E-Installation: Synesthetic Documentation of Media Art Via Telepresence Technologies
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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, -
VIDEO" Nov 6 Sun 8 :00 PM GREY HAIRS + REAL SEVEN Nov 27 Sun 8 :00 PM DAVE OLIVE "RUNNING" Mr
Nov 5 Sat 2 :30 PM WILLIAM WEGMAN Nov 26 Sat 2 :30 PM "SHORT STORY VIDEO" Nov 6 Sun 8 :00 PM GREY HAIRS + REAL SEVEN Nov 27 Sun 8 :00 PM DAVE OLIVE "RUNNING" Mr . Wegman appeared on the Tonite Show last summer . Now he works at home in his Dave Olive lives in North Liberty, Iowa, own color studio . He will be premiering where he teaches elementary school . videotapes produced at his color studio and at WGBH Boston . JOE DEA "Short Stories" Nov 12 Sat 2 :30 PM KIT FITZGERALD Nov 13 Sun 8 :00 PM JOHN SANBORN Mr . Dea is a cartoonist who works in video . N r "EXCHANGE IN THREE PARTS" He lives in Hartford, Connecticut . recently completed at TV Laboratory at WNET 8 Channel 13 and currently showing in the tenth Dec 3 Sat 2 :30 PM JUAN DOWNEY 2W Bienale du Paris . Dec 4 Sun 8 :00 PM "MORE THAN TWO" QQ An experience in audio video stereo perception cc ~ Kit ON Z Fitzgerald and John Sanborn have been artist and an account of a video expedition to a OY in residence at ZBS Media and the TV Lab of WNET primitive tribe in South America : The Yanomany . cc cc Y Channel 13 and are currently involved in the o 0.0 Cn >- s International TV Workshop . Their work will be ]sec 10 Sat 2 :30 PM MARILYN GOLDSTEIN 9 W3(L W V O broadcast this season over Public TV . "Voice of the Handicapped" 0 W "Video Beats Westway" a 0 HZ a a OW Nov 19 Sat 2 :30 PM STEINA a W= W Nov 20 Sun 8 :00 PM "Snowed-in Tape and Other Work - 1977" Dec 11 Sun 8 :00 PM LYNDA BENGLIS / STANTON KAYE a 0 "How's Tricks?" Z c 0>NH . -
How Artists Can Develop Their Artwork, Its Market and Deliver Their Creative Content for Virtual Reality Environments?
http://dx.doi.org/10.14236/ewic/EVA2019.54 How Artists Can Develop Their Artwork, Its Market and Deliver Their Creative Content for Virtual Reality Environments? Maureen Kendal Mehmet Mulla Elaine Thomazi-Freitas Ravensbourne University Dreamstudio.io London Metropolitan University London, UK London, UK London, UK [email protected] [email protected] [email protected] This research investigates how artists, from traditional fine art and applied art backgrounds, can create innovative immersive and virtual art and build upon their tangible skills, through a digital pipeline and tools? Findings indicated opportunities to co-create partnerships, develop transferable design skills; and exhibitions which enable new markets and audiences. Virtual Reality. Immersive technologies. TiltBrush. Visual effects. Spatial audio. 1. INTRODUCTION. experience of VR technology for artists may find a new home in a virtual immersive setting. The project aimed to introduce a variety of eXtended Reality (XR) experiences to PingHub The project aims were to: network of artists and creatives, to prepare the way for an immersive platform for use by artists, gallery 1. Introduce immersive design skills to owners, globally dispersed, to enable greater these fine art artists. interconnectivity for their audiences, patrons and 2. Enable artists to use these tools artists. independently or in collaborative multi-disciplinary partnerships with The PingHub curatorial team led by Peng Seng VR specialists. Ong, investigated immersive technologies, 3. Investigate how the transfer of providers, costs and availability; the chosen artists’ creative content to a VR provider offered hands-on tasters of Virtual Reality platform could promote their work (VR) tools, global partners and an understanding of across PingHub galleries in other usability and psychological measures. -
Chapter 12. the Avant-Garde in the Late 20Th Century 1
Chapter 12. The Avant-Garde in the Late 20th Century 1 The Avant-Garde in the Late 20th Century: Modernism becomes Postmodernism A college student walks across campus in 1960. She has just left her room in the sorority house and is on her way to the art building. She is dressed for class, in carefully coordinated clothes that were all purchased from the same company: a crisp white shirt embroidered with her initials, a cardigan sweater in Kelly green wool, and a pleated skirt, also Kelly green, that reaches right to her knees. On her feet, she wears brown loafers and white socks. She carries a neatly packed bag, filled with freshly washed clothes: pants and a big work shirt for her painting class this morning; and shorts, a T-shirt and tennis shoes for her gym class later in the day. She’s walking rather rapidly, because she’s dying for a cigarette and knows that proper sorority girls don’t ever smoke unless they have a roof over their heads. She can’t wait to get into her painting class and light up. Following all the rules of the sorority is sometimes a drag, but it’s a lot better than living in the dormitory, where girls have ten o’clock curfews on weekdays and have to be in by midnight on weekends. (Of course, the guys don’t have curfews, but that’s just the way it is.) Anyway, it’s well known that most of the girls in her sorority marry well, and she can’t imagine anything she’d rather do after college. -
