Contents

Articles
Digital media Performance art Conceptual art Site-specific art Postmodern art Computer art Information art New media art Can You See Me Now? Serial art Glitch art Blast Theory Rider Spoke Ulrike and Eamon Compliant 433 Agrippa (a book of the dead) Chianciano International Award for Digital Art and Photography Complaints Choir Contemporary Canadian art Contemporary art Postmodern dance Arthur Danto Defamiliarization Digital art Digital painting Electronic art Figurations on Plastic Fluxus Happening Hysterical realism Institutional Critique Interactive art Invisible 5 List of contemporary art museums 1 5 10 21 23 35 39 41 49 50 52 56 59 60 61 66 72 73 74 75 78 80 83 85 96 100 104 105 112 117 119 121 126 127

Lord Jim Lodge Magic realism Maximalism Neo-conceptual art New Wave music Polystylism Post-surrealism Public Smog Russian postmodernism Simulacrum Art strike Superstroke Systems art Postmodern theatre The Thing (art project) This is the Public Domain Tradigital art Vision Forum (Art Organisation) World War II in art and literature Rob Gonsalves George Grie Luna H. Mitani Rafa Olbiski Wojciech Siudmak Maggie Taylor Jerry Uelsmann Jacek Yerka List of minimalist artists Carl Andre Timothy App Mino Argento David Batchelor (artist) Alan Ebnother Dale Eldred Dan Flavin Donald Judd Ellsworth Kelly Mel Kendrick

130 131 144 146 149 156 157 158 159 160 163 164 165 169 170 173 174 176 181 184 185 188 193 195 196 198 199 200 202 204 205 211 213 215 219 225 229 233

Wolfgang Laib Antn Lamazares Sol LeWitt John McCracken Josiah McElheny Robert Mangold Brice Marden Agnes Martin Franois Morellet Robert Morris (artist) Michael Paul Oman-Reagan Fred Sandback Richard Serra Sally Sheinman Keith Sonnier Frank Stella Anne Truitt Waltraut Cooper John Wesley (artist)

234 235 241 246 250 255 257 260 262 263 266 268 271 276 277 278 283 287 288

References
Article Sources and Contributors Image Sources, Licenses and Contributors 289 295

Article Licenses
License 299

Digital media

Digital media
Digital media (as opposed to analog media) are usually electronic media that work on digital codes. Today, computing is primarily based on the binary numeral system. In this case digital refers to the discrete states of "0" and "1" for representing arbitrary data. Computers are machines that (usually) interpret binary digital data as information and thus represent the predominating class of digital information processing machines. Digital media ("Formats for presenting Audio & Visual Media information" according to Wiktionary:media) like digital audio, digital video and other digital content can be created, referred to and distributed via digital information processing machines. Digital media represents a profound change from previous (analog) media. Digital data is independent of its interpretation (hence representation). An arbitrary sequence of digital code like "0100 0001" might be interpreted as the decimal number 65, the hexadecimal number 41 or the glyph "A". See also: ASCII, Code. Florida's digital media industry association, Digital Media Alliance Florida, defines digital media as "the creative convergence of digital arts, science, technology and business for human expression, communication, social interaction and education". There is a rich history of non-binary digital media and computers.

Data conversion
The transformation of an Analog signal to Digital information via an Analog-to-digital converter is called sampling. According to information theory, sampling is a reduction of information. Most digital media are based on translating analog data into digital data and vice-versa (see digital recording, digital video, television versus digital television).

Data processing
As opposed to analog data, digital data is in many cases easier to manipulate and the end result can be reproduced indefinitely without any loss of quality. Mathematical operations can be applied to arbitrary digital information regardless of its interpretation (you can add "2" to the data "65" and interpret the result either as the hexadecimal number "43" or the letter "C"). Therefore, it is possible to use the same compression operation onto a text file or an image file or a sound file. The foundations of operation on digital information are described in digital signal processing.

Examples
The following list of digital media is based on a rather technical view of the term media. Other views might lead to different lists. Cellular phones Compact discs Digital video Televisions

e-books Internet Minidisc

Digital media Video games e-Commerce game consoles computers and many interactive media

Art
Digital art is any art in which computers played a role in production or display of the artwork. Such art can be an image, sound, animation, video, CD-ROM, DVD-ROM, videogame, web site, algorithm, performance or gallery installation. Many traditional disciplines are now integrating digital technologies and, as a result, the lines between traditional works of art and new media works created using computers has been blurred. For instance, an artist may combine traditional painting with algorithm art and other digital techniques. Often, the medium itself is considered the artwork. As a result, defining computer art by its end product can thus be difficult. Nevertheless, this type of art is beginning to appear in art museum exhibits. Comic book artists in the past would generally sketch a drawing in pencil before going over the drawing again with India ink, using pens and brushes. Magazine illustrators often worked with India ink, acrylics or oils. Currently, an increasing number of artists are now creating digital artwork.

Picture produced by Drawing Machine 2

Digital artists do, simply, what centuries of artists have always done by exploring and adopting a culture's new technology toward the making of a personal imagery. In doing so the culture is also reflected in the artwork as is the artist's personal vision. As our culture becomes increasingly digitized, digital artists are leading the way in exploring and defining this new culture. Digital Artists use a medium that is nearly immaterial, that being binary information which describes the color and brightness of each individual pixel on a computer screen. Taken as a whole an image consisting of pure light is the feedback devise that tells an artist what is being made and simultaneously stored on the computer's hard drive. Digital Artists employ many types of user interfaces that correspond to the wide variety of brushes, lenses or other tools that traditional artist use to shape their materials. Rather than manipulating digital code directly as math, these electronic brushes and tools allow an artist to translate hand motions, cutting and pasting, and what were formerly chemical dark room techniques into the mathematical changes that effect the arrangement of screen pixels and create a picture. Digital Art is created and stored in a non-material form on the computer's memory systems and must be made physical, usually in the form of prints on paper or some other form of printmaking substrate. In addition, digital art may be exchanged and appreciated directly on a computer screen in gallery situations or simultaneously in every place on the globe with access to the web. Being immaterial has its advantages and with the advent of high quality digital printing techniques a very traditional long lasting print of this artwork can also be produced and marketed. The list of digital artists continues to lengthen: David lvarez Miguel lvarez-Fernndez Winston Blakely Craig Boldman Brian Bolland

Digital media Thomas Charveriat Ernie Colon Andrew Dabb Matthew Forsythe J.D. King Roger Langridge Liu Dao Jim McDermott Dave McKean Shawn McManus Wendy McMurdo Manfred Mohr Joseph Nechvatal Ariel Olivetti Zina Saunders Antoine Schmitt Barclay Shaw Jim Steranko Michael Whelan Andrew Wildman Nam June Paik Yoko Ono Lev Manovich Michael Mandiberg Judy Malloy Ben Benjamin

Companies
Several design houses are active in this space, prominent names being: Publicis McCann Erickson Companies offering training in Digital Media: Digital Media Academy Giant Campus John Lennon Educational Tour Bus Sterling Ledet & Associates

Digital media

See also
Analog-to-digital converter Content delivery Digital asset management Digital signal processing Media psychology Electronic publishing New Media Cybertext Digital Billboards

Category:Information technology education

Further reading
Coy, Wolfgang (2005): Analog/Digital. In: Warnke, Martin et al. (2005): Hyperkult II - Zur Ortsbestimmung analoguer und digitaler Medien (in German), Bielefeld: transcript Verlag, ISBN 3-89942-274-0 Nelson, Ted (1990): Literary Machines, Sausalito: Mindful Press. Pflger, Jrg (2005): Wo die Quantitt in Qualitt umschlgt. In: Warnke, Martin et al. (2005): Hyperkult II - Zur Ortsbestimmung analoguer und digitaler Medien (in German), Bielefeld: transcript Verlag, ISBN 3-89942-274-0

External links
"The Digital Media Winners of 2007" [1] - Annual MP3 Newswire award "Topics in Digital Media Spring 2010" [2]-New York University "Topics In Digital Media Fall 2009" [3] - New York University

References
[1] http:/ / www. mp3newswire. net/ stories/ 7002/ 2007-winners. html [2] http:/ / cultureandcommunication. org/ tdm/ s10/ [3] http:/ / cultureandcommunication. org/ f09/ tdm/

Performance art

Performance art
This article is about Performance art. For other uses, see Performance (disambiguation) Performance art refers largely to a performance which is presented to an audience but which does not seek to present a conventional theatrical play or a formal linear narrative, or which alternately does not seek to depict a set of fictitious characters in formal scripted interactions. It therefore will often include some form of action or spoken word which is a form of direct communication between the artist and audience, rather than a script written beforehand. It often entails a dramatic performer who is directly aware of and in communication with the audience, much the same as a singer or juggler in a concert or variety show might be said to perform directly for an audience, rather than creating a fictitious character who inhabits a fictitious dramatic setting on the stage. Performance art often breaks the fourth wall, meaning that the performance artist does not seek to behave as if unaware of the audience. Some performance art may utilize a script or create a fictitious dramatic setting, but still constitutes performance art in that it does not seek to follow the usual dramatic norm of creating a fictitious setting with a linear script which follows conventional real-world dynamics; rather, it would intentionally seek to satirize or to transcend the usual real-world dynamics which are used in conventional theatrical plays. In this way, the performance work itself partakes of a form of direct communication with the audience, by relying on the audience's familiarity with nominal dramatic premises and norms, in order to go beyond them or circumvent them, even if the characters within the work themselves do not evince such awareness. Although performance art could be said to include relatively mainstream forms of performance such as dance, music, and circus-related things like fire breathing, juggling, and gymnastics, these are normally instead known as the performing arts. Performance art is a term usually reserved to refer to a more conceptual art which conveys a content-based meaning in a more drama-related sense, rather than being simple performance for its own sake for entertainment purposes. Furthermore, performance art can include any type of physical stage performance which is not an exhibition of direct artistry such as theater, music or dance, but rather incorporates satirical or conceptual elements; an example of this is Blue Man Group.

Photograph of a performance by Yves Klein at Rue Gentil-Bernard, Fontenay-aux-Roses, October 1960, by Harry Shunk. Le Saut dans le Vide (Leap into the Void)

Yves Klein and Dino Buzzati engaged in the ritual transfer of immateriality, January 26, 1962

In performance art, the actions of an individual or a group at a particular place and in a particular time constitute the work. Performance art can happen anywhere, in any venue or setting and for any length of time. Performance art can be any situation that involves

Performance art

four basic elements: time, space, the performer's body and a relationship between performer and audience. Performance art traditionally involves the artist and other actors, but works like Survival Research Laboratories' pieces, utilizing robots and machines without people, may also be seen as an offshoot of performance art. In some cases,the audience unwittingly becomes part of that performance.

History
Origins
The first forms of performance art began in the Middle Ages, in the forms of itinerant poets such as minstrels, troubadours, bards, and in some cases jesters. These were artists who often composed and performed their own works. In the case of minstrels, their poems were often composed spontaneously, and bore direct relevance to the audience and their society. thus, they constituted an early form of performance art. This evolved into various forms in various cultures, such as Commedia dell'arte in Italy, pantomime in Great Britain, mime artists (which are quite distinct from pantomime), harlequinade in various European societies, skomorokh in Russia, and folk plays in various countries. In modern era, there continue to be some paradigmatic roles which fit this function, such as buskers.

Performance artist Joseph Beuys in 1978 : Jeder Mensch ein Knstler Auf dem Weg zur Freiheitsgestalt des sozialen Organismus - Every person an artist On the way to the libertarian form of the social organism

Modern development
In the modern era, there have been a variety of new works, concepts and artists which have led to new kinds of performance art. Andy Warhol was noted for staging new types of mass events and performance art in New York, notably with the Velvet Underground and also with the Warhol Superstars. Laurie Anderson's performance art has been staged at a number of major venues, such as Lincoln Center. Modern artistic concepts such as surrealism and dadaism were used by several artists to produce new kinds of performance art. In the 1960s, an increasing number of artists produced new forms of performance art, including Yves Klein, Allan Kaprowwho coined the term HappeningsCarolee Schneemann, Hermann Nitsch, Yoko Ono, Wolf Vostell, Joseph Beuys, Barbara T. Smith, Vito Acconci, the women associated with the Feminist Studio Workshop and the Woman's Building in Los Angeles, and Chris Burden. But performance art was certainly anticipated, if not explicitly formulated, by Japan's Gutai group of the 1950s, especially in such works as Atsuko Tanaka's "Electric Dress" (1956) [1]. In 1970 the British-based pair Gilbert and

Carolee Schneemann performing her piece Interior Scroll

Chris Burden during the performance of his 1974 piece Trans-fixed where he was nailed to the back of a Volkswagen

Performance art

George created the first of their "living sculpture" performances when they painted themselves gold and sang "Underneath The Arches" for extended periods. Jud Yalkut, a pioneering video artist, and others, such as Carolee Schneemann and Sandra Binion, began combining video with other media to create experimental works. Guerrilla theater, or street theater, including performances by students and others, have regularly appeared within the ranks of antiwar movements. The anarchist antiwar group the Yippies, partly organized by Abbie Hoffmann, performed street theater when they dropped hundreds of dollar bills from the balcony of the Stock Exchange in New York. Latino, Latin-American, and other street theater groups, including those like the San Francisco Mime Troupe, that stem from circus and traveling theater traditions, should also be mentioned. Although they may not be not direct antecedents of art-world performance, their Stelarc "Parasite: Event for Invaded influence, particularly in the United States should be noted as should that of and Involuntary Body" (1997) Ars Electronica Festival the U.S. conceptual artist Sol Lewitt, who in the early 1960s converted mural-style drawing into an act of performance by others. Performance art, because of its relative transience, had a fairly robust presence in the avant-garde of East Bloc countries, especially Yugoslavia and Poland, by the 1970s. Western cultural theorists often trace performance art activity back to the beginning of the 20th century. Dada, for example, provided a significant progenitor with the unconventional performances of poetry, often at the Cabaret Voltaire, by the likes of Richard Huelsenbeck and Tristan Tzara. There were also Russian Futurist artists who could be identified as performance artists, such as David Burliuk, who painted his face for his actions (1910-20). However, there are accounts of Renaissance artists putting on public performances that could be said to be early ancestors of modern performance art. Some performance artists and theorists point to other traditions and histories, ranging from tribal to sporting and ritual or religious events. Performance art activity is not confined to European or American art traditions; many notable practitioners can be found in Asia and Latin America.

