editor: Matthew Fuller, additional corrections: T. Peal Typeset by Florian Cramer with LaTeX using the amsbook document class and the Bitstream Charter typeface. Front illustration: Permutation table for the pronounciation of God’s name, from Abraham Abulafia’s Or HaSeichel (The Light of the Intellect), 13th century c 2005 Florian Cramer, Piet Zwart Institute Permission is granted to copy, distribute and/or modify this document under the terms of any of the following licenses: (1) the GNU General Public License as published by the Free Software Foun- dation; either version 2 of the License, or any later version. -
Hans Rottenhammer's Use of Networks in the Copper
arts Article Intermediaries and the Market: Hans Rottenhammer’s Use of Networks in the Copper Painting Market Sophia Quach McCabe Department of History of Art and Architecture, University of California, Santa Barbara, Santa Barbara, CA 93106, USA; [email protected] Received: 1 February 2019; Accepted: 16 June 2019; Published: 24 June 2019 Abstract: In Willem van Haecht’s Gallery of Cornelis van der Geest, The Last Judgment by the German artist Hans Rottenhammer stands prominently in the foreground. Signed and dated 1598, it is one of many copper panel paintings Rottenhammer produced and sent north of the Alps during his decade-long sojourn in Venice. That the work was valued alongside those of Renaissance masters raises questions about Rottenhammer’s artistic status and how the painting reached Antwerp. This essay examines Rottenhammer’s international market as a function of his relationships with artist-friends and agents, especially those in Venice’s German merchant community. By employing digital visualization tools alongside the study of archival documents, the essay attends to the intermediary connections within a social network, and their effects on the art market. It argues for Rottenhammer’s use of—and negotiation with—intermediaries to establish an international career. Through digital platforms, such as ArcGIS and Palladio, the artist’s patronage group is shown to have shifted geographically, from multiple countries around 1600 to Germany and Antwerp after 1606, when he relocated to Augsburg. Yet, the same trusted friends and associates he had established in Italy continued to participate in Rottenhammer’s business of art. Keywords: Hans Rottenhammer; social network; intermediaries; mediation; digital humanities; digital art history; merchants; art market; copper painting; Jan Brueghel the Elder 1. -
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THROUGH THE BARRICADES DECEMBER 3RD 20I5 > JANUARY I0TH 20I6 FABBRICA DEL VAPORE, MILAN Promoted by BJCEM, Biennale des jeunes créateurs 2 de l’Europe et de la Méditerranée Municipality of Milan Board of Directors Helen Andreou, Selim Birsel, Keith Borg, Isabelle Bourgeois, Rita Canarezza, Miguel Cascales Tarazona, Petros Dymiotis, Claudio Grillone, Paulo Gouveia, France Irrmann, BJCEM - BIENNALE DES JEUNES CRÉATEURS Maria del Gozo Merino Sanchez, Nina Mudrinic Milovanovic, Said Murad, Abdo Nawar, Ksenija Orelj, Leonardo Punginelli, DE L’EUROPE ET DE LA MÉDITERRANÉE Mohamed Rafik Khalil, Raphael Sage, Ana Savjak, Jernej Skof, Ibrahim Spahić, Carlo Testini, Eleni Tsevekidou, Luis Verde Godoy BJCEM Members Arci Bari (Italy), Arci Emilia Romagna (Italy), Arci Lazio (Italy), Arci President Milano (Italy), Arci Nazionale (Italy), Arci Pescara (Italy), Arci Regionale Emilia Romagna (Italy), Arci Regionale Liguria (Italy), Arci Regionale Dora Bei Puglia (Italy), Arci Regionale Sardegna (Italy), Arci Regionale Sicilia (Italy), Arci Torino (Italy), Atelier d’Alexandrie (Egypt), Ayuntamiento de General Secretary Madrid (Spain), Ayuntamiento de Malaga (Spain), Ayuntamiento de Murcia (Spain), Ayuntamiento de Salamanca (Spain), Ayuntamiento de Sevilla Federica Candelaresi (Spain), Ayuntamiento de Valencia (Spain), Centar za Savremenu Umetnost Strategie Art (Serbia), Città di Torino (Italy), Città di Venezia (Italy), City Treasurer of Thessaloniki (Greece), Clube Português de Artes e Ideias (Portugal), Helen Andreou Comune di Ancona (Italy), Comune -