Is Marina Abramović the World's Best-Known Living Artist? She Might
Abrams, Amah-Rose. “Marina Abramovic: A Woman’s World.” Sotheby’s. May 10, 2021 Is Marina Abramović the world’s best-known living artist? She might well be. Starting out in the radical performance art scene in the early 1970s, Abramović went on to take the medium to the masses. Working with her collaborator and partner Ulay through the 1980s and beyond, she developed long durational performance art with a focus on the body, human connection and endurance. In The Lovers, 1998, she and Ulay met in the middle of the Great Wall of China and ended their relationship. For Balkan Baroque, 1997, she scrubbed clean a huge number of cow bones, winning the Golden Lion at the Venice Biennale for her work. And in The Artist is Present 2010, performed at MoMA in New York, she sat for eight hours a day engaging in prolonged eye contact over three months – it was one of the most popular exhibits in the museum’s history. Since then, she has continued to raise the profile of artists around the world by founding the Marina Abramović Institute, her organisation aimed at expanding the accessibility of time- based work and creating new possibilities for collaboration among thinkers of all fields. MARINA ABRAMOVIĆ / ULAY, THE LOVERS, MARCH–JUNE 1988, A PERFORMANCE THAT TOOK PLACE ACROSS 90 DAYS ON THE GREAT WALL OF CHINA. © MARINA ABRAMOVIĆ AND ULAY, COURTESY: THE MARINA ABRAMOVIĆ ARCHIVES / DACS 2021. Fittingly for someone whose work has long engaged with issues around time, Marina Abramović has got her lockdown routine down. She works out, has a leisurely breakfast, works during the day and in the evening, she watches films. -
Video Installation in Public Space
Center for Open Access in Science ▪ https://www.centerprode.com/ojsa.html Open Journal for Studies in Arts, 2018, 1(1), 29-42. ISSN (Online) 2620-0635 ▪ https://doi.org/10.32591/coas.ojsa.0101.03029d _________________________________________________________________________ Video Installation in Public Space Lili Atila Dzhagarova South-West University “Neofit Rilski”, Blagoevgrad Theater and Cinema Art Received 31 May 2018 ▪ Revised 27 June 2018 ▪ Accepted 29 July 2018 Abstract The present study is dedicated to the research of video installations placed in the public space, such as exhibition halls, streets and theatrical spaces. The theme “Video installations in the public space” is the understanding of the essence of video and space and its aspects through the production of various spatial solutions and practical imaging solutions in the field of video art. The subject of the study is essence of the problem. In the case of this study the object is the video installations, and the subject is the process of their creation, and the concept of environment. The whole range of phenomena studied is related to the works of video art, their development and expression of opportunities and the idea of environment is an aspect of exploring the space in which they are presented. Keywords: installations, video, public space, phenomenon, movement. 1. Introduction When we think of artists, we think of paint on canvas, or clay masterpieces, or beautiful, timeless drawings, but what do you think when you hear digital artists? The acceptance of digital art into the mainstream art community is a controversy that is slowly becoming history. The controversy is essentially what many people believe in that art is created by the computer, and not by the artist. -
Mind Over Matter Artforum, Nov, 1996 by Hans-Ulrich Obrist