Performance
In performance art, usually one or more people perform in front of an audience. Performance artists often challenge the audience to think in new and unconventional ways about theater and performing, break conventions of traditional performing arts, and break down conventional ideas about "what art is," a preoccupation of modernist experimental theater and of postmodernism. Thus, even though in most cases the performance is in front of an audience, in some cases, notably in the later works of Allan Kaprow, the audience members become the performers. The performance may be scripted, unscripted, or improvisational. It may incorporate music, dance, song, or complete silence. Art-world performance has often been an intimate set of gestures or actions, lasting from a few minutes to many hours, and may rely on props or avoid them completely. Performance may occur in transient spaces or in galleries, room, theaters or, auditoriums. Despite the fact that many performances are held within the circle of a small art-world group, RoseLee Goldberg notes, in Performance Art: From Futurism to the Present that "performance has been a way of appealing directly to a large public, as well as shocking audiences into reassessing their own notions of art and its relation to culture. Conversely, public interest in the medium, especially in the 1980s, stems from an apparent desire of that public to gain access to the art world, to be a spectator of its ritual and its distinct community, and to be surprised by the unexpected, always unorthodox presentations that the artists devise.[2] Allan Kaprow's performance art attempted to integrate art and life. Through Happenings, the separation between life, art, artist, and audience becomes blurred. The Happening allows the artist to experiment with body motion, recorded

Performance art sounds, written and spoken texts, and even smells. One of Kaprow's earliest Happenings was the "Happenings in the New York Scene," written in 1961 as the form was developing. [3]

Genres
Performance art genres include body art, fluxus, happening, action poetry, and intermedia. Some artists, e.g. the Viennese Actionists and neo-Dadaists, prefer to use the terms live art, "action art", intervention or "manoeuvre" to describe their activities. These activities are also sometimes referred to simply as "actions".

Bibliography
RoseLee Goldberg, (1998) Performance: Live Art Since 1960, Harry N. Abrams, NY NY Rockwell, John (2004). "Preserve Performance Art?" New York Times. April 30. Smith, Roberta (2005). "Performance Art Gets Its Biennial." New York Times. November 2. RoseLee Goldberg, (2001) Performance Art: From Futurism to the Present (World of Art), Thames & Hudson; Rev Sub edition C. Carr, (1993) On Edge: Performance at the End of the Twentieth Century, Wesleyan Guillermo Gmez-Pea, (2005) Ethno-techno: Writings on performance, activism and pedagogy. Routledge, London.

See also
Cultural forms and concepts
Art intervention Busking Classificatory disputes about art Conceptual art Happenings Live art

Specific modern examples and types

Danger music Flash mob Noise music Immersive virtual reality Installation art New media art Living statue

Performance art

Specific works and artists

List of performance artists Performance Poetry RoseLee Goldberg Gutai group Performance art in China

External links
the-artists.org [4] Performance artists and art. Live Art Archives at the University of Bristol Theatre Collection [5] e-misfrica Performance and Politics in the Americas is a peer-reviewed, biannual publication. [6] INTERAKCJE [7] Performance art meeting PERFORMA [8] Performance art biennial INFR'ACTION [9] Performance art festival Live Action Gteborg [10] International performance art festival live event visual performance art [http://www.thisisLiveArt.co.uk/ Live Art Development Agency [11]

Air performance [http://www.mediatecaonline.net/mediatecaonline/SConsultaMateria?ID_IDIOMA=en&ope=1&mnuSearch=1&criteri=performan Performance, Mediateca Media Art Space [12] Jardin de l'Enjeu [13] Performance art in Thailand

References
[1] http:/ / nymag. com/ nymetro/ arts/ art/ reviews/ 9937/ [2] Performance Art from Futurism to the Present by [[RoseLee Goldberg (http:/ / www. amazon. com/ gp/ product/ 0500203393)] accessed online August 31, 2007] [3] Montfort, Nick, and Noah Wardrip-Fruin. The New Media Reader. Cambridge, Mass. [u.a.: MIT, 2003. Print. [4] http:/ / the-artists. org/ MovementView. cfm?id=8A01EE98%2DBBCF%2D11D4%2DA93500D0B7069B40 [5] http:/ / www. bris. ac. uk/ theatrecollection/ liveart/ liveart_archivesmain. html [6] http:/ / www. emisferica. org/ [7] http:/ / www. wizya. net/ inter. htm [8] http:/ / www. performa-arts. org/ [9] http:/ / www. infraction. info/ [10] http:/ / www. liveaction. se/ [11] http:/ / www. theatreoflifeartistry. com/ [12] http:/ / www. peramoralaire. com/ [13] http:/ / enjeu. fr/ indexjo. htm

Conceptual art

10

Conceptual art
Conceptual art is art in which the concept(s) or idea(s) involved in the work take precedence over traditional aesthetic and material concerns. Many of the works, sometimes called installations, of the artist Sol LeWitt may be constructed by anyone simply by following a set of written instructions.[1] This method was fundamental to LeWitt's definition of Conceptual art, one of the first to appear in print:

Joseph Kosuth, One and Three Chairs (1965)

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.

[2] Sol LeWitt

Tony Godfrey, author of "Conceptual Art" (1998), asserts that conceptual art questions the nature of art[3] , a notion that Joseph Kosuth elevated to a definition of art itself in his seminal, early manifesto of conceptual art, "Art after Philosophy" (1969). The notion that art should examine its own nature was already a potent aspect of (the influential art critic) Clement Greenberg's vision of Modern art during the 1950s. With the emergence of an exclusively language-based art in the 1960s, however, conceptual artists such as Joseph Kosuth, Lawrence Weiner and the English Art & Language group began a far more radical interrogation of art than was previously possible (see below). One of the first and most important things they questioned was the common assumption that the role of the artist was to create special kinds of material objects.[4] [5] [6] Through its association with the Young British Artists and the Turner Prize during the 1990s, in popular usage, particularly in the UK, "conceptual art" came to denote all contemporary art that does not practise the traditional skills of painting and sculpture.[7] It could be said that one of the reasons why the term "conceptual art" has come to be associated with various contemporary practices far removed from its original aims and forms lies in the problem of defining the term itself. As the artist Mel Bochner suggested as early as 1970, in explaining why he does not like the epithet "conceptual", it is not always entirely clear what "concept" refers to, and it runs the risk of being confused with "intention." Thus, in describing or defining a work of art as conceptual it is important not to confuse what is referred to as "conceptual" with an artist's "intention."

Conceptual art

11

History
The French artist Marcel Duchamp paved the way for the conceptualists, providing them with examples of prototypically conceptual works the readymades, for instance. The most famous of Duchamp's readymades was Fountain (1917), a standard urinal basin signed by the artist with the pseudonym "R.Mutt", and submitted for inclusion in the annual, un-juried exhibition of the Society of Independent Artists in New York (it was rejected).[8] In traditional terms, a commonplace object such as a urinal cannot be said to be art because it is not made by an artist or with any intention of being art, nor is it unique or hand-crafted. Duchamp's relevance and theoretical importance for future "conceptualists" was later acknowledged by US artist Joseph Kosuth in his 1969 essay, "Art after Philosophy," when he wrote: "All art (after Duchamp) is conceptual (in nature) because art only exists conceptually." In 1956, recalling the infinitesimals of G.W. Leibniz, quantities which Marcel Duchamp, Fountain, 1917. Photograph by could not actually exist except conceptually, the founder of Lettrism, Alfred Steiglitz Isidore Isou, developed the notion of a work of art which, by its very nature, could never be created in reality, but which could nevertheless provide aesthetic rewards by being contemplated intellectually. Also called Art esthapriste ('infinite-aesthetics'). Related to this, and arising out of it, is excordism, the current incarnation of the Isouian movement, defined as the art of the infinitely large and the infinitely small. In 1961 the term "concept art," coined by the artist Henry Flynt in his article bearing the term as its title, appeared in a Fluxus publication.[9] However it assumed a different meaning when employed by Joseph Kosuth and the English Art and Language group, who discarded the conventional art object in favour of a documented critical inquiry into the artist's social, philosophical and psychological status. By the mid-1970s they had produced publications, indexes, performances, texts and paintings to this end. In 1970 Conceptual Art and Conceptual Aspects, the first dedicated conceptual art exhibition, was mounted at the New York Cultural Center.[10]

The Critique of Formalism and the Commodification of Art

Conceptual art emerged as a movement during the 1960s. In part, it was a reaction against formalism as it was then articulated by the influential New York art critic Clement Greenberg. According to Greenberg Modern art followed a process of progressive reduction and refinement toward the goal of defining the absolutely essential, formal nature of each medium. Those elements that ran counter to this nature were to be reduced. The task of painting, for example, was to define precisely what kind of object a painting truly is: what makes it a painting and nothing else? As it is of the nature of paintings to be flat objects with canvas surfaces onto which colored pigment is applied, such things as figuration, 3-D perspective illusion and references to external subject matter were all found to be extraneous to the essence of painting, and ought to be removed.[11] Some have argued that conceptual art continued this "dematerialization" of art by removing the need for objects altogether[12] , while others, including many of the artists themselves, saw conceptual art as a radical break with Greenberg's kind of formalist Modernism. Later artists continued to share a preference for art to be self-critical, as well as a distaste for illusion. However, by the end of the 1960s it was certainly clear that Greenberg's stipulations for art to continue within the confines of each medium and to exclude external subject matter no longer held traction.[13]

Conceptual art Conceptual art also reacted against the commodification of art; it attempted a subversion of the gallery or museum as the location and determiner of art, and the art market as the owner and distributor of art. Lawrence Weiner said: "Once you know about a work of mine you own it. There's no way I can climb inside somebody's head and remove it." Many conceptual artists' work can therefore only be known about through documentation which is manifested by it, e.g. photographs, written texts or displayed objects, which some might argue are not in themselves the art. It is sometimes (as in the work of Robert Barry, Yoko Ono, and Weiner himself) reduced to a set of written instructions describing a work, but stopping short of actually making itemphasising that the idea is more important than the artifact.

12

Language and/as Art

Language was a central concern for the first wave of conceptual artists of the 1960s and early 1970s. Although the appearance of text in art was by no means novel, it was not until the 1960s that the artists Lawrence Weiner, Edward Ruscha[14] , Joseph Kosuth, Robert Barry, and the English Art & Language group began to produce art by exclusively linguistic means. Where previously language was presented as one kind of visual element alongside others, and Lawrence Weiner. Bits & Pieces Put Together to subordinate to an overarching composition (see for example Synthetic Present a Semblance of a Whole, The Walker Art Cubism), the conceptual artists used language in place of brush and Center, Minneapolis, 2005. canvas, and allowed it to signify in its own right.[15] Of Lawrence Weiner's works Anne Rorimer writes, "The thematic content of individual works derives solely from the import of the language employed, while presentational means and contextual placement play crucial, yet separate, roles."[16] The Australian philosopher and theorist of conceptual art, Peter Osborne, suggests that among the many factors that influenced the gravitation toward language-based art, of vital importance for conceptualism was the turn to linguistic theories of meaning in both Anglo-American analytic philosophy, and structuralist and post structuralist Continental philosophy during the middle of the twentieth century. This linguistic turn "reinforced and legitimized" the direction the conceptual artists took.[17] Osborne also notes that the early conceptualists were the first generation of artists to complete degree-based university training in art.[18]

Conceptual Art and Artistic Skill

"By adopting language as their exclusive medium, Weiner, Barry, Wilson, Kosuth and Art & Language were able to sweep aside the vestiges of authorial presence manifested by formal invention and the handling of materials."[19] An important difference between conceptual art and more "traditional" forms of art-making goes to the question of artistic skill. Although it is often the case that skill in the handling of traditional media plays little role in conceptual art, it is difficult to argue that no skill is required to make conceptual works, or that skill is always absent from them. John Baldessari, for instance, has presented realist pictures that he commissioned professional sign-writers to paint; and many conceptual performance artists (e.g. Stelarc, Marina Abramovic) are technically accomplished performers and skilled manipulators of their own bodies. It is thus not so much an absence of skill or hostility toward tradition that defines conceptual art as an evident disregard for conventional, modern notions of authorial presence and individual artistic expression (or genius).

Conceptual art

13

Contemporary Influence
The first wave of the "conceptual art" movement extended from approximately 1967 to 1978. Early "concept" artists like Henry Flynt, Robert Morris, and Ray Johnson influenced the later, widely accepted movement of conceptual art. Conceptual artists like Dan Graham, Hans Haacke, and Lawrence Weiner have proven very influential on subsequent artists, and well known contemporary artists such as Mike Kelley or Tracey Emin are sometimes labeled "second- or third-generation" conceptualists, or "post-conceptual" artists. Many of the concerns of the conceptual art movement have been taken up by contemporary artists. While they may or may not term themselves "conceptual artists", ideas such as anti-commodification, social and/or political critique, and ideas/information as medium continue to be aspects of contemporary art, especially among artists working with installation art, performance art, net.art and electronic/digital art.

Controversy in the UK
In Britain, the rise to prominence of the Young British Artists (YBAs) after the 1988 Freeze show, curated by Damien Hirst, and subsequent promotion of the group by the Saatchi Gallery during the 1990s, generated a media backlash, where the phrase "conceptual art" came to be a term of derision applied to much contemporary art. This was amplified by the Turner Prize whose more extreme nominees (most notably Hirst and Emin) caused a controversy annually.[7] The Stuckist group of artists, founded in 1999, proclaimed themselves Stuckist artists leave a coffin, marked "The death "pro-contemporary figurative painting with ideas and anti-conceptual of conceptual art", outside the White Cube gallery art, mainly because of its lack of concepts." They also called it in Shoreditch, July 25, 2002. pretentious, "unremarkable and boring" and on July 25, 2002 deposited a coffin outside the White Cube gallery, marked "The Death of Conceptual Art".[20] [21] They staged yearly demonstrations outside the Turner Prize. In 2002, Ivan Massow, the Chairman of the Institute of Contemporary Arts branded conceptual art "pretentious, self-indulgent, craftless tat" and in "danger of disappearing up its own arse ... led by cultural tsars such as the Tate's Sir Nicholas Serota."[22] Massow was consequently forced to resign. At the end of the year, the Culture Minister, Kim Howells (an art school graduate) denounced the Turner Prize as "cold, mechanical, conceptual bullshit".[23] In October 2004 the Saatchi Gallery told the media that "painting continues to be the most relevant and vital way that artists choose to communicate."[24]

Conceptual art

14

Notable examples of conceptual art

1953 : Robert Rauschenberg exhibits Erased De Kooning Drawing, a drawing by Willem De Kooning which Rauschenberg erased. It raised many questions about the fundamental nature of art, challenging the viewer to consider whether erasing another artist's work could be a creative act, as well as whether the work was only "art" because the famous Rauschenberg had done it. 1956 : Isidore Isou introduces the concept of infinitesimal art in Introduction une esthtique imaginaire (Introduction to Imaginary Aesthetics). 1957: Yves Klein, Aerostatic Sculpture (Paris). This was composed of 1001 blue balloons released into the sky from Galerie Iris Clert to promote his Proposition Monochrome; Blue Epoch exhibition. Klein also exhibited 'One Minute Fire Painting' which was a blue panel into which 16 firecrackers were set. For his next major exhibition, The Void in 1958, Klein declared that his paintings were now invisible and to prove it he exhibited an empty room. 1960: Yves Klein's action called A Leap Into The Void, in which he attempts to fly by leaping out of a window. He stated: "The painter has only to create one masterpiece, himself, constantly." 1960: The artist Stanley Brouwn declares that all Robert Rauschenberg, Portrait of Iris Clert 1961 the shoe shops in Amsterdam constitute an exhibition of his work. In Vancouver, Iain and Ingrid Baxter of N.E. Thing Co. exhibited the contents of a four room apartment wrapped in plastic bags. 1961: Robert Rauschenberg sent a telegram to the Galerie Iris Clert which said: 'This is a portrait of Iris Clert if I say so.' as his contribution to an exhibition of portraits. 1961: Piero Manzoni exhibited Artist's shit, tins purportedly containing his own feces (although since the work would be destroyed if opened, no-one has been able to say for sure). He put the tins on sale for their own weight in gold. He also sold his own breath (enclosed in balloons) as Bodies of Air, and signed people's bodies, thus