Software Art: Image
NYUAD - Interactive Media Syllabus Software Art: Image NYU Abu Dhabi — Interactive Media SOFTWARE ART: IMAGE IM-UH 2115 Fall 2017 COURSE SYLLABUS Instructor Pierre Depaz ([email protected]) Meeting Time Tuesday — 10:25AM - 1:05PM Thursday — 11:50AM - 1:05PM Classroom C3-153 Office C3-032 Office Hours Open-door policy Credits 2 Class website https://github.com/pierredepaz/software-art-image !1 of !12 NYUAD - Interactive Media Syllabus Software Art: Image This course counts towards the following NYUAD degree requirement: • Multidisciplinary Minors > Interactive Media • Majors > Art and Art History Course Description Although computers only appeared a few decades ago, automation, repetition and process are concepts that have been floating around artists’ minds for almost a century. As machines enabled us to operate on a different scale, they escaped the domain of the purely functional and started to be used, and understood, by artists. The result has been the emergence of code-based art, a relatively new field in the rich tradition of arts history that today acts as an accessible new medium in the practice of visual artists, sculptors, musicians and performers. Software Art: Image is an introduction to the history, theory and practice of computer-aided artistic endeavours in the field of visual arts. This class will focus on the appearance of computers as a new tool for artists to integrate in their artistic practice, how it shaped a specific aesthetic language and what it reveals about technology and art today. We will be elaborating and discussing concepts and paradigms specific to computing platforms, such as system art, generative art, image processing and motion art. -
Ffdoespieszak Pieszak CRITICAL REALISM in CONTEMPORARY ART by Alexandra Oliver BFA, Ryerson University, 2005 MA, University of E
CRITICAL REALISM IN CONTEMPORARY ART by Alexandra Oliver BFA, Ryerson University, 2005 MA, University of Essex, 2007 MA, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 FfdoesPieszak Pieszak UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Alexandra Oliver It was defended on April 1, 2014 and approved by Terry Smith, Andrew W. Mellon Professor of Contemporary Art History and Theory, History of Art & Architecture Barbara McCloskey, Associate Professor, History of Art & Architecture Daniel Morgan, Associate Professor, Department of Cinema and Media Studies, University of Chicago Dissertation Advisor: Josh Ellenbogen, Associate Professor, History of Art & Architecture ii Copyright © by Alexandra Oliver 2014 iii CRITICAL REALISM IN CONTEMPORARY ART Alexandra Oliver, Ph.D. University of Pittsburgh, 2014 This study responds to the recent reappearance of realism as a viable, even urgent, critical term in contemporary art. Whereas during the height of postmodern semiotic critique, realism was taboo and documentary could only be deconstructed, today both are surprisingly vital. Nevertheless, recent attempts to recover realism after poststructuralism remain fraught, bound up with older epistemological and metaphysical concepts. This study argues instead for a “critical realism” that is oriented towards problems of ethics, intersubjectivity, and human rights. Rather than conceiving of realism as “fit” or identity between representation and reality, it is treated here as an articulation of difference, otherness and non-identity. This new concept draws on the writings of curator Okwui Enwezor, as well as German critical theory, to analyze the work of three artists: Ian Wallace (b. -
Nicolas Bourriaud Postproduction Culture As Screenplay: How Art Reprograms the World 11 Has & Sternberg, New York