http://findarticles.com/p/articles/mi_m0268/is_n3_v35/ai_18963443/ Mind over matter ArtForum, Nov, 1996 by Hans-Ulrich Obrist At the Kunsthalle Bern, where Szeemann made his reputation during his eight-year tenure, he organized twelve to fifteen exhibitions a year, turning this venerable institution into a meeting ground for emerging European and American artists. His coup de grace, "When Attitudes Become Form: Live in Your Head," was the first exhibition to bring together post-Minimalist and Conceptual artists in a European institution, and marked a turning point in Szeemann's career - with this show his aesthetic position became increasingly controversial, and due to interference and pressure to adjust his programming from the Kunsthalle's board of directors and Bern's municipal government, he resigned, and set himself up as an Independent curator. If Szeemann succeeded in transforming Bern's Kunsthalle into one of the most dynamic institutions of its time, his 1972 version of Documenta did no less for this art-world staple, held every five years in Kassel, Germany. Conceived as a "100-Day Event," it brought together artists such as Richard Serra, Paul Thek, Bruce Nauman, Vito Acconci, Joan Jonas, and Rebecca Horn, and included not only painting and sculpture but installations, performances, Happenings, and, of course, events that lasted the full 100 days, such as Joseph Beuys' Office for Direct Democracy. Artists have always responded to Szeemann and his approach to curating, which he himself describes as a "structured chaos." Of "Monte Verita," a show mapping the visionary utopias of the early twentieth century, Mario Merz said Szeemann "visualized the chaos we, as artists, have in our heads. -
Redalyc.Virtual Art -The Aura of the Digital Fortunately, It Is Unknown
Interin E-ISSN: 1980-5276 [email protected] Universidade Tuiuti do Paraná Brasil Schuricht, Susanne Virtual Art -the Aura of the Digital Fortunately, it is unknown where the journey will end. Dr. Oliver Grau, based in Berlin, Germany, interviewed by Susanne Schurich Interin, vol. 1, núm. 1, 2006 Universidade Tuiuti do Paraná Curitiba, Brasil Available in: http://www.redalyc.org/articulo.oa?id=504450754010 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Virtual Art - the Aura of the Digital Fortunately, it is unknown where the journey will end Dr. Oliver Grau, based in Berlin, Germany, interviewed by Susanne Schuricht Dr. Oliver Grau is a media art historian researching and lecturing at the Art History department at Humboldt University, Berlin. He studied art history, economics, archaeology and Italian literature in Hamburg, London and Siena. He has also done field research in the USA and Japan. Since 1988 he has been head of the German Science Foundation’s project on History of the Arts and Media Theory of Virtual Reality, and has led the "immersive art" project since 2001. Besides this, he and his team are developing a database for virtual art which will provide an overview of interactive installations over recent decades. He has published widely in Europe, the USA and Japan. His research focuses on the history of illusion and immersion in media and art, the history of the idea and culture of telepresence and telecommunication, genetic art and artificial intelligence. -
University Museums and Collections Journal 7, 2014
VOLUME 7 2014 UNIVERSITY MUSEUMS AND COLLECTIONS JOURNAL 2 — VOLUME 7 2014 UNIVERSITY MUSEUMS AND COLLECTIONS JOURNAL VOLUME 7 20162014 UNIVERSITY MUSEUMS AND COLLECTIONS JOURNAL 3 — VOLUME 7 2014 UNIVERSITY MUSEUMS AND COLLECTIONS JOURNAL The University Museums and Collections Journal (UMACJ) is a peer-reviewed, on-line journal for the proceedings of the International Committee for University Museums and Collections (UMAC), a Committee of the International Council of Museums (ICOM). Editors Nathalie Nyst Réseau des Musées de l’ULB Université Libre de Bruxelles – CP 103 Avenue F.D. Roosevelt, 50 1050 Brussels Belgium Barbara Rothermel Daura Gallery - Lynchburg College 1501 Lakeside Dr., Lynchburg, VA 24501 - USA Peter Stanbury Australian Society of Anaesthetis Suite 603, Eastpoint Tower 180 Ocean Street Edgecliff, NSW 2027 Australia Copyright © International ICOM Committee for University Museums and Collections http://umac.icom.museum ISSN 2071-7229 Each paper reflects the author’s view. 4 — VOLUME 7 2014 UNIVERSITY MUSEUMS AND COLLECTIONS JOURNAL Basket porcelain with truss imitating natural fibers, belonged to a family in São Paulo, c. 1960 - Photograph José Rosael – Collection of the Museu Paulista da Universidade de São Paulo/Brazil Napkin holder in the shape of typical women from Bahia, painted wood, 1950 – Photograph José Rosael Collection of the Museu Paulista da Universidade de São Paulo/Brazil Since 1990, the Paulista Museum of the University of São Paulo has strived to form collections from the research lines derived from the history of material culture of the Brazilian society. This focus seeks to understand the material dimension of social life to define the particularities of objects in the viability of social and symbolic practices. -
A N N E M a R C H A