Yves Klein Le Vide (The Void) displayed at the Iris Clert Gallery 1958

Conceptual art

15

declaring them to be living works of art either for all time or for specified periods. (This depended on how much they are prepared to pay). Marcel Broodthaers and Primo Levi are amongst the designated 'artworks'. 1962: Christo's Iron Curtain work. This consists of a barricade of oil barrels in a narrow Paris street which caused a large traffic jam. The artwork was not the barricade itself but the resulting traffic jam. 1962: Yves Klein presents Immaterial Pictorial Sensitivity in various ceremonies on the banks of the Seine. He offers to sell his own 'pictorial sensitivity' (whatever that was, he did not define it) in exchange for gold leaf. In these ceremonies the purchaser gave Klein the gold leaf in return for a certificate. Since Klein's sensitivity was immaterial, the purchaser was then required to burn the certificate whilst Klein threw half the gold leaf into the Seine. (There were seven purchasers.) 1962: Piero Manzoni created The Base of the World, thereby exhibiting the entire planet as his artwork. 1963: George Brecht's collection of Event-Scores, Water Yam, is published as the first Fluxkit by George Maciunas. 1963: Henry Flynts article Concept Art is published in "An Anthology of Chance Operations"; a collection of artworks and concepts by artists and musicians that was published by Martin Creed and Owada, Nothing (1997) Jackson Mac Low and La Monte Young (ed.). "An Anthology of Chance Operations" documented the development of Dick Higgins vision of intermedia art in the context of the ideas of John Cage and became an early Fluxus masterpiece. Flynt's "concept art" devolved from his idea of "cognitive nihilism" and from his insights about the vulnerabilities of logic and mathematics. 1964: Yoko Ono publishes Grapefruit: A Book of Instructions and Drawings. An example of Heuristic art, or a series of instructions for how to obtain an aesthetic experience. 1965: A complex conceptual art piece by John Latham called Still and Chew. He invites art students to protest against the values of Clement Greenberg's Art and Culture (much praised and taught in London's St. Martin's School of Art where Latham taught). Pages of Greenberg's book (borrowed from the college library) are chewed by the students, dissolved in acid and the resulting solution returned to the library bottled and labelled. Latham was then fired from his part-time position. Joseph Kosuth dates the concept of One and Three Chairs in the year 1965. The presentation of the work consists of a chair, its photo and a blow up of a definition of the word "chair". Kosuth has chosen the definition from a

Flute Solo Disassembling Assembling by George Brecht, 1962. This copy in Water Yam

Conceptual art dictionary. Four versions with different definitions are known. 1967: Sol LeWitts Paragraphs on Conceptual Art were published by the American art journal Artforum. The Paragraphs mark the progression from Minimal to Conceptual Art. 1968: Lawrence Weiner relenquishes the physical making of his work and formulates his "Declaration of Intent," one of the most important conceptual art statements following LeWitt's "Paragraphs on Conceptual Art." The declaration, which underscores his subsequent practice reads: "1. The artist may construct the piece. 2. The piece may be fabricated. 3. The piece need not be built. Each being equal and consistent with the intent of the artist the decision as to condition rests with the receiver upon the occasion of receivership." 1969: Robert Barry's Telepathic Piece of which he said 'During the exhibition I will try to communicate telepathically a work of art, the nature of which is a series of thoughts that are not applicable to language or image'. The first issue of "Art-Language" is published in May. It is subtitled as "The Journal of conceptual art" and edited by Terry Atkinson, David Bainbridge, Michael Baldwin and Harold Hurrell. The editors are English members of the artists group Art & Language. The English journal "Studio International" published Joseph Kosuths article "Art after Philosophy" in three parts (October-December). It became the most discussed article on "Conceptual Art". 1970: Painter John Baldessari exhibits a film in which he sets a series of erudite statements by Sol LeWitt on the subject of conceptual art to popular tunes like 'Camptown Races' and 'Some Enchanted Evening'. 1970: Douglas Huebler exhibits a series of photographs which were taken every two minutes whilst driving along a road for 24 minutes. 1970: Douglas Huebler asks museum visitors to write down 'one authentic secret'. The resulting 1800 documents are compiled into a book which, by some accounts, makes for very repetitive reading as most secrets are similar. 1971: Hans Haacke's 'Real Time Social System'. This piece of systems art detailed the real estate holdings of the third largest landowners in New York City. The properties were mostly in Harlem and the Lower East Side, were decrepit and poorly maintained, and represented the largest concentration of real estate in those areas under the control of a single group. The captions gave various financial details about the buildings, including recent sales between companies owned or controlled by the same family. The Guggenheim museum cancelled the exhibition, stating that the overt political implications of the work constituted "an alien substance that had entered the art museum organism". There is no evidence to suggest that the trustees of the Guggenheim were linked financially to the family which was the subject of the work. 1972: Fred Forest buys an area of blank space in the newspaper Le Monde and invites readers to fill it with their own works of art. 1974: Cadillac Ranch near Amarillo, Texas. 1975-76: Three issues of the journal "The Fox" were published in New York. The editor was Joseph Kosuth. "The Fox" became an important platform for the American members of Art & Language. Karl Beveridge, Ian Burn, Sarah Charlesworth, Michael Corris, Joseph Kosuth, Andrew Menard, Mel Ramsden and Terry Smith wrote articles which thematized the context of contemporary art. These articles exemplify the development of an institutional critique within the inner circle of Conceptual Art. The criticism of the art world integrates social, political and economic reasons. 1977: Walter De Maria's 'Vertical Earth Kilometer' in Kassel, Germany. This was a one kilometer brass rod which was sunk into the earth so that nothing remained visible except a few centimeters. Despite its size, therefore, this work exists mostly in the viewer's mind. 1989: Christopher Williams' Angola to Vietnam is first exhibited. The work consists of a series of black-and-white photographs of glass botanical specimens from the Botanical Museum at Harvard University, chosen according to

16

Conceptual art a list of the thirty-six countries in which political disappearances were known to have taken place during the year 1985. 1990: Ashley Bickerton and Ronald Jones included in "Mind Over Matter: Concept and Object" exhibition of third generation Conceptual artists at the Whitney Museum of American Art.[25] 1991: Ronald Jones exhibits objects and text, art, history and science rooted in grim political reality at Metro Pictures Gallery. [26] 1991: Charles Saatchi funds Damien Hirst and the next year in the Saatchi Gallery exhibits his The Physical Impossibility of Death in the Mind of Someone Living, a shark in formaldehyde in a vitrine. 1993: Matthieu Laurette established his artistic birth certificate by taking part in a French TV game called 'Tournez mange' (The Dating Game) where the female presenter asked him who he was, to which he replied: 'A multimedia artist'. Laurette had sent out invitations to an art audience to view the show on TV from their home, turning his staging of the artist into a performed reality. 1993: Vanessa Beecroft holds her first performance in Milan, Italy, using models to act as a second audience to the display of her diary of food. 1999: Tracey Emin is nominated for the Turner Prize. Part of her exhibit is My Bed, her dishevelled bed, surrounded by detritus such as condoms, blood-stained knickers, bottles and her bedroom slippers. 2001: Martin Creed wins the Turner Prize for The Lights Going On and Off, an empty room in which the lights go on and off.[27] 2004: Andrea Fraser's video Untitled, a document of her sexual encounter in a hotel room with a collector (the collector having agreed to help finance the technical costs for enacting and filming the encounter) is exhibited at the Friedrich Petzel Gallery. It is accompanied by her 1993 work Don't Postpone Joy, or Collecting Can Be Fun, a 27-page transcript of an interview with a collector in which the majority of the text has been deleted. 2005: Simon Starling wins the Turner Prize for Shedboatshed, a wooden shed which he had turned into a boat, floated down the Rhine and turned back into a shed again.[28]

17

Notable conceptual artists

Vikky Alexander Art & Language Marina Abramovi Billy Apple Shusaku Arakawa Michael Asher John Baldessari Artur Barrio Robert Barry Joseph Beuys Mel Bochner Allan Bridge Marcel Broodthaers Victor Burgin Chris Burden Daniel Buren Sophie Calle Andrea Fraser Kendell Geers Thierry Geoffroy Gilbert and George Allan Graham Dan Graham Hans Haacke Iris Hussler Oliver Herring Jenny Holzer Zhang Huan Douglas Huebler David Ireland Ray Johnson Ronald Jones Ilya Kabakov On Kawara Jonathon Keats John Latham Matthieu Laurette Sol LeWitt Mark Lombardi Piero Manzoni Danny Matthys Allan McCollum Cildo Meireles Bruce Nauman Bodo Sperling Yoko Ono Dennis Oppenheim Adrian Piper William Pope.L Dmitri Prigov Martha Rosler Allen Ruppersberg Hiroshi Sugimoto

Lothar Baumgarten

Conceptual art
Martin Creed Mark Divo Marcel Duchamp Olafur Eliasson Henry Flynt Mary Kelly Yves Klein Joseph Kosuth Stelarc Wolf Vostell Lawrence Weiner Gillian Wearing Christopher Williams

18

Further reading
Books: Peter Osborne, Conceptual Art (Themes and Movements), Phaidon, 2002 (See also the external links for Robert Smithson) Klaus Honnef, Concept Art, Cologne: Phaidon, 1972 Ermanno Migliorini, Conceptual Art, Florence: 1971 Ursula Meyer, ed., Conceptual Art, New York: Dutton, 1972 Gregory Battcock, ed., Idea Art: A Critical Anthology, New York: E. P. Dutton, 1973 Juan Vicente Aliaga & Jos Miguel G. Corts, ed., Arte Conceptual Revisado/Conceptual Art Revisited, Valencia: Universidad Politcnica de Valencia, 1990 Thomas Dreher, Konzeptuelle Kunst in Amerika und England zwischen 1963 und 1976 (Thesis Ludwig-Maximilians-Universitt, Mnchen), Frankfurt am Main: Peter Lang, 1992 Robert C. Morgan, Conceptual Art: An American Perspective, Jefferson, NC/London: McFarland, 1994 Robert C. Morgan, Art into Ideas: Essays on Conceptual Art, Cambridge et al.: Cambridge University Press, 1996 Tony Godfrey, Conceptual Art, London: 1998 Alexander Alberro & Blake Stimson, ed., Conceptual Art: A Critical Anthology, Cambridge, Mass., London: MIT Press, 1999 Michael Newman & Jon Bird, ed., Rewriting Conceptual Art, London: Reaktion, 1999 Anne Rorimer, New Art in the 60s and 70s: Redefining Reality, London: Thames & Hudson, 2001 Daniel Marzona, Conceptual Art, Cologne: Taschen, 2005 Michael Corris, ed., Conceptual Art: Theory, Practice, Myth, Cambridge, Mass.,: Cambridge University Press, 2004 Peter Goldie and Elisabeth Schellekens, Who's afraid of conceptual art?, Abingdon [etc.] : Routledge, 2010. VIII, 152 p. : ill. ; 20 cm ISBN 0-415-42281-7 hbk : ISBN 978-0-415-42281-9 hbk : ISBN 0-415-42282-5 pbk : ISBN 978-0-415-42282-6 pbk Exhibit catalogues: January 5-31,1969, exh.cat., New York: Seth Siegelaub, 1969 When Attitudes Become Form, exh.cat., Bern: Kunsthalle Bern, 1969 557,087, exh.cat., Seattle: Seattle Art Museum, 1969 Konzeption/Conception, exh.cat., Leverkusen: Stdt. Museum Leverkusen et al., 1969 Conceptual Art and Conceptual Aspects, exh.cat., New York: New York Cultural Center, 1970 Art in the Mind, exh.cat., Oberlin, Ohio: Allen Memorial Art Museum, 1970 Information, exh.cat., New York: Museum of Modern Art, 1970 Software, exh.cat., New York: Jewish Museum, 1970 Situation Concepts, exh.cat., Innsbruck: Forum fr aktuelle Kunst, 1971 Art conceptuel I, exh.cat., Bordeaux: capcMuse dart contemporain de Bordeaux, 1988 L'art conceptuel, exh.cat., Paris: ARCMuse dArt Moderne de la Ville de Paris, 1989 Christian Schlatter, ed., Art Conceptuel Formes Conceptuelles/Conceptual Art Conceptual Forms, exh.cat., Paris: Galerie 19002000 and Galerie de Poche, 1990 Reconsidering the Object of Art: 1965-1975, exh.cat., Los Angeles: Museum of Contemporary Art, 1995

Conceptual art Global Conceptualism: Points of Origin, 1950s-1980s, exh.cat., New York: Queens Museum of Art, 1999

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See also
Anti-anti-art Contemporary art Danger music Postmodern art Found art Installation art Modern art Video art Visual arts Classificatory disputes about art Net art Information art Conceptual architecture Neo-conceptual art Moscow Conceptualists Gutai group Systems art Experiments in Art and Technology Something Else Press Intermedia Romantic conceptualism

Individual works
Fountain The Bride Stripped Bare By Her Bachelors, Even One and Three Chairs

External links
Conceptual Art [29] entry by Elisabet Shellekens in the Stanford Encyclopedia of Philosophy Sol LeWitt, "Paragraphs on Conceptual Art" [30] Conceptualism [31] pdf file of An Anthology of Chance Operations (1963) [32] containing Henry Flynt's "Concept Art" essay at UbuWeb MINUS SPACE reductive and concept-based art [33] conceptual artists, books on conceptual art and links to further reading [34]

