1936 “The Work of Art in the Age of Mechanical Reproduction” Walter Benjamin He describes a theory of art that would be “useful for the formulation of revolutionary demands in the politics of art,” arguing that, in the absence of any traditional, ritualistic value, (the aura), art in the age of mechanical reproduction would inherently be based on the practice of politics. “An analysis of art in the age of mechanical reproduction must do justice to these relationships, for they lead us to an all-important insight: for the fjrst time in world history, mechanical reproduction emancipates the work of art from its parasitical dependence on ritual. To an ever greater degree the work of art reproduced be- comes the work of art designed for reproducibility.” - WB
So art in the age of Mechanical Reproduction leads to: Andy Warhol, Barbara Kruger, Louise Lawler, Sherrie Levine and also... Lev Manovich Mark Amerika Lynn Hershman Leeson
1967 “The Death of the Author” Roland Barthes The reader holds more responsibility to the text than the author. The complexity of different connotations and experiences that come from the author into the text are fmattened when it arrives to the reader. The reader comes empty handed and is completely impersonalized with the text. It is as if a sculpture, a three dimen- sional work, is photographed, reduced to two dimensions. So much information is condensed and made inaccessible to the viewer. Barthes makes the point that the origin of a work may lie with the author, but its destination is with the reader. “… [T]he birth of the reader must be at the cost of the death of the Author.” (386)
Interactive Art / Net Art Camille Utterbach Yael Kanarek Daniel Rozin Olia Lialina Michael Joyce
1964 Understanding Media: The Extensions of Man by Marshall McCluhan “hot” media and “cool” media “the medium is the message”
1960s Conceptual art is art in which the concept(s) or idea(s) involved in the work take pre- cedence over traditional aesthetic and material concerns. Many of the works of the artist Sol LeWitt may be constructed by anyone simply by following a set of written instructions. “In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art. ”—Sol LeWitt http://ddooss.org/articulos/idiomas/Sol_Lewitt.htm
1969 Manfred Mohr a pioneer of digital art “The computer became a physical and intellectual extension in the process of creat- ing my art. I write computer algorithms i.e. rules that calculate and then generate the work which could not be realized in any other way. My artistic goal is reached when a fjnished work can dissociate itself from its logical content and stand convincingly as an independent abstract entity.” http://www.emohr.com/ww4_out.html
Today Clement Valla (b 1979) Sol LeWitt + Mechanical Turk 2009 Artist Book, Custom Software, Amazon Six Geometric Figures (Circle, Square, Trian- gle, Rectangle, Trapezoid, and Parallelogram) Within Six Geometric Figures, by Mechanical Turk Workers Clement Valla : Original Copies
Today Cory Arcangel (b 1978) works in many different media: drawing, music, video, performance, and video game modifjcations. He explores the relationship between technology and culture. ES: A lot of your work also deals with expiration. You seem to have an interest in dead media Nintendo, Commodore/Atari, 1.44mb diskettes. In the same sort of vein, I see a lot of your work bearing back to childhood, stuff like video games, hockey fjghts, and driving around strip malls. Now I’m obviously showing more psych major self than art minor self here, but I see the work as kind of tragic, because you have these video games, these relics of childhood, and here we’re also seeing the bits and pieces disintegrate. I mean, am I being too poetic here? Reading too much into the work? CA: Growing up in Buffalo I would here stories over and over again about what a banging city it used to be before the 60’s. And all over the city there are these broken down reminders of this era. My fav is this place which was the train station built for the PAn-AM [I think?] EXPO at the turn of the century. It is a big grand central type train station which has been gutted and is totally deserted. It is tough to explain but it is really striking. Also I remember there being in the harbor for years this old ferry. It used to take people to this amusement park called crystal beach in Canada, and on the way over, there would be ball dancing on the boat and all other kinda of post-WWII awesomeness. But when I was little it was just sitting in the harbor rusting until one day it rusted too much and fjnally sank. I mean when you are young these thing leave quite an impression. So it seems to me the hopelessness that could the city of Buffalo just seeped into my work. Like why even try to fjght decay? Lets just get on with it and see what we can come up with. ES: What are your favorite quotes recently? CA: “Like rock and roll, only slower,” - Dirk from jodi.org explaining the idea of being an exhibiting artist. ES: Is there anything you’d like me to ask? CA: Is Acid the name of a sound? ES: Is Acid the name of a sound? CA: Why yes, ACID is the term used to describe a sound made by the roland 303computer controlled bassline synth. Songs made with this machine are termed “ACID traxx”. This style was invented in Chicago in the mid 80’s. from: http://turbulence.org/curators/salvaggio/arcangel.html
1968 Lillian Schwartz a pioneer of digital art (born 1927) is a 20th-century American artist considered a pioneer of computer-mediated art and one of the fjrst women artists notable for basing almost her entire oeuvre on computational media. Many of her ground-breaking projects were done in the 1960s and 1970s, well before the desktop computer revolution made computer hardware and software widely available to artists. By 1966, Schwartz had begun working with light boxes and mechanical devices like pumps, and she became a member of the Experiments in Art and Technology (E.A.T.) group that brought together artists and engineers as collaborators. In 1968 her kinetic sculpture Proxima Centauri was included in the important early show of machine art at the New York Museum of Modern Art entitled “The Machine as Seen at the End of the Mechanical Age.” This sculpture was later used as a special effect for a Star Trek episode, in which it served as a prison for Spack’s brain. She was then asked to join Bell Labs in 1968 where she developed programs, special color fjlters and editing techniques, art and historical analyses, art fjlms and graphics that could be viewed in 20 or 30 without pixel shifting. A pioneer, she created a new technique for 20/30. In her 80s, she sees fjlms in her mind fjlled by grand whorls of imagination with her memory of images she had created.
http://lillian.com/art-analysis/
Today Angela Washko (b 1986) is a New York-based new media artist and facilitator who works to mobilize communities and creates new forums for discussions of feminism where they do not exist. Washko has been creating performances inside the online video game World of Warcraft since 2012 in which she initiates discussions about feminism within the gameplay. She’s the founder of the Council on Gender Sensitivity and Behavioral Awareness in World of Warcraft to bring attention to and protest the sexist language from players in the game. She is the fjrst person to ever sell a Vine (software) video, which was bought by Dutch art advisor, curator and collector Myriam Vanneschi for $200 at the Moving Image Art Fair. “Tits on Tits on Ikea”, the title of the Washko’s sold Vine, was an extension to a Vine she submitted to the #VeryShortFilmFest, which was selected as a run- ner-up in a project called “The Shortest Video Art Ever Sold,” curated by Marina Galperina and Kyle Chayka. She has organized exhibitions and programs at the University of California, San Diego, New York University, Flux Factory, and Temple University’s Tyler School of Art. She curates and compiles A Feminist Art Movement Online, an archive of artists, writers, curators, and cultural producers with various practices addressing issues regard- ing gendered experiences. These practitioners primarily make and/or distribute their work online and contribute to a shift in making the internet a more inclusive space for women and their cultural work. She is the Department Events Coordinator of Vis Arts at the University of California, San Diego. She’s written for .dpi Magazine. In 2013 she hosted podcast “A Cups” with new media artist Ann Hirsch made possible by the Radiohive collective, in which they interviewed guests such as Nate Hill, Carla Gannis, Chris Gethard, and Genevieve Belleveau.
http://angelawashko.com/
Networked Culture Social Media Art Facebook, The Image, and the Virtual Cedar Bar We’re friends on and I’m following you
“What’s Postinternet Got to do with Net Art? http://rhizome.org/editorial/2013/nov/1/postinternet/
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