NICOLAS BOURRIAUD POSTPRODUCTION CULTURE AS SCREENPLAY: HOW ART REPROGRAMS THE WORLD 11 HAS & STERNBERG, NEW YORK CONTENTS Nicolas Bourriaud PREFACE TO THE SECOND EDITION Postproduction Publisher: Lukas & Sternberg, New York INTRODUCTION © 2002 Nicolas Bourriaud, Lukas & Sternberg All rights reserved, including the right of reproduction in whole or in part in any form. THE USE OF OBJECTS THE USE OF THE PRODUCT FROM MARCEL DUCHAMP First published 2002 (0-9711193-0-9) TO JEFF KOONS Reprinted with new preface 2005 THE FLEA MARKET: THE DOMINANT ART FORM OF THE NINETIES - -,.- •-••.• Editor: Caroline Schneider Translation: Jeanine Herman THE USE OF FORMS Copy Editors: Tatjana Giinthner, Radhika Jones, John Kelsey DEEJAYING AND CONTEMPORARY ART: SIMILAR Design: Sandra Kastl, Markus Weisbeck, surface, Berlin /Frankfurt CONFIGURATIONS Printing and binding: Medialis, Berlin WHEN SCREENPLAYS BECOME FORM: A USER'S GUIDE ISBN 0-9745688-9-9 TO THE WORLD . THE USE OF THE WORLD 69 Lukas & Sternberg PLAYING THE WORLD: REPROGRAMMING SOCIAL FORMS 69 Caroline Schneider HACKING, WORK, AND FREE TIME 1182 Broadway #1602, New York NY 10001 LinienstraBe 159, D-10115 Berlin HOW TO INHABIT GLOBAL CULTURE [email protected], www.lukas-sternberg.com (AESTHETICS AFTER MP3) I PREFACE TO THE SECOND EDITION Since its initial publication in 2001, Postproduction has been trans- lated into five languages; depending on the translation schedules in various countries, publication either overlapped with or preceded that of another of my books, Esthetique relationnelle (Relational Aesthetics), written five years earlier. The relationship between these two theoret- ical essays has often been the source of a certain misunderstanding, if not malevolence, on the part of a critical generation that knows itself to be slowing down and counters my theories with recitations from "The Perfect American Soft Marxist Handbook" and a few vestiges of Greenbergian catechism. -
Towards a Politics of (Relational) Aesthetics by Anthony Downey
This article was downloaded by: [Swets Content Distribution] On: 8 February 2009 Access details: Access Details: [subscription number 902276281] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Third Text Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t713448411 Towards a Politics of (Relational) Aesthetics Anthony Downey Online Publication Date: 01 May 2007 To cite this Article Downey, Anthony(2007)'Towards a Politics of (Relational) Aesthetics',Third Text,21:3,267 — 275 To link to this Article: DOI: 10.1080/09528820701360534 URL: http://dx.doi.org/10.1080/09528820701360534 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Third Text, Vol. 21, Issue 3, May, 2007, 267–275 Towards a Politics of (Relational) Aesthetics Anthony Downey 1 The subject of aesthetics The aesthetic criteria used to interpret art as a practice have changed and art criticism has been radically since the 1960s. -
Painting in a Digital World: I Told You So
AUTHOR James Faure Walker University of the Arts, Camberwell London, United Kingdom Painting in a Digital World: [email protected] I Told You So Over the past 10 years, the proportion of painters who use comput like say hello. The curator of new media will casually mention that ers in their work has been rising, and rising dramatically. They may painting is "over" as if it were a given among the digerati. Here is not all be expert users, and they probably know next to nothing a phrase from the SIGGRAPH 2005 Electronic Art and Animation about digital art or its origins, and nothing at all about its pioneer art Catalog: "... the now-weary exertions of the 20th century's picture ists. They will not have heard of SIGGRAPH. They read Frieze. They plane." Yet the pot-pourri of post-modernist styles suggests oth probably outnumber hardcore digital artists by a factor of 50 to one. erwise. That concept of progress in art, of one phase superseding So if we are to speak of the way things are going in "digital art," they another, whether tired or not - that's history. So "new media" is on a are part of the picture. somewhat anachronistic track: a one-way track. No going back! No mixing! It's all historically determined! Goodbye non-interactive art! In the 1990s, it was different. Only a handful of galleries (special- You're exhausted! Any attempt to integrate, to reconcile the disci ist digital art galleries) exhibited inkjet prints as fine art. Today it is plines of that wretched, tired-out 20 picture-plane, is doomed.