Conceptual art

20

References
[1] Facsimile of original instructions for Wall Drawing 811 by Phil Gleason, with a view of the installed work at Franklin Furnace. October 1996. (http:/ / www. franklinfurnace. org/ history/ flow/ lewitt/ lewitt. html) [2] "Paragraphs on Conceptual Art", Artforum, June 1967. [3] Tony Godfrey, Conceptual Art, London: 1998 [4] Joseph Kosuth, "Art After Philosophy" (1969). Reprinted in Peter Osborne, Conceptual Art: Themes and movements, Phaidon, London, 2002. p. 232 [5] Art & Language, Art-Language (journal): Introduction (1969). Reprinted in Osborne (2002) p. 230 [6] Ian Burn, Mel Ramsden: "Notes On Analysis" (1970). Reprinted in Osborne (2003), p. 237. E.g. "The outcome of much of the 'conceptual' work of the past two years has been to carefully clear the air of objects." [7] Turner prize history: Conceptual art Tate gallery (http:/ / web. archive. org/ web/ 20041211013930/ http:/ / www. tate. org. uk/ britain/ turnerprize/ history/ issue_conceptual. htm) tate.org.uk. Accessed August 8, 2006 [8] Tony Godfrey, Conceptual Art, London: 1998. p. 28 [9] The first text in which the category "concept art" appeared was written by Henry Flynt around 1961-1963. (http:/ / www. henryflynt. org/ aesthetics/ conart. html) [10] artlex.com (http:/ / www. artlex. com/ ArtLex/ c/ conceptualart. html) [11] Rorimer, p. 11 [12] Lucy Lippard & John Chandler, "The Dematerialization of Art", Art International 12:2, February 1968. Reprinted in Osborne (2002), p. 218 [13] Rorimer, p. 12 [14] http:/ / www. artic. edu/ aic/ exhibitions/ exhibition/ ruscha "seminal Pop and Conceptual artist." [15] Anne Rorimer, New Art in the Sixties and Seventies, Thames & Hudson, 2001; p. 71 [16] Rorimer, p. 76 [17] Peter Osborne, Conceptual Art: Themes and movements, Phaidon, London, 2002. p. 28 [18] Osborne (2002), p. 28 [19] Rorimer, p. 76 [20] stuckism.com (http:/ / www. stuckism. com/ clown2000. html) [21] Cripps, Charlotte. "Visual arts: Saying knickers to Sir Nicholas (http:/ / findarticles. com/ p/ articles/ mi_qn4158/ is_20040907/ ai_n12797891), The Independent, 7 September 2004. Retrieved from findarticles.com, 7 April 2008. [22] The Guardian (http:/ / www. guardian. co. uk/ uk_news/ story/ 0,3604,634797,00. html) [23] The Daily Telegraph (http:/ / www. telegraph. co. uk/ news/ main. jhtml?xml=/ news/ 2002/ 11/ 01/ nart01. xml) [24] Reynolds, Nigel 2004 "Saatchi's latest shock for the art world is painting" (http:/ / www. telegraph. co. uk/ news/ main. jhtml?xml=/ news/ 2004/ 10/ 02/ nsaat02. xml) The Daily Telegraph 10 February 2004. Accessed April 15, 2006 [25] Review/Art; In the Arena of the Mind, at the Whitney - New York Times (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9C0CEFDA113CF93AA25753C1A966958260& sec=& spon=& pagewanted=all) [26] Smith, Roberta. "Art in review: Ronald Jones Metro Pictures" (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9D0CE2DB1539F934A15751C1A967958260), The New York Times, 27 December 1991. Retrieved 8 July 2008. [27] BBC Online (http:/ / news. bbc. co. uk/ 1/ hi/ entertainment/ arts/ 1698032. stm) [28] The Times (http:/ / www. timesonline. co. uk/ article/ 0,,2-1905555,00. html) [29] http:/ / plato. stanford. edu/ entries/ conceptual-art [30] http:/ / www. ddooss. org/ articulos/ idiomas/ Sol_Lewitt. htm [31] http:/ / www. art. dostweb. com/ [32] http:/ / ubu. com/ historical/ young/ index. html [33] http:/ / www. minusspace. com/ [34] http:/ / the-artists. org/ artistsbymovement/ Conceptual-Art/

Site-specific art

21

Site-specific art
Site-specific art is artwork created to exist in a certain place. Typically, the artist takes the location into account while planning and creating the artwork. The actual term was promoted and refined by Californian artist Robert Irwin, but it was actually first used in the mid-1970s by young sculptors, such as Lloyd Hamrol and Athena Tacha, who had started executing public commissions for large urban sites (see Peter Frank, Site Sculpture, Art News, Oct. 1975). Site specific environmental art was first described as a movement by architectural critic Catherine Howett (New Directions in Environmental Art, Landscape Architecture, Jan. 1977) and art critic Lucy Lippard (Art Outdoors, In and Out of the Public Domain, Studio International, March-April 1977).

Nef pour quatorze reines by Rose-Marie Goulet, a memorial to the cole Polytechnique Massacre, featuring sculptural elements integrated into a specially landscaped site

Outdoor site-specific artworks often include landscaping combined with permanently sited sculptural elements (the movement is linked with Environmental art). Outdoor site-specific artworks also include dance performances created especially for the site. Site-specific dance is also created to exist in a certain place. The choreography is generated through research and interpretation of the sites unique cultural matrix of characteristics and topographies, whether architectural, historical, social and/or environmental; discovering the hidden meaning in a space and developing methods to amplify it. Some artists make a point of commissioning music created by a local composer especially for the dance site. Indoor site-specific artworks may be created in conjunction with (or indeed by) the architects of the building. More broadly, the term is sometimes used for any work that is (more or less) permanently attached to a particular location. In this sense, a building with interesting architecture could be considered a piece of site-specific art. Artists producing site-specific guikworks include Max Neuhaus, Robert Smithson, Andy Goldsworthy, Christo and Jeanne-Claude, Dan Flavin, Richard Serra, Olga Kisseleva, Patricia Johanson, Athena Tacha, Alice Adams, Mary Miss, Jackie Ferrara, Nancy Holt, Rowan Gillespie, Marian Zazeela, Guillaume Bijl, Betty Beaumont and younger artists like Eberhard Bosslet, Mark Divo, John K. Melvin, Leonard van Munster, Luna Nera, Simparch, Sarah Sze, Stefano Cagol and Seth Wulsin.

Eberhard Bosslet, side effect X, Tias, Lanzarote, (2008)

Choreographers who have made important site-specific contributions to the field of dance include Trisha Brown, Meredith Monk, Ann Carlson, Stephan Koplowitz, Joanna Haigood, among others. Contemporary choreographers working primarily in site-specific dance include: Nomie Lafrance ; Tom Pearson and Zach Morris of Third Rail Projects; Andrea Haenggi/AMDaT; Tamar Rogoff; Collage Dance Theatre; and Clarinda Mac Low, Paul Benny, and Alejandra Mortorell of TRYST.

Site-specific art

22

See also
Digital art Environmental art Environmental sculpture Greenmuseum.org (online museum of environmental art) Karriere Bar Land art Land Arts of the American West Plop art (derogatory term opposed to site-specific art)

External links
Urban Art Projects [1] Link to site-specific art commissioned by Metropolitan Transportation Authority, Arts for Transit. [2] Third Rail Projects [3] Sens Production [4] Site Specific Art by Lucien den Arend [5] AMDaT [6] Collage Dance Theatre [7] Koplowitz Projects [8] Reial Companyia de Teatre de Catalunya [9] Philalandmarks.org [10], Landmarks Contemporary Projects

[[Category:Types of Garden

References
[1] http:/ / www. uap. com. au [2] http:/ / www. mta. info/ mta/ aft/ [3] http:/ / www. thirdrailprojects. com [4] http:/ / www. sensproduction. org [5] http:/ / www. denarend. com/ site_specific_art. htm [6] http:/ / www. amdat. org [7] http:/ / www. collagedancetheatre. org [8] http:/ / www. koplowitzprojects. com [9] http:/ / www. lareial. net [10] http:/ / www. philalandmarks. org/ projects. aspx

Postmodern art

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Postmodern art
Postmodern art is a term used to describe an art movement which was thought to be in contradiction to some aspect of modernism, or to have emerged or developed in its aftermath. In general, movements such as Intermedia, Installation art, Conceptual Art and Multimedia, particularly involving video are described as postmodern. The traits associated with the use of the term postmodern in art include bricolage, use of words prominently as the central artistic element, collage, simplification, appropriation, depiction of consumer or popular culture and Performance art.

Use of the term

The predominant term for art produced since the 1950s is "contemporary art". Not all art labelled as contemporary art is postmodern, and the broader term encompasses both artists who continue to work in modernist and late modernist traditions, as well as artists who reject postmodernism for other reasons. Arthur Danto argues that "contemporary" is the broader term, and that postmodern objects represent a "subsector" of the contemporary movement.[1] Some postmodern artists have made a more distinctive break from the ideas of modern art and there is no consensus as to what is "late-modern" and what is "post-modern." Ideas rejected by the modern aesthetic have been re-established. In painting, postmodernism reintroduced representation.[2] Traditional techniques and subject matter have returned in art. It has even been argued that much of what is called postmodern today, the latest avant-gardism, should still be classified as modern art.[3] As well as describing certain tendencies of contemporary art, postmodern has also been used to denote a phase of modern art. This position is adopted by both defenders of modernism such as Clement Greenberg[4] , as well as radical opponents of modernism such as Flix Guattari, who calls it modernism's "last gasp".[5] The neo-conservative Hilton Kramer describes postmodernism as "a creation of modernism at the end of its tether."[6] Jean-Franois Lyotard, in Frederic Jameson's analysis, does not hold that there is a postmodern stage radically different from the period of high modernism; instead, postmodern discontent with this or that high modernist style is part of the experimentation of high modernism, giving birth to new modernisms.[7] In the context of aesthetics and art, Jean-Franois Lyotard is a major philosopher of postmodernism. Many critics hold that postmodern art emerges out of modern art. Suggested dates for the shift from modern to postmodern include 1914 in Europe, [8] and 1962[9] or 1968[10] in America. James Elkins, commenting on discussions about the exact date of the transition from modernism to postmodernism, compares it to the discussion in the 1960s about the exact span of Mannerism and whether it should begin directly after the High Renaissance or later in the century. He makes the point that these debates go on all the time with respect to art movements and periods, which is not to say that they aren't important.[11] The close of the period of postmodern art has been dated to the end of the 1980s, when the word postmodernism lost much of its critical resonance, and art practices began to address the impact of globalization and new media.[12] American Marxist philosopher Frederic Jameson argues that the condition of life and production will be reflected in all activity, including the making of art. Jean Baudrillard has had a significant influence on postmodern-inspired art and has emphasised the possibilities of new forms of creativity.[13] The artist Peter Halley describes his day-glo colours as "hyperrealization of real color", and acknowledges Baudrillard as an influence.[14] Baudrillard himself, since 1984, was fairly consistent in his view that contemporary art, and postmodern art in particular, was inferior to the modernist art of the post World War II period,[14] while Jean-Franois Lyotard praised Contemporary painting and remarked on its evolution from Modern art. [15] Major Women artists in the Twentieth Century are associated with postmodern art since much theoretical articulation of their work emerged from French psychoanalysis and Feminist Theory that is strongly related to post modern philosophy. [16] [17]

Postmodern art As with all uses of the term postmodern there are critics of its application. Kirk Varnedoe, for instance, stated that there is no such thing as postmodernism, and that the possibilities of modernism have not yet been exhausted.[18] Though the usage of the term as a kind of shorthand to designate the work of certain Post-war "schools" employing relatively specific material and generic techniques has become conventional since the mid-1980s, the theoretical underpinnings of Postmodernism as an epochal or epistemic division are still very much in controversy.[19]

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Defining postmodern art

Postmodernism describes movements which both arise from, and react against or reject, trends in modernism.[20] Specific trends of modernism that are generally cited are formal purity, medium specificity, art for art's sake, authenticity, universality, originality and revolutionary or reactionary tendency, i.e. the avant-garde. However, paradox is probably the most important modernist idea against which postmodernism reacts. Paradox was central to the modernist enterprise, having been introduced by Manet. Manet's various violations of representational art brought to prominence the supposed mutual exclusiveness of reality and representation, design and representation, abstraction and reality, and so on. The incorporation of paradox was highly stimulating from Manet to the conceptualists. The status of the avant-garde is particularly controversial: many institutions argue that being visionary, forward-looking, cutting-edge, and progressive are crucial to the mission of art in the present, and therefore postmodern art contradicts the value of "art of our times". Postmodernism rejects the notion of advancement or progress in art per se, and thus aims to overturn the "myth of the avant-garde". Rosalind Krauss was one of the important enunciators of the view that avant-gardism was over, and that the new artistic era is post-liberal and post-progress.[21] Griselda Pollock studied and confronted the avant-garde and modern art in a series of groundbreaking books, reviewing modern art at the same time as redefining postmodern art. [22] [23] [24] One characteristic of postmodern art is its conflation of high and low culture through the use of industrial materials and pop culture imagery. The use of low forms of art were a part of modernist experimentation as well, as documented in Kirk Varnedoe and Adam Gopnik's 1990-91 show High and Low: Popular Culture and Modern Art at New York's Museum of Modern Art, [25] an exhibition that was universally panned at the time as the only event that could bring Douglas Crimp and Hilton Kramer together in a chorus of scorn.[26] Fredrick Jameson suggests that postmodern works abjure any claim to spontaneity and directness of expression, making use instead of pastiche and discontinuity. Against this definition Charles Harrison and Paul Wood maintain that pastiche and discontinuity are endemic to modernist art, and are deployed effectively by modern artists such as Manet and Picasso.[27] One compact definition is that postmodernism rejects modernism's grand narratives of artistic direction, eradicating the boundaries between high and low forms of art, and disrupting genre's conventions with collision, collage, and fragmentation. Postmodern art holds that all stances are unstable and insincere, and therefore irony, parody, and humor are the only positions that cannot be overturned by critique or revision. "Pluralism and diversity" are other defining features.[28]

Avant-garde precursors
Radical movements and trends regarded as influential and potentially as precursors to postmodernism emerged around World War I and particularly in its aftermath. With the introduction of the use of industrial artifacts in art and techniques such as collage, avant-garde movements such as Cubism, Dada and Surrealism questioned the nature and value of art. These movements were influenced by new artforms such as cinema and the rise of reproduction as a means of creating artworks. The ignition point for the definition of modernism, Clement Greenberg's essay, Avant-Garde and Kitsch, first published in Partisan Review in 1939, is a defence of the avant-garde in the face of popular culture. [29] Later, Peter Brger would make a distinction between the historical avant-garde and modernism,

Postmodern art and critics such as Krauss, Huyssen, and Douglas Crimp, following Brger, identified the historical avant-garde as a precursor to postmodernism. Krauss, for example, describes Pablo Picasso's use of collage as an avant-garde practice that anticipates postmodern art with its emphasis on language at the expense of autobiography.[30] Another point of view is that avant-garde and modernist artists used similar strategies and that postmodernism repudiates both. [31] Dada In the early 20th century Marcel Duchamp exhibited a urinal as a sculpture. His point was to have people look at the urinal as if it were a work of art, because he said it was a work of art. He referred to his work as "Readymades". The Fountain, was a urinal signed with the pseudonym R. Mutt, that shocked the art world in 1917. This and Duchamp's other works are generally labelled as Dada. Duchamp can be seen as a precursor to conceptual art. It is questionable, to some, whether Duchampwhose obsession with paradox is well knowncan be called postmodernist on only the grounds that he eschews any specific medium, since paradox is not medium-specific, although it arose first in Manet's paintings. Dadaism can be viewed as part of the modernist propensity to challenge established styles and forms, along with Surrealism, Futurism and Abstract Expressionism.[32] From a chronological point of view Dada is located solidly within modernism, however a number Marcel Duchamp, Fountain, 1917. Photograph by of critics have held that it anticipates postmodernism, while others, Alfred Steiglitz such as Ihab Hassan and Steven Connor, consider it a possible changeover point between modernism and postmodernism.[33] For example, according to McEvilly, postmodernism begins with the realization that one no longer believes in the myth of progress, and that Duchamp sensed this in 1914 when he changed his modernist practice to a postmodernist one, "abjuring aesthetic delectation, transcendent ambition, and tour de force demonstrations of formal agility in favor of aesthetic indifference, acknowledgement of the ordinary world, and the found object or readymade."[8]

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Postmodern art

26

Radical movements in modern art

In general Pop Art and Minimalism began as modernist movements: a paradigm shift and philosophical split between formalism and anti-formalism in the early 1970s caused those movements to be viewed by some as precursors or transitional postmodern art. Other modern movements cited as influential to postmodern art are conceptual art and the use of techniques such as assemblage, montage, bricolage, and appropriation. Jackson Pollock and abstract expressionism During the late 1940s and early 1950s Pollock's radical approach to painting revolutionized the potential for all Contemporary art that followed him. To some extent Pollock realized that the journey toward making a work of art was as important as the work of art itself. Like Pablo Picasso's innovative reinventions of painting and sculpture near the turn of the century via Cubism and constructed sculpture, Pollock redefined the way art gets made at the mid-century point. Pollock's move - away from easel painting and conventionality - was a liberating signal to his contemporaneous artists and to all that came after. Artists realized that Jackson Pollock's process - working on the floor, unstretched raw canvas, from all four sides, using artist materials, industrial materials, imagery, non-imagery, throwing linear skeins of paint, dripping, drawing, staining, brushing, essentially blasted artmaking beyond any prior boundary. Abstract expressionism in Jackson Pollock, No. 5, 1948 general expanded and developed the definitions and possibilities that artists had available for the creation of new works of art. In a sense the innovations of Jackson Pollock, Willem de Kooning, Franz Kline, Mark Rothko, Philip Guston, Hans Hofmann, Clyfford Still, Barnett Newman, Ad Reinhardt and others opened the floodgates to the diversity and scope of all the art that followed them.