www.annemarchand.com A N N E M A R C H A N D Washington, DC Selected Solo Exhibitions 2022 International Museum of Art & Science (IMAS), McAllen, TX, “Anne Marchand” (forthcoming) 2021 Whittemore House, Woman’s National Democratic Club Museum & Gallery, Washington, DC, “Tellus/Caelus: Seeing Earth and Sky, Recent Work by Anne Marchand”, (Curator, Claudia Rousseau) Cross Contemporary Partners, NY “Tellus/Caelus: Seeing Earth and Sky”, (3D Virtual Online Exhibition) 2020 Frostburg State University, MD, “Anne Marchand Recent Abstractions” (Covid interrupt) 2019 Missouri State University, Springfield, MO, “Abstractions: Anne Marchand” Hardin Center for Cultural Arts, Gadsden, AL, “Abstractions by Anne Marchand” Museum of Arts and Sciences, Macon, GA, “Abstractions: Anne Marchand” Morris Museum of Art, Augusta, GA, “Recent Abstractions by Anne Marchand”, (Traveling Exhibition) 2014 Green Chalk Contemporary, Monterey, CA, “Vision of Myth” 2013 Emerge Fine Art, Cary, NC, “Illumination” Evolve Urban Arts Project, Washington, DC, “Anne Marchand at Evolve” 2012 ArtExpo, Pier 92, New York, NY 2011 Montgomery College, Silver Spring, MD, “Of Shining Worlds”, (Curator, Claudia Rousseau) 2010 Vornado/Charles E. Smith, Arlington, VA, “Luminous” 2006 Zenith Gallery, Washington, DC, “Ellipsis” Selected Group Exhibitions 2021 Zenith Gallery, Washington, DC, “Herstory” Latela Curatorial x Artsy, Washington, DC, “Turning Blue, Part DEUX” (Virtual Exhibition) Cross Contemporary Partners, Saugerties, NY, “The Universe Makers”, (3D Virtual Exhibition) 2020 Cross -
Rebecca Horn Introduction of Works
REBECCA HORN INTRODUCTION OF WORKS • Parrot Circle, 2011, brass, parrot feathers, motor t = 28 cm, Ø 67 cm | d = 11 in, Ø 26 1/3 in Since the early 1970s, Rebecca Horn (born 1944 in Michelstadt, Germany) has developed an autonomous, internationally renowned position beyond all conceptual, minimalist trends. Her work ranges from sculptural en- vironments, installations and drawings to video and performance and manifests abundance, theatricality, sensuality, poetry, feminism and body art. While she mainly explored the relationship between body and space in her early performances, that she explored the relationship between body and space, the human body was replaced by kinetic sculptures in her later work. The element of physical danger is a lasting topic that pervades the artist’s entire oeuvre. Thus, her Peacock Machine—the artist’s contribu- tion to documenta 7 in 1982—has been called a martial work of art. The monumental wheel expands slowly, but instead of feathers, its metal keels are adorned with weapon-like arrowheads. Having studied in Hamburg and London, Rebecca Horn herself taught at the University of the Arts in Berlin for almost two decades beginning in 1989. In 1972 she was the youngest artist to be invited by curator Harald Szeemann to present her work in documenta 5. Her work was later also included in documenta 6 (1977), 7 (1982) and 9 (1992) as well as in the Venice Biennale (1980; 1986; 1997), the Sydney Biennale (1982; 1988) and as part of Skulptur Projekte Münster (1997). Throughout her career she has received numerous awards, including Kunstpreis der Böttcherstraße (1979), Arnold-Bode-Preis (1986), Carnegie Prize (1988), Kaiserring der Stadt Goslar (1992), ZKM Karlsruhe Medienkunstpreis (1992), Praemium Imperiale Tokyo (2010), Pour le Mérite for Sciences and the Arts (2016) and, most recently, the Wilhelm Lehmbruck Prize (2017). -
Virtual Tour • Birmingham Museum & Art Gallery
VIRTUAL TOURS Art and Culture Museums • Arizona State Museum: Virtual Tour • Birmingham Museum & Art Gallery: Virtual Tours • Byzantine and Christian Virtual Museum: Virtual Tour • Cranbrook Art Museum, Michigan: Exhibit Virtual Tours • Dalí Theatre-Museum, Catalonia: Virtual Tour • Finnish Art Gallery: Virtual Tour • The Frick, Pittsburgh: Virtual tours, online collections, activities • Hallwyl Museum, Stockholm: VR Tour • The Hermitage, Russia: Virtual Tour (YouTube) • The Kremer Museum: VR Tour (Requires download) • The Louvre, Paris: Virtual Tour • Marshall M. Fredericks Sculpture Museum: Virtual Tour • Pitt Rivers Museum, University of Oxford: Virtual Tour • São Paolo Museum of Art: Virtual Tour • Vatican Museums: Virtual Tours • Vermont Art Online: 360-degree Virtual Tours • Vizcaya Museum and Gardens: Virtual Tour • The World Coffee Museum: Virtual Tour History Museums • Canadian Museum of History: Virtual Tour • Cliffe Castle Museum: Virtual Tour • Diefenbunker, Canada: Virtual Tours, Coloring Pages • Dundas Museum & Archives: 360-degree Virtual Tour • Florence as it Was: 3D models of Florentine buildings, artworks, and squares • George Washington’s Mount Vernon: Virtual Tours, timelines, etc. • Historic Ships in Baltimore: USS Constellation Virtual Tour • Klein Collection at The Temple, Congregation B’nai Jehudah: Virtual Tour (Facebook Event, Mondays @ 1PM CDT) • Mexican National Institute of Anthropology & History: Virtual Tours (Flash) • Museum of Flight: Virtual Tour • Museum of the American Revolution: Virtual Tour • National