Postmodern art After abstract expressionism In abstract painting during the 1950s and 1960s several new directions like Hard-edge painting and other forms of Geometric abstraction like the work of Frank Stella popped up, as a reaction against the subjectivism of Abstract expressionism began to appear in artist studios and in radical avant-garde circles. Clement Greenberg became the voice of Post-painterly abstraction; by curating an influential exhibition of new painting that toured important art museums throughout the United States in 1964. Color field painting, Hard-edge painting and Lyrical Abstraction[34] emerged as radical new directions. By the late 1960s however, Postminimalism, Process Art and Arte Povera[35] also emerged as revolutionary concepts and movements that encompassed both painting and sculpture, via Lyrical Abstraction and the Postminimalist movement, and in early Conceptual Art.[36] Process art as inspired by Pollock enabled artists to experiment with and make use of a diverse encyclopedia of style, content, material, placement, sense of time, and plastic and real space. Nancy Graves, Ronald Davis, Howard Hodgkin, Larry Poons, Jannis Kounellis, Brice Marden, Bruce Nauman, Richard Tuttle, Alan Saret, Walter Darby Bannard, Lynda Benglis, Dan Christensen, Larry Zox, Ronnie Landfield, Eva Hesse, Keith Sonnier, Richard Serra, Sam Gilliam, Mario Merz, Peter Reginato were some of the younger artists who emerged during the era of late modernism that spawned the heyday of the art of the late 1960s.[37] Performance art and happenings During the late 1950s and 1960s artists with a wide range of interests began to push the boundaries of Contemporary art. Yves Klein in France, and Carolee Schneemann, Yayoi Kusama, Charlotte Moorman, and Yoko Ono in New York City were pioneers of performance based works of art. Groups like The Living Theater with Julian Beck and Judith Malina collaborated with sculptors and painters creating environments; radically changing the relationship between audience and performer especially in their piece Paradise Now. The Judson Dance Theater located at the Judson Memorial Church, New York, and the Judson dancers, notably Yvonne Rainer, Trisha Brown, Elaine Summers, Sally Gross, Simonne Forti, Deborah Hay, Lucinda Childs, Steve Paxton and others collaborated with artists Robert Morris, Robert Whitman, John Cage, Robert Rauschenberg, and engineers like Billy Klver. These performances were often designed to be the creation of a new art form, combining sculpture, dance, and music or sound, often with audience participation. The works were characterized by the reductive philosophies of minimalism, and the spontaneous improvisation, and expressivity of Abstract expressionism.

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Barnett Newman, Who's Afraid of Red, Yellow and Blue?, 1966. Typical of Newman's later work, with the use of pure and vibrant color.

Carolee Schneemann performing her piece Interior Scroll

During the same period - the late 1950s through the mid 1960s various avant-garde artists created Happenings. Happenings were mysterious and often spontaneous and unscripted gatherings of artists and their friends and relatives in varied specified locations. Often incorporating exercises in absurdity, physical exercise, costumes,

Postmodern art spontaneous nudity, and various random and seemingly disconnected acts. Allan Kaprow, Claes Oldenburg, Jim Dine, Red Grooms, and Robert Whitman among others were notable creators of Happenings. Assemblage art Related to Abstract expressionism was the emergence of combined manufactured items - with artist materials, moving away from previous conventions of painting and sculpture. This trend in art is exemplified by the work of Robert Rauschenberg, whose "combines" in the 1950s were forerunners of Pop Art and Installation art, and made use of the assemblage of large physical objects, including stuffed animals, birds and commercial photography. Leo Steinberg uses the term postmodernism in 1969 to describe Rauschenberg's "flatbed" picture plane, containing a range of cultural images and artifacts that had not been compatible with the pictorial field of premodernist and modernist painting.[38] Craig Owens goes further, identifying the significance of Rauschenberg's work not as a representation of, in Steinberg's view, "the shift from nature to culture", but as a demonstration of the impossibility of accepting their opposition. [39] Steven Best and Douglas Kellner identify Rauschenberg and Jasper Johns as part of the transitional phase, influenced by Marcel Duchamp, between modernism and postmodernism. Both these artists used images of ordinary objects, or the objects themselves, in their work, while retaining the abstraction and painterly gestures of high modernism.[40]

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Robert Rauschenberg Untitled Combine, 1963

Anselm Kiefer also uses elements of assemblage in his works, and on one occasion featured the bow of a fishing boat in a painting. Pop art The term "Pop Art" was used by Lawrence Alloway to describe paintings that celebrated consumerism of the post World War II era. This movement rejected Abstract expressionism and its focus on the hermeneutic and psychological interior, in favor of art which depicted, and often celebrated material consumer culture, advertising, and iconography of the mass Roy Lichtenstein, Whaam! (1963). On display at the Tate Modern, London. production age. The early works of David Hockney and the works of Richard Hamilton, John McHale, and Eduardo Paolozzi were considered seminal examples in the movement. While later American examples include the bulk of the careers of Andy Warhol and Roy Lichtenstein and his use of Benday dots, a technique used in commercial reproduction. There is a clear connection between the radical works of Duchamp, the rebellious Dadaist - with a sense of humor; and Pop Artists like Claes Oldenburg, Andy Warhol, Roy Lichtenstein and the others.

Postmodern art Thomas McEvilly, agreeing with Dave Hickey, says that U.S postmodernism in the visual arts began with the first exhibitions of pop art in 1962, "though it took about twenty years before postmodernism became a dominant attitude in the visual arts." [9] Frederic Jameson, too, considers pop art to be postmodern.[41] One way that Pop art is postmodern is that it breaks down what Andreas Huyssen calls the "Great Divide" between high art and popular culture.[42] Postmodernism emerges out of a "generational refusal of the categorical certainties of high modernism."[43] Fluxus Fluxus was named and loosely organized in 1962 by George Maciunas (1931-78), a Lithuanian-born American artist. Fluxus traces its beginnings to John Cage's 1957 to 1959 Experimental Composition classes at the New School for Social Research in New York City. Many of his students were artists working in other media with little or no background in music. Cage's students included Fluxus founding members Jackson Mac Low, Al Hansen, George Brecht and Dick Higgins. Fluxus encouraged a do it yourself aesthetic, and valued simplicity over complexity. Like Dada before it, Fluxus included a strong current of anti-commercialism and an anti-art sensibility, disparaging the conventional market-driven art world in favor of an artist-centered creative practice. Fluxus artists preferred to work with whatever materials were at hand, and either created their own work or collaborated in the creation process with their colleagues. Fluxus can be viewed as part of the first phase of postmodernism, along with Rauschenberg, Johns, Warhol and the Situationist International.[44] Andreas Huyssen criticises attempts to claim Fluxus for postmodernism as, "either the master-code of postmodernism or the ultimately unrepresentable art movement as it were, postmodernism's sublime." Instead he sees Fluxus as a major Neo-Dadaist phenomena within the avant-garde tradition. It did not represent a major advance in the development of artistic strategies, though it did express a rebellion against, "the administered culture of the 1950s, in which a moderate, domesticated modernism served as ideological prop to the Cold War."[45] Minimalism By the early 1960s Minimalism emerged as an abstract movement in art (with roots in geometric abstraction via Malevich, the Bauhaus and Mondrian) which rejected the idea of relational, and subjective painting, the complexity of Abstract expressionist surfaces, and the emotional zeitgeist and polemics present in the arena of Action painting. Minimalism argued that extreme simplicity could capture all of the sublime representation needed in art. Associated with painters such as Frank Stella, minimalism in painting, as opposed to other areas, is a modernist movement and depending on the context can be construed as a precursor to the postmodern movement. Hal Foster, in his essay The Crux of Minimalism, examines the extent to which Donald Judd and Robert Morris both acknowledge and exceed Greenbergian modernism in their published definitions of minimalism.[46] He argues that minimalism is not a "dead end" of modernism, but a "paradigm shift toward postmodern practices that continue to be elaborated today." [47]

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Postmodern art Postminimalism The term Post-minimalism was coined by Robert Pincus-Witten in 1977 to describe minimalist derived art which had content and contextual overtones that minimalism rejected. His use of the term covered the period 1966 - 1976 and was applied to the work of Eva Hesse, Keith Sonnier, Richard Serra and new work by former minimalists Robert Smithson, Robert Morris, Sol LeWitt, and Barry Le Va, and others.[48] Process art and anti-form art are other terms used to describe this work determined by the space it occupies and the process by which it is made.[49]

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Robert Smithson, "Spiral Jetty" in mid-April 2005. It was created in 1970.

Rosalind Krauss argues that by 1968 artists such as Morris, LeWitt, Smithson and Serra had "entered a situation the logical conditions of which can no longer be described as modernist."[10] The expansion of the category of sculpture to include land art and architecture, "brought about the shift into postmodernism."[50] Minimalists like Donald Judd, Dan Flavin, Carl Andre, Agnes Martin, John McCracken and others continued to produce their late modernist paintings and sculpture for the remainder of their careers.

Movements in postmodern art

New Classicism The clear distinction between what defines modern art, with its constant reinvention, and the return to classical painting and sculpture is a central concern in postmodernism. Chief among the proponents of this aspect of postmodernism is the Art Renewal Center with its staunch rejection of all art it perceives to be modern. This movement is often referred to as classical realism. Conceptual art Conceptual art is sometimes labelled as postmodern because it is expressly involved in deconstruction of what makes a work of art, "art". Conceptual art, because it is often designed to confront, offend or attack notions held by many of the people who view it, is regarded with particular controversy. Precursors to conceptual art include the work of Duchamp, John Cage's 4' 33" which is four minutes and thirty three seconds of silence and Rauschenberg's Erased De Kooning Drawing. Many conceptual works take the position that art is created by the viewer viewing an object or act as art, not from the intrinsic qualities of the work itself. Thus, because Fountain was exhibited, it was a sculpture.

Lawrence Weiner, Bits & Pieces Put Together to Present a Semblance of a Whole, The Walker Art Center, Minneapolis, 2005.

Postmodern art Installation art An important series of movements in art which have consistently been described as postmodern involved installation art and creation of artifacts that are conceptual in nature. One example being the signs of Jenny Holzer which use the devices of art to convey specific messages, such as "Protect Me From What I Want". Installation Art has been important in determining the spaces selected for museums of contemporary art in order to be able to hold the large works which are composed of vast collages of manufactured and found objects. These installations and collages are often electrified, with moving parts and lights.

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They are often designed to create environmental effects, as Christo and Jeanne-Claude's Iron Curtain, Wall of 240 Oil Barrels, Blocking Rue Visconti, Paris, June 1962 which was a poetic response to the Berlin Wall built in 1961. Lowbrow art Lowbrow is a widespread populist art movement with origins in the underground comix world, punk music, hot-rod street culture, and other California subcultures. It is also often known by the name pop surrealism. Lowbrow art highlights a central theme in postmodernism in that the distinction between "high" and "low" art are no longer recognized. Intermedia and multi-media Another trend in art which has been associated with the term postmodern is the use of a number of different media together. Intermedia, a term coined by Dick Higgins and meant to convey new artforms along the lines of Fluxus, Concrete Poetry, Found objects, Performance art, and Computer art. Higgins was the publisher of the Something Else Press, a Concrete poet, married to artist Alison Knowles and an admirer of Marcel Duchamp. Ihab Hassan includes, "Intermedia, the fusion of forms, the confusion of realms," in his list of the characteristics of postmodern art.[51] One of the most common forms of "multi-media art" is the use of video-tape and CRT monitors, termed Video art. While the theory of combining multiple arts into one art is quite old, and has been revived periodically, the postmodern manifestation is often in combination with performance art, where the dramatic subtext is removed, and what is left is the specific statements of the artist in question or the conceptual statement of their action. Higgin's conception of Intermedia is connected to the growth of multimedia digital practice such as immersive virtual reality, digital art and computer art.

John Fekner 1979-1990 Wheels Over Indian Trails, Long Island City, NY. Pulaski Bridge overpass at the Queens Midtown Tunnel

Postmodern art Appropriation art and neo-conceptual art In his 1980 essay The Allegorical Impulse: Toward a Theory of Postmodernism, Craig Owens identifies the re-emergence of an allegorical impulse as characteristic of postmodern art. This impulse can be seen in the appropriation art of artists such as Sherrie Levine and Robert Longo because, "Allegorical imagery is appropriated imagery." [52] Appropriation art debunks modernist notions of artistic genius and originality and is more ambivalent and contradictory than modern art, simultaneously installing and subverting ideologies, "being both critical and complicit."[53] Neo-expressionism and painting The return to the traditional art forms of sculpture and painting in the late 1970s and early 1980s seen in the work of Neo-expressionist Philip Taaffe, We Are Not Afraid, 1985. artists such as Georg Baselitz and Julian Schnabel has been described [54] as a postmodern tendency, and one of the first coherent movements to emerge in the postmodern era.[55] Its strong links with the commercial art market has raised questions, however, both about its status as a postmodern movement and the definition of postmodernism itself. Hal Foster states that neo-expressionism was complicit with the conservative cultural politics of the Reagan-Bush era in the U.S.[47] Flix Guattari disregards the "large promotional operations dubbed 'neo-expressionism' in Germany," (an example of a "fad that maintains itself by means of publicity") as a too easy way for him "to demonstrate that postmodernism is nothing but the last gasp of modernism."[5] These critiques of neo-expressionism reveal that money and public relations really sustained contemporary art world credibility in America during the same period that conceptual artists, and practices of women artists including painters and feminist theorists like Griselda Pollock[56] [57] , were systematically reevaluating modern art.[58] [59] [60] Brian Massumi claims that Deleuze and Guattari open the horizon of new definitions of Beauty in postmodern art.[61] For Jean-Franois Lyotard, it was painting of the artists Valerio Adami, Daniel Buren, Marcel Duchamp, Bracha Ettinger, and Barnett Newman that, after the avant-garde's time and the painting of Paul Czanne and Wassily Kandinsky, was the vehicle for new ideas of the sublime in contemporary art.[62] [63] Institutional critique Critiques on the institutions of art (principally museums and galleries) are made in the work of Marcel Broodthaers, Daniel Buren and Hans Haacke.

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See also
Anti-anti-art Classificatory disputes about art Computer art Digital art Electronic art Experiments in Art and Technology Gaze Late modernism

Modernism Modernist project

Postmodern art Neo-minimalism Net.art New European Painting New Media art Postmodernism Superflat Superstroke Remodernism Virtual art

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Sources
The Triumph of Modernism: The Art World, 1985-2005, Hilton Kramer, 2006, ISBN 0 1-56663-708 Pictures of Nothing: Abstract Art since Pollock (A.W. Mellon Lectures in the Fine Arts), Kirk Varnedoe, 2003 Art of the Postmodern Era: From the Late 1960s to the Early 1990s, Irving Sandler Postmodernism (Movements in Modern Art) Eleanor Heartney Sculpture in the Age of Doubt Thomas McEvilley 1999

References
[1] [2] [3] [4] After the End of Art: Contemporary Art and the Pale of History Arthur C. Danto Wendy Steiner, Venus in Exile: The Rejection of Beauty in 20th-Century Art, New York: The Free Press, 2001, ISBN 0-684-85781-2 Post-Modernism: The New Classicism in Art and Architecture Charles Jencks Clement Greenberg: Modernism and Postmodernism (http:/ / www. sharecom. ca/ greenberg/ postmodernism. html), 1979. URL accessed on June 26, 2007 [5] Flix Guattari, the Postmodern Impasse in The Guattari Reader, Blackwell Publishing, 1996, pp109-113. ISBN 0-631-19708-7 [6] Quoted in Oliver Bennett, Cultural Pessimism: Narratives of Decline in the Postmodern World, Edinburgh University Press, 2001, p131. ISBN 0-7486-0936-9 [7] Frederic Jameson, Foreword to Jean-Franois Lyotard, The Postmodern Condition, Manchester University Press, 1997, pxvi. ISBN 0-7190-1450-6 [8] Thomas McEvilly in Richard Roth, Jean Dubuffet, Susan King, Beauty Is Nowhere: Ethical Issues in Art and Design, Routledge, 1998. p27. ISBN 90-5701-311-8 [9] Thomas McEvilly in Richard Roth, Jean Dubuffet, Susan King, Beauty Is Nowhere: Ethical Issues in Art and Design, Routledge, 1998. p29. ISBN 90-5701-311-8 [10] The Originality of the Avant Garde and Other Modernist Myths Rosalind E. Krauss, Publisher: The MIT Press; Reprint edition (July 9, 1986), Sculpture in the Expanded Field pp.287 [11] James Elkins, Stories of Art, Routledge, 2002, p16. ISBN 0-415-93942-9 [12] Zoya Kocur and Simon Leung, Theory in Contemporary Art Since 1985, Blackwell Publishing, 2005, pp2-3. ISBN 0-631-22867-5 [13] Nicholas Zurbrugg, Jean Baudrillard, Jean Baudrillard: Art and Artefact, Sage Publications, 1997, p150. ISBN 0-7619-5580-1 [14] Gary Genosko, Baudrillard and Signs: Signification Ablaze, Routledge, 1994, p154. ISBN 0-415-11256-7 [15] Grebowicz, Margaret, Gender After Lyotard, State University of New York Press, 2007. ISBN 978-0-7914-6956-9 [16] de Zegher, Catherine (ed.) Inside the Visible", MIT Press, 1996 [17] Armstrong, Carol and de Zegher, Catherine, Women Artists at the Millennium, October Books / The MIT Press, 2006, ISBN 978-0-262-01226-3 [18] William R. Everdell, The First Moderns: Profiles in the Origins of Twentieth-century Thought, University of Chicago Press, 1997, p4. ISBN 0-226-22480-5 [19] The Citadel of Modernism Falls to Deconstructionists, - 1992 critical essay, The Triumph of Modernism, 2006, Hilton Kramer, pp218-221. [20] The Originality of the Avant Garde and Other Modernist Myths Rosalind E. Krauss, Publisher: The MIT Press; Reprint edition (July 9, 1986), Part I, Modernist Myths, pp.8-171 [21] The Originality of the Avant Garde and Other Modernist Myths Rosalind E. Krauss, Publisher: The MIT Press; Reprint edition (July 9, 1986), Part I, Modernist Myths, pp.8-171, Part II, Toward Post-modernism, pp. 196-291. [22] Fred Orton and Griselda Pollock, Avant-Gardes and Partisans reviewed. Manchester University Press, 1996. ISBN 0-7190-4399-9. [23] Griselda Pollock, Differencing the Canon. Routledge, London & N.Y., 1999. ISBN 0-415-06700-6. [24] Griselda Pollock, Generations and Geographies in the Visual Arts. Routledge, London, 1996. ISBN 0-415-14128-1.

Computer art

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Computer art
Computer art is any art in which computers play a role in production or display of the artwork. Such art can be an image, sound, animation, video, CD-ROM, DVD-ROM, videogame, web site, algorithm, performance or gallery installation. Many traditional disciplines are now integrating digital technologies and, as a result, the lines between traditional works of art and new media works created using computers has been blurred. For instance, an artist may combine traditional painting with algorithm art and other digital techniques. As a result, defining computer art by its end product can thus be difficult. Computer art is by its nature evolutionary since changes in technology and software directly affect what is possible. Notable artists in this vein include James Faure Walker, Manfred Mohr, Ronald Davis, Joseph Nechvatal, Matthias Groebel, George Grie, Olga Kisseleva, John Lansdown and Perry Welman.

Joseph Nechvatal 2004 Orgiastic abattOir

Arambilet: Dots on the I's, D-ART 2009 Online Digital Art Gallery, exhibited at IV09 and CG09 computer Graphics conferences, at Pompeu Fabra University, Barcelona; Tianjin University, China; Permanent Exhibition at the London South Bank University

Wires by Perry Welman 2007

Computer art

36

History
By the mid-1960s, most individuals involved in the creation of computer art were in fact engineers and scientists because they had access to the only computing resources available at university scientific research labs. Many artists tentatively began to explore the emerging computing technology for use as a creative tool. In the summer of 1962, Dr. A. Michael Noll programmed a digital computer at Bell Telephone Laboratories in Murray Hill, New Jersey to generate visual patterns solely for artistic purposes .[1] His later computer-generated patterns simulated paintings by Piet Mondrian and Bridget Riley and become classics.[2] Noll also used the patterns to investigate aesthetic preferences in the mid 1960s. Computer art dates back to at least 1960, with the invention of the Henry Drawing Machine by Desmond Paul Henry. His work was shown at the Reid Gallery in London in 1962, after his Picture by drawing machine 1, Desmond Paul Henry, c.1960s machine-generated art won him the privilege of a one-man exhibition. In 1963 Joan Shogren of San Jose State University wrote a computer program based on artistic principles, resulting in an early public showing of computer art in San Jose, California on May 6, 1963.[3] The first two exhibitions of computer art were held in 1965- Computer-Generated Pictures, April 1965, at the Howard Wise Gallery in New York, and Generative Computergrafik, February 1965, at the Technische Hochschule in Stuttgart, Germany. The Stuttgart exhibit featured work by Georg Nees; the New York exhibit featured work by Bela Julesz and A. Michael Noll. Note the names of these expositions, not mentioning the word 'art', because these 'generated pictures' were not yet seen as such. A third exhibition was put up in November 1965 at Galerie Wendelin Niedlich in Stuttgart, Germany, showing works by Frieder Nake and Georg Nees. In 1968, the Institute of Contemporary Arts (ICA) in London hosted one of the most influential early exhibitions of computer art- Cybernetic Serendipity. The exhibition included many of whom often regarded as the first true digital artists, Nam June Paik, Frieder Nake, Leslie Mezei, Georg Nees, A. Michael Noll, John Whitney, and Charles Csuri.[3] One year later, the Computer Arts Society was founded, also in London.[4] At the time of the opening of Cybernetic Serendipity, in August 1968, a symposium was held in Zagreb, Yugoslavia, under the title "Computers and visual research". It took up the European artists movement of New Tendencies that had led to three exhibitions (in 1961, 63, and 65) in Zagreb of concrete, kinetic, and constructive art as well as op art and conceptual art. New Tendencies changed its name to "Tendencies" and continued with more symposia, exhibitions, a competition, and an international journal (bit international) until 1973. Katherine Nash and Richard Williams published Computer Program for Artists: ART 1 in 1970.[5] Xerox Corporations Palo Alto Research Center (PARC) designed the first Graphical User Interface (GUI) in the 1970s. The first Macintosh computer is released in 1984, since then the GUI became popular. Many graphic designers quickly accepted its capacity as a creative tool.

Computer art

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Output devices
Formerly, technology restricted output and print results: early machines used pen-and-ink plotters to produce basic hard copy. In the 1970s, the dot matrix printer (which was much like a typewriter) was used to reproduce varied fonts and arbitrary graphics. The first animations were created by plotting all still frames sequentially on a stack of paper, with motion transfer to 16-mm film for projection. During the 1970s and 1980s, dot matrix printers were used to produce most visual output while microfilm plotters were used for most early animation.[2] In 1976, the inkjet printer was invented with the increase in use of personal computers. The inkjet printer is now the cheapest and most versatile option for everyday digital color output. RasterImage Processing (RIP) is typically built into the printer or supplied as a software package for the computer; it is required to achieve the highest quality output. Basic inkjet devices do not feature RIP. Instead, they rely on graphic software to rasterize images. The laser printer, though more expensive than the inkjet, is another affordable output device available today.[3]

Graphic software
Adobe Systems, founded in 1982, developed the PostScript language and digital fonts, making drawing painting and image manipulation software popular. Adobe Illustrator, a vector drawing program based on the Bzier curve introduced in 1987 and Adobe Photoshop, written by brothers Thomas and John Knoll in 1990 were developed for use on MacIntosh computers.[7] and compiled for DOS/Windows platforms by 1993 You can also create some useful tools by using PHP GD. For example, you can create a ASCII art converter, drop image effect, mirror effect and other useful effects.

Newskool ASCII Screenshot

See also
Algorithm art Computer art scene Computer Arts Society Computer graphics Computer music Demoscene Digital illustration Digital morphogenesis Digital painting Digital art Tradigital art Evolutionary art Fractal art Generative art Generative music Image development Interactive art Kisekae Set System

Spiral Sphere and Julia, Detail, a computer-generated image programmed by visual [6] artist Robert W. McGregor using only POV-Ray 3.6 and its built-in scene description language.

Motion graphics New media art Multimedia

Computer art Music visualization Software art Systems art Video game

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Congress, exhibitions and promotion

Computer Art Congress [CAC.2]: Mexico, March 26 - 28, 2008 [8], organized by and held at Tecnolgico de Monterrey Campus Toluca and Campus Estado de Mxico. Chairs: Khaldoun Zreik and Everardo Reyes Garca. Exhibition at: Museum of Modern Art, Toluca City, Mexico. Ars Electronica Computer Space forum

Further reading
Honor Beddard and Douglas Dodds. (2009). Digital Pioneers. London: V&A Publishing. ISBN 987-1-85177-587-3 Charlie Gere. (2002). Digital Culture, Reaktion. ISBN 978-1-86189-143-3 Charlie Gere. (2006). White Heat, Cold Logic: Early British Computer Art [9], co-edited with Paul Brown, Catherine Mason and Nicholas Lambert, MIT Press/Leonardo Books. Mark Hansen. (2004). New Philosophy for New Media. Cambridge, MA: MIT Press. Dick Higgins. (1966). Intermedia. Reprinted in Donna De Salvo (ed.), Open Systems Rethinking Art c. 1970, London: Tate Publishing, 2005. Lieser, Wolf. Digital Art. Langenscheidt: h.f. ullmann. 2009 Lopes, Dominic McIver. (2009). A Philosophy of Computer Art. [10] London: Routledge Lev Manovich. (2001). The Language of New Media [11] Cambridge, Massachusetts: The MIT Press/Leonardo Books. ISBN 0-262-63255-1 Lev Manovich. (2002, October). Ten Key Texts on Digital Art: 1970-2000. Leonardo - Volume 35, Number 5 [12] , pp.567569. Frieder Nake. (2009, Spring). The Semiotic Engine: Notes on the History of Algorithmic Images in Europe. Art Journal, pp.7689. Edward A. Shanken. (2009). Art and Electronic Media. London: Phaidon. Rainer Usselmann. (2003). "The Dilemma of Media Art: Cybernetic Serendipity at the ICA London" [13], Cambridge, Masschusetts: The MIT Press/Leonardo Journal - Volume 36, Number 5, October 2003, pp.389396.

References
[1] The Beginnings of Computer Art in the United States: A Memoir, Leonardo, Vol. 27, No. 1, (1994), pp. 39-44. [2] Dietrich, Frank (1986). "Visual Intelligence: The First Decade of Computer Art" (http:/ / design. osu. edu/ carlson/ history/ PDFs/ dietrich-leonardo. pdf) (PDF). pp. 159-169. Leonardo. . Retrieved 2008-04-28. [3] Raimes, Jonathan. (2006 ) The Digital Canvas, Abrams. ISBN 0-8109-9236-1 [4] Page, No. 1, April 1969, p2. [5] Nash, Katherine; Richard H. Williams (October 1970). "Computer Program for Artists: ART I" (http:/ / jstor. org/ stable/ 1572264). Leonardo, Pergamon Press (via JSTOR) (The MIT Press) 3 (4): 439442. doi:10.2307/1572264. . Retrieved 2007-06-30. [6] http:/ / www. mcgregorfineart. com [7] Wands, Bruce. (2006) Art of the Digital Age, Thames & Hudson. ISBN 0-500-23817-0 [8] http:/ / europia. org/ CAC2/ [9] http:/ / leonardo. info/ isast/ leobooks/ books/ gere. html [10] http:/ / apoca. mentalpaint. net [11] http:/ / leonardo. info/ isast/ leobooks/ books/ manovich. html [12] http:/ / leonardo. info/ isast/ journal/ toc355. html [13] http:/ / muse. jhu. edu/ login?uri=/ journals/ leonardo/ v036/ 36. 5usselmann. pdf

Information art

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Information art
Information art (or 'informatism' ) is an emerging field of electronic art that synthesizes computer science, information technology, and more classical forms of art, including performance art, visual art, new media art and conceptual art.[1] Information Art often includes interaction with computers that generate artistic content based on the processing of large amounts of data.[2]

Background
Informatism follows on the 1970 exhibition organized by Kynaston McShine called "Information", held at the Museum of Modern Art in New York City a show that formally established conceptual art as a leading tendency in the United States. This tendency then spread widely throughout the world. This conceptual trend followed on the activities of Experiments in Art and Technology known as E.A.T. [3]

Artistic practice
Information art data can be manifested using photographs, census data, micropayments, personal profiles and expressions, video clips, search engine results, digital painting, network signals, and prose.[4]
Kynaston McShine's "Information"

Further reading
Alan Liu (2004). "The Laws of Cool: Knowledge Work and the Culture of Information", University of Chicago Press Roy Ascott (2003). Telematic Embrace. (Edward A. Shanken, ed.) Berkeley: University of California Press. ISBN 0-520-21803-5 Barreto, Ricardo and Perissinotto, Paula the_culture_of_immanence [5], in Internet Art. Ricardo Barreto e Paula Perissinotto (orgs.). So Paulo, IMESP, 2002. ISBN 85-7060-038-0. Jack Burnham, (1970) Beyond Modern Sculpture: The Effects of Science and Technology on the Sculpture of this Century (New York: George Braziller Inc. Bullivant, Lucy (2007). 4dsocial: Interactive Design Environments (Architectural Design). London: John Wiley & Sons. ISBN 978-0470 319116 Bullivant, Lucy (2006). Responsive Environments: architecture, art and design (V&A Contemporary). London:Victoria and Albert Museum. ISBN 1-85177-481-5 Bullivant, Lucy (2005). 4dspace: Interactive Architecture (Architectural Design). London: John Wiley & Sons. ISBN 0-470-09092-8 Oliver Grau, Virtual Art, from Illusion to Immersion [6], MIT Press/Leonardo Books, 2004, pp. 237-240, ISBN 0262572230 Paul, Christiane (2003). Digital Art (World of Art series). London: Thames & Hudson. ISBN 0-500-20367-9 Peter Weibel and Shaw, Jeffrey, Future Cinema, MIT Press 2003, pp. 472,572-581, ISBN 0262692864 Wilson, Steve Information Arts: Intersections of Art, Science and Technology Information Arts: Intersections of Art, Science, and Technology [7] ISBN 0-262-23209-X

Information art Kynaston McShine, "INFORMATION", New York, Museum of Modern Art., 1970, First Edition. ISBN: LC 71-100683 Jack Burnham, Systems Esthetics, Artforum (September, 1968); reprinted in Donna de Salvo (ed.), Open Systems: Rethinking Art C. 1970 (London: Tate Publishing, 2005) Edward A. Shanken, Art in the Information Age: Technology and Conceptual Art, in Michael Corris (ed.), Conceptual Art: Theory, Myth and Practice (Cambridge: Cambridge University Press, 2004). Marga Bijvoet, (1997) Art as Inquiry: Toward New Collaborations Between Art & Science, Oxford: Peter Lang Frank Popper (1993) Art of the Electronic Age, Thames and Hudson Ltd., London, and Harry N. Abrams Inc, New York, ISBN 0-8109-1928-1 Pavilion: Experiments in Art and Technology. Klver, Billy, J. Martin, B. Rose (eds). New York: E. P. Dutton, 1972 Dick Higgins, Intermedia (1966), reprinted in Donna De Salvo (ed.), Open Systems Rethinking Art c. 1970 (London: Tate Publishing, 2005) Nicolas Bourriaud, Relational Aesthetics (Dijon: Les Presses du Rel, 2002, orig. 1997) Charlie Gere Digital Culture (Reaktion, 2002) ISBN 978-1861891433

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See also
Systems art Digital art Tradigital art Computer art Conceptual art Software art Systems thinking Algorithmic art Roy Ascott Knowledge visualization Experiments in Art and Technology

External links
Intersections of Art, Technology, Science and Culture- Links [8] The Danish Artnode Foundation-Links [9] (FILE) [10] Electronic Language International Festival. Leonardo/The International Society for the Arts, Sciences and Technology [11]

References
[1] Edward A. Shanken has argued that little scholarship has explored the relationship between technology and conceptual art. He also claimed that there was an art-historical impetus to artificially distinguish information art from conceptual art. Edward A. Shanken, Art in the Information Age: Technology and Conceptual Art, in Michael Corris (ed.), Conceptual Art: Theory, Myth and Practice (Cambridge: Cambridge University Press, 2004. [2] See Charlie Gere Art, Time and Technology: Histories of the Disappearing Body (Berg, 2005). ISBN 978-1845201357 This text concerns artistic and theoretical responses to the increasing speed of technological development and operation, especially in terms of so-called real-time digital technologies. It draws on the ideas of Jacques Derrida, Bernard Stiegler, Jean-Franois Lyotard and Andr Leroi-Gourhan, and looks at the work of Samuel Morse, Vincent van Gogh and Kasimir Malevich, among others. [3] E.A.T. followed from the event Nine Evenings: Theatre and Engineering, organised by Robert Rauschenberg and Billy Klver at the Armoury Building, New York City, 1322 October, 1966 to promote the collaboration between artists and engineers. They also organised the Pepsi Pavilion at the Worlds Fair, Osaka, in 1970. For a detailed discussion of the project see Bijvoet, Art as Inquiry, ch. 2.

Information art
[4] McKeough, Tim (February 29, 2008). "Frame That Spam! Data-Crunching Artists Transform the World of Information" (http:/ / www. wired. com/ special_multimedia/ 2008/ ff_dataart_1603). Wired (CondNet) (16.03). . Retrieved 2008-03-05. [5] http:/ / www. file. org. br/ the_culture_of_immanence. doc [6] http:/ / leonardo. info/ isast/ leobooks/ books/ grau. html [7] http:/ / leonardo. info/ isast/ leobooks/ books/ wilson. html [8] http:/ / online. sfsu. edu/ ~infoarts/ links/ wilson. artlinks2. html [9] http:/ / www. artnode. org/ index_frame. html [10] http:/ / www. file. org. br [11] http:/ / www. leonardo. info

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New media art

New media art is a genre that encompasses artworks created with new media technologies, including digital art, computer graphics, computer animation, virtual art, Internet art, interactive art technologies, computer robotics, and art as biotechnology. The term differentiates itself by its resulting cultural objects and social events, which can be seen in opposition to those deriving from old visual arts (i.e. traditional painting, sculpture, etc.) This concern with medium is a key feature of much contemporary art and indeed many art schools and major Universities now offer majors in "New Genres" or "New Media".[1] New Media Art often involves interaction between artist and observer. New Media concerns are often derived from the telecommunications, mass media and digital modes of delivery the artworks involve, with practices ranging from conceptual to virtual art, performance to installation.
[2]

Newskool ASCII Screenshot

History
The origins of new media art can be traced to the moving photographic inventions of the late 19th Century such as the zoetrope (1834), the praxinoscope (1877) and Eadweard Muybridge's zoopraxiscope (1879).
Eduardo Kac's installation "Genesis" Ars Electronica 1999

During the 1960s the development of then new technologies of video produced the new media art experiments of Nam June Paik and Wolf Vostell, and multimedia performances of Fluxus. At the end of the 1980s the development of computer graphics, combined with real time technologies then in the 1990s with the spreading of the Web and the Internet favored the emerging of new and various forms of interactivity Lynn Hershman Leeson, David Rokeby, Don Ritter, Perry Hoberman, telematic art Roy Ascott, Internet Vuk osi, Jodi, virtual and immersive art Jeffrey Shaw, Maurice Benayoun and large scale urban installation Rafael Lozano-Hemmer.

New media art

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Simultaneously advances in biotechnology have also allowed artists like Eduardo Kac to begin exploring DNA and genetics as a new art medium. Contemporary New Media Art influences on new media art have been the theories developed around hypertext, databases, and networks. Important thinkers in this regard have been Vannevar Bush and Theodor Nelson with important contributions from the literary works of Jorge Luis Borges, Italo Calvino, Julio Cortzar, Lev Manovich, and Douglas Cooper. These elements have been especially revolutionary for the field of narrative and anti-narrative studies, leading explorations into areas such as non-linear and interactive narratives. A contemporary timeline of media art can be found here.[3]

World Skin (1997), Maurice Benayoun's Virtual Reality Interactive Installation

Themes
In the book New Media Art, Mark Tribe and Reena Jana named several themes that contemporary new media art addresses, including computer art, collaboration, identity, appropriation, open sourcing, telepresence, surveillance, corporate parody, as well as intervention and hacktivism. (Tribe, Mark; Jana, Reena (2007-02-22). "New Media Art - Introduction" [4]. New Media Art. Taschen/Brown. Retrieved 2007-11-29.) Non-linearity can be seen as an important topic to new media art by artists like Bill Viola who explores the term as an approach to looking at varying forms of digital projects. This is a key concept since people acquired the notion that they were conditioned to G.H. Hovagimyan "A Soapopera for iMacs" view everything in a linear and clear-cut fashion. Now, art is stepping out of that form and allowing for people to build their own experiences with the piece. People always ask, "What is the difference between non-linearity and randomness?" Non-linearity describes a project that has freedom with certain parameters, whereas randomness has freedom and no boundaries whatsoever. Non-linear art usually requires the participation of an audience to reveal its non-linearity while random art, more-or-less, acts on its own. When looking at Public Secrets [5], one can see this piece as non-linear due to ideas stressed by people like Viola. In doing so, viewers can understand another theme in the many forms of new media art. The participatory aspect of new media art, which for some artists has become integral, emerged from Allan Kaprow's 'Happenings'. The inter-connectivity and interactivity of the internet, as well as the fight between corporate interests, governmental interests, and public interests that gave birth to the web today, fascinate and inspire a lot of current New Media Art. Many new media art projects also work with themes like politics and social consciousness, allowing for social activism through the interactive nature of the media. Some examples include Sharon Daniel's Public Secrets [5], a site that shows oppression and struggles behind the prison system in America; Applied Autonomy's Terminal Air [6], a site that demonstrates the practices of United States Central Intelligence Agency's extraordinary rendition program; Beyondmedia Education, a non-profit organization that collaborates with under-served women, youth, and communities to create and distribute media arts on social justice topics including gender violence and school safety; and Michael Mandiberg's The Oil Standard [7], a Firefox plugin that shows all prices of online products in the cost of barrels of crude oil.

New media art

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Presentation & Preservation

As the technologies used to deliver works of new media art such as film, tapes, web browsers, software and operating systems become obsolete, New Media art faces serious issues around the challenge to preserve artwork beyond the time of its contemporary production. Currently, research projects into New media art preservation are underway to improve the preservation and documentation of the fragile media arts heritage (see DOCAM Documentation and Conservation of the Media Arts Heritage). Methods of preservation exist, including the translation of a work from an obsolete medium into a related new medium,[8] the digital archiving of media (see Internet Archive), and the use of emulators to preserve work dependent on obsolete software or operating system environments.[9] [10]

Types
The term New Media Art is generally applied to disciplines such as: Artistic computer game modification Ascii Art Bio Art Computer art Digital art Digital poetry Tradigital art Electronic art Evolutionary art Generative art Glitch Art Hacktivism Hypertext Information art Interactive art Internet art Motion graphics Net art Performance art Radio art Robotic art Software art Sound art Systems art Telematic art Video art Virtual art

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New media artists

Miguel lvarez-Fernndez Carlos Amorales Cory Arcangel Roy Ascott Maurice Benayoun Jean-Jacques Birg Oleg Buryan Micha Crdenas Janet Cardiff Thomas Charvriat Brody Condon Sharon Daniel Liu Dao Alex Davies Char Davies Ronald Davis Heiko Daxl Agricola de Cologne Electronic Disturbance Theater David Em Furtherfield Ken Feingold Ingeborg Flepp Peter Benjamin Graham Phil Hansen Lynn Hershman Perry Hoberman Marc Horowitz G.H. Hovagimyan Kenneth Tin-Kin Hung Ryoji Ikeda Junichi Kakizaki Allan Kaprow KMA Knowbotic Research Myron Krueger Roy LaGrone Steve Lambert Golan Levin Teddy Lo Rafael Lozano-Hemmer Marita Liulia Machfeld

John Maeda Judy Malloy Sergio Maltagliati

New media art Michael Mandiberg Lev Manovich Eva and Franco Mattes Elle Mehrmand Bjrn Melhus Christian Moeller Manfred Mohr Francesco Monico Cathy Marshall Michael Naimark Joseph Nechvatal Graham Nicholls Nsumi Marisa Olson Randall Packer Nam June Paik Zaven Par Melinda Rackham Ken Rinaldo Don Ritter Finn Robertson David Rokeby Jason Salavon Jeffrey Shaw Alexei Shulgin Antoine Schmitt Scott Snibbe Camille Utterback Bodo Sperling Bill Viola Lee Walton Gillian Wearing Noah Wardrip-Fruin Guillermo Gmez-Pea Augusto Boal Yuri Ono

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New media curators

Klaus Biesenbach Sarah Cook Steve Dietz Beryl Graham Rudolf Frieling Cathy Rae Huffman Barbara London

Christiane Paul Lawrence Rinder

New media art Peter Weibel Benjamin Weill

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See also
Aspect magazine Center for Art and Media Karlsruhe CRUMB - Curatorial Resource for Upstart Media Bliss Digital art Digital Media Digital puppetry DOCAM: Documentation and Conservation of the Media Arts Heritage Electronic art Electronic Language International Festival Experiments in Art and Technology Interactive film Interactive Media Intermedia Net.art New Epoch Notation Painting New Media art festivals New media artist New Media Caucus New media art journals New media art preservation

Further reading
Wardrip-Fruin, Noah and Nick Montfort, ed (2003). The New Media Reader. The MIT Press. ISBN0-262-23227-8. Vannevar Bush (1945). "As We May Think" online at As We May Think The Atlantic Monthly [11] Roy Ascott (2003). Telematic Embrace: Visionary Theories of Art, Technology, and Consciousness (Ed.) Edward A. Shanken. Berkeley: University of California Press. ISBN 978-0-520-21803-1 Barreto, Ricardo and Perissinotto, Paula the_culture_of_immanence [5], in Internet Art. Ricardo Barreto e Paula Perissinotto (orgs.). So Paulo, IMESP, 2002. ISBN 85-7060-038-0. Christine Buci-Glucksmann, "Lart lpoque virtuel", in Frontires esthtiques de lart, Arts 8, Paris: LHarmattan, 2004 Lopes, Dominic McIver. (2009). A Philosophy of Computer Art. [10] London: Routledge Frank Popper (2007) From Technological to Virtual Art, MIT Press/Leonardo Books Lev Manovich (2001). The Language of New Media Cambridge, Massachusetts: The MIT Press/Leonardo Books. ISBN 0-262-63255-1 Dick Higgins, Intermedia (1966), reprinted in Donna De Salvo (ed.), Open Systems Rethinking Art c. 1970, London: Tate Publishing, 2005 Nicolas Bourriaud, (1997) Relational Aesthetics, Dijon: Les Presses du Rel, 2002, orig. 1997 Charlie Gere, (2002) Digital Culture, Reaktion ISBN 978-1-86189-143-3 Lev Manovich, Ten Key Texts on Digital Art: 1970-2000 Leonardo - Volume 35, Number 5 [12], October 2002, pp.567-569

New media art Charlie Gere, (2006) White Heat, Cold Logic: Early British Computer Art, co-edited with Paul Brown, Catherine Mason and Nicholas Lambert, MIT Press/Leonardo Books Graham, Philip Mitchell, New Epoch Art, InterACTA: Journal of the Art Teachers Association of Victoria, Published by ACTA, Parkville, Victoria, No 4, 1990, ISSN 0159-9135, Cited In APAIS. This database is available on the, Informit Online Internet Service or on CD-ROM, or on Australian Public Affairs - Full Text Mark Hansen, (2004) New Philosophy for New Media (Cambridge, MA: MIT Press) Rainer Usselmann, (2003)"The Dilemma of Media Art: Cybernetic Serendipity at the ICA London" [13], Cambridge, Masschusetts: The MIT Press/Leonardo Journal - Volume 36, Number 5, pp.389-396 Rainer Usselmann, (2002)"About Interface: Actualisation and Totality" [13], University of Southampton Paul, Christiane (2003). Digital Art (World of Art series). London: Thames & Hudson. ISBN 0-500-20367-9. Fleischmann, Monika and Reinhard, Ulrike (eds.). Digital Transformations - Media Art as at the Interface between Art, Science, Economy and Society [14] online at netzspannung.org [15], 2004, ISBN 3-934013-38-4 Monika Fleischmann / Wolfgang Strauss (eds.) (2001). Proceedings of CAST01//Living in Mixed Realities [16] Intl. Conf. On Communication of Art, Science and Technology, Fraunhofer IMK 2001, 401. ISSN 16181379 (Print), ISSN 16181387 (Internet). Gatti, Gianna Maria. (2010) The Technological Herbarium. Avinus Press, Berlin, 2010 (edited, translated from the Italian, and with a preface by Alan N. Shapiro). online at alan-shapiro.com [17] Oliver Grau (2003). Virtual Art: From Illusion to Immersion (Leonardo Book Series). Cambridge, Massachusetts: The MIT Press/Leonardo Books. ISBN 0-262-07241-6. Frank Popper (1997) Art of the Electronic Age, Thames & Hudson Robert C. Morgan, Commentaries on the New Media Arts Pasadena, CA: Umbrella Associates,1992 Oliver Grau (2007). (Ed.) MediaArtHistories. Cambridge, Massachusetts: The MIT Press/Leonardo Books. ISBN 0-262-07279-3. Edward A. Shanken Selected Writings on Art and Technology http://artexetra.com Edward A. Shanken Art and Electronic Media. London: Phaidon, 2009. ISBN 978-0-7148-4782-5 Christine Buci-Glucksmann, La folie du voir: Une esthtique du virtuel, Galile, 2002 Mark Tribe and Reena Jana. New Media Art. https://wiki.brown.edu/confluence/x/Wkg Whitelaw, Mitchell (2004). Metacreation: Art and Artificial Life Cambridge, Massachusetts: The MIT Press. ISBN 0-262-73176-2. Wands, Bruce (2006). Art of the Digital Age, London: Thames & Hudson. ISBN 0-500-23817-0. Youngblood, Gene (1970). Expanded Cinema. New York. E.P. Dutton & Company. Janet Murray (2003). "Inventing the Medium", The New Media Reader. MIT Press. Lev Manovich (2003. "New Media from Borges to HTML", The New Media Reader. MIT Press. Jorge Luis Borges (1941). "The Garden of Forking Paths." Editorial Sur. Anne-Ccile Worms, (2008) Arts Numriques: Tendances, Artistes, Lieux et Festivals [18] M21 Editions 2008 ISBN: 2-916260-33-1. Sarah Cook & Beryl Graham, Rethinking Curating: Art After New Media, Cambridge, Mass.: MIT Press, 2010. ISBN 978-0-262-01388-8. Sarah Cook, Verina Gfader, Beryl Graham & Axel Lapp, A Brief History of Curating New Media Art Conversations with Curators, Berlin: The Green Box, 2010. ISBN 978-3-941644-20-5. Sarah Cook, Verina Gfader, Beryl Graham & Axel Lapp, A Brief History of Working with New Media Art Conversations with Artists, Berlin: The Green Box, 2010. ISBN 978-3-941644-21-2.

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External links
"Academy of Art New Media Degree" [19] ASPECT [20]- The Chronicle of New Media Art AV-arkki [21] - AV-arkki, Distribution Centre For Finnish Media Art Digitalarti [22]- New media art collaborative community Center for Experimental Media Arts [23] Department for Image Science, Danube University [24] FILE electronic language international festival [10] New Media Festival Glare Media Art Resources [25] - Pioneering Media Art International Distribution Karlsruhe University of Art and Design [26] - Media art and theory graduate and doctoral courses LEONARDO [11]- Leonardo/The International Society for the Arts, Sciences and Technology LAb[au] [27] - laboratory for architecture and urbanism Monoskop/log [28] - Living archive of writings on art, culture and media technology Media art in Central and Eastern Europe [29] at Monoskop wiki research Mediateca Media Art space [30] Monoskop [31] - collaborative wiki research on social history of media art

Media Arts at Eastern Oregon University [32] - innovative new media art program offering degrees in three concentrations; digital media, journalism, and film studies. NMC [33] New Media Caucus, CAA Affiliate Society CyLand MediaLab [34] - new artistic laboratory created by St. Petersburg branch of National Center for Contemporary Arts, Russia NAMAC [35]- The National Alliance for Media Arts and Culture NewMediaArtProjectNetwork: Cologne [36] - experimental platform for art and New Media RHIZOME [37]- An online resource and blog about contemporary new media artists (connected to the New Museum) Share [38] - international organization supporting 'open multimedia jams' throughout the world SWITCH [39]- An online journal of contemporary media culture

References
[1] [2] [3] [4] [5] [6] [7] [8] [9] "Academy of Art New Media Degree" (http:/ / www. academyart. edu/ computer-arts-school/ outline. html) Many universities and colleges offer program of study in Media Arts Hoetzlein, 2009. Timeline of 20th c. Art and Media (http:/ / www. rchoetzlein. com/ theory/ ?p=42) https:/ / wiki. brown. edu/ confluence/ display/ MarkTribe/ New+ Media+ Art+ -+ Introduction http:/ / publicsecret. net/ http:/ / www. appliedautonomy. com/ terminalair/ http:/ / turbulence. org/ Works/ oilstandard/ Digital Rosetta Stone (http:/ / www. ercim. org/ publication/ ws-proceedings/ DELOS6/ rosetta. pdf) Preserving the Rhizome ArtBase (http:/ / rhizome. org/ artbase/ report. htm), a report by Richard Rinehart for Rhizome.org (http:/ / rhizome. org) [10] Cultural Heritage as a Mediation of Digital Culture (http:/ / netzspannung. org/ media-art/ topics/ cultural-heritage/ ?lang=en), a report by Nina Zschocke; Gabriele Blome; Monika Fleischmann for netzspannung.org (http:/ / netzspannung. org/ index_en_flash. html) [11] http:/ / www. ps. uni-sb. de/ ~duchier/ pub/ vbush/ vbush. txt [12] http:/ / www. leonardo. info/ isast/ journal/ toc355. html [13] http:/ / www. rainerusselmann. net [14] http:/ / netzspannung. org/ media-art/ publications/ digital-transformations/ ?lang=en [15] http:/ / netzspannung. org/ index_en_flash. html [16] http:/ / netzspannung. org/ version1/ cast01/ index. html [17] http:/ / alan-shapiro. com/ category/ science-and-technology/ rethinking-science/ the-technological-herbarium [18] http:/ / www. m21editions. com/ fr/ art_num. shtml [19] http:/ / www. academyart. edu/ computer-arts-school/ outline. html [20] http:/ / www. aspectmag. com/

New media art

[21] [22] [23] [24] [25] [26] [27] [28] [29] [30] [31] [32] [33] [34] [35] [36] [37] [38] [39] http:/ / www. av-arkki. fi/ web/ index. php?id=2 http:/ / www. digitalarti. com/ http:/ / cema. srishti. ac. in/ http:/ / www. donau-uni. ac. at/ en/ department/ bildwissenschaft/ index. php http:/ / www. glare. ws http:/ / www. hfg-karlsruhe. de http:/ / www. lab-au. com http:/ / burundi. sk/ monoskop/ log http:/ / burundi. sk/ monoskop/ index. php/ Media_art_in_Central_and_Eastern_Europe http:/ / www. mediatecaonline. net/ mediatecaonline/ SHome?ID_IDIOMA=en http:/ / burundi. sk/ monoskop http:/ / www. eou. edu/ ma/ index. html http:/ / www. newmediacaucus. org http:/ / www. cyland. ru/ index. php http:/ / www. namac. org http:/ / www. nmartproject. net http:/ / rhizome. org http:/ / www. share. dj http:/ / switch. sjsu. edu

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Can You See Me Now?

Can You See Me Now? is an urban chase game developed by Blast Theory [1] and the Mixed Reality Lab [2]. Performers on the streets of a city use handheld computers, GPS and walkie talkies to chase online players who move their avatars through a virtual model of the same town. It won the Golden Nica for Interactive Art at the Ars Electronica, Linz, Austria in 2003.[3]

See also
urban gaming Location-based game Mobile media Locative media

References
[1] http:/ / www. blasttheory. co. uk [2] http:/ / www. mrl. nott. ac. uk [3] ARS Electronica PRIX (http:/ / www. aec. at/ en/ prix/ news_detail. asp?iNewsID=306)

Steve Benford, Andy Crabtree, Martin Flintham, Adam Drozd, Rob Anastasi, Mark Paxton, Nick Tandavanitj, Matt Adams, Ju Row-Farr (2006): Can you see me now?. ACM Transactions on Computer-Human Interaction (TOCHI), Volume 13, Issue 1 (March 2006), MIT Press. Pages: 100 - 133. Available online: http://www.mrl. nott.ac.uk/~axc/documents/papers/ToCHI06.pdf Thomas Dreher (2007): Interaktive Stadterfahrung mit digitalen Medien (Internet, Mobiltelefon und Locative Media). Available online: http://iasl.uni-muenchen.de/links/TippSammel1-3.html Ars Electronica: Can You See Me Now?: Golden Nica / Interactive Art. Available online: http://www.aec.at/ en/prix/news_detail.asp?iNewsID=306

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External links
Blast Theory (http://www.blasttheory.co.uk) Can You See Me Now? (http://www.canyouseemenow.co.uk)

Serial art
Serial art is an art movement in which uniform elements or objects were assembled in accordance with strict modular principles. The composition of serial art is a systematic process. One early example of serial art is Constantin Brncui's sculpture Endless Column. One type of serial art is the production of multiple objects (paintings, sculptures, etc.) in sets or series, for example Josef Albers's well-known series of square paintings, where a single, repeating image creates a variation series. This technique later became associated with minimalism, the multiple, and ABC art. However, there is a different type, which may be regarded as more essentially serial because it is characterized by the nonhierarchical juxtaposition of equivalent representations, which only yield their complete meaning on the basis of their mutual relationship.[1] This produces sequential structures defined similarly to those of a twelve-tone row, found for example in Max Bill's series, Fnfzehn Variationen ber ein Thema (193438), and in Richard Paul Lohse's 30 vertikale systematische Farbreihen in gelber Rautenform (194370) and Konkretion III (1947).[2] Sol LeWitt wrote that "the serial artist does not attempt to produce a beautiful or mysterious object but functions merely as a clerk cataloguing the results of his premise." [3]

See also
Conceptual art Contemporary art Formalism (art) Geometric abstraction Hard-edge painting Information art Minimalism Modernism Modular constructivism Op Art Post-modernism Serial music Structuralism Systems art

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References
Hunter, Sam and John Jacobus. Modern Art , Prentice-Hall Inc, Englewod Cliffs, NJ / Harry Abrams Inc, New York. 1986. pp. 323, 326. Sykora, Katharina. 1983. Das Phnomen des Seriellen in der Kunst: Aspekte einer knstlerischen Methode von Monet bis zur amerikanischen Pop Art. Wrzburg: Knighausen + Neumann.

Further reading
Bandur, Markus. 2001. Aesthetics of Total Serialism: Contemporary Research from Music to Architecture. Basel, Boston and Berlin: Birkhuser. Bochner, Mel. 1967. "The Serial Attitude". Artforum 6, no. 4 (December): 2833. Gerstner, Karl. 1964. Designing Programmes: Four Essays and an Introduction, with an introduction to the introduction by Paul Gredinger. English version by D. Q. Stephenson. Teufen, Switzerland: Arthur Niggli. Enlarged, new edition 1968. Guderian, Dietmar. 1985. Serielle Strukturen und harmonikale Systeme. In Vom Klang der Bilder: die Musik in der Kunst des 20. Jahrhunderts, edited by Karin von Maur, 43437. Munich: Prestel-Verlag. Pias, Claus. 2006. "Multiple". DuMonts Begriffslexikon zur zeitgenssischen Kunst, second, revised edition, edited by Hubertus Butin, 21924. Cologne: DuMont-Buchverlag.

External links
Sol LeWitt, Serial Project, I (ABCD). Museum of Modern Art website [4] Chronology mentioning Serial art and related movements [5]

References
[1] [2] [3] [4] [5] Sykora 1983, 7. Guderian 1985, 43637. Hunter, Sam and John Jacobus. Modern Art, Prentice-Hall Inc, Englewod Cliffs, NJ / Harry Abrams Inc, New York, 1986, p. 326. http:/ / www. moma. org/ collection/ browse_results. php?object_id=81533 http:/ / web. archive. org/ web/ 20080527235902/ http:/ / www. minusspace. com/ chronology1960-1969. htm

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Glitch art
Glitch art is the aestheticization of digital or analog errors, such as artifacts and other bugs, by either corrupting digital code/data or by physically manipulating electronic devices (for example by circuit bending).

Glitch
In a technical sense a glitch is the unexpected result of a malfunction. The term is thought to derive from the German glitschig, meaning 'slippery. It was first recorded in English in 1962 during the American space program by John Glenn when describing problems they were having, Glenn explained, Literally, a glitch is a spike or change in voltage in an electrical current.[1] Glitch is used to describe these kinds of bugs as they occur in software, video games, images, videos, audio, and other forms of data. The term glitch came to be associated with music in the mid 90s to describe a genre of experimental/noise/electronica (see Glitch (music). Shortly after, as VJs and other visual artist like Tony (Ant) Scott began to embrace the glitch as an aesthetic of the digital age, glitch art came to refer to a whole assembly of visual arts. In January 2002, Motherboard, a tech-art collective held a glitch symposium in Oslo, Norway, to bring together international artists, academics and other Glitch practitioners for a short space of time to share their work and ideas with the public and with each other.[2] Iman Moradi, perhaps the first official glitch theorist, has written extensively on the subject of glitch art and released the book Glitch: Designing Imperfections in September 2009.

Glitch as art
Glitches are mostly a result of miscommunication or mistranslation when transferring data from one environment to another. They occur in computers due to bugs in software or hardware. In Iman Moradis dissertation, Glitch Aesthetics, he divides the glitch into two categories. The first is the pure glitch which is the result of a Malfunction or Error, an unpremeditated digital artifact, which may or may not have its own aesthetic merits. The second is the glitch-alike which is the result of an intentional decision on the user side. Glitch artists either synthesize glitches in non-digital mediums, or produce and create the environment that is required to invoke a glitch and anticipate one. A glitch-alike then is a collection of digital artifacts that resemble visual aspects of real glitches found in their original habitat.[1] In his dissertation Moradi lists some common glitch characteristics: fragmentation (shifted parts or elements of the original image as well as tonal changes), replication/repetition (the visual cloning or repetition of any given part of an image), linearity (as a result of digitals interlacing and pixel structures), complexity, (manifestation of the immense series of code beneath any piece of digital media). Whether naturally occurring (pure glitch) or instigated (glitch-alike) there are numerous situations that may result in glitches. They can occur as a result of a scratched DVD, a corrupted stream of video on the internet or digital television, a software crash due to insufficient memory, a malfunctioning digital camera or other device. These glitches sometimes cause garbled patterns to appear on the screen. In these ways, it is argued, the glitch can be viewed as a found object similar to the ready-made. An artist/user/hacker can also cause these situations to happen deliberately; e.g., he/she can corrupt the code of a particular digital file or even physically manipulate (intentionally malfunction) the circuits of a digital device, forcing it to glitch its output, in the same way a circuit bender could with a childs toy to create unique sounds (see circuit bending). After the occurrence of a glitch (whether or not resulting from intention) it can be presented purely, as a corrupt file to be interpreted by a computer or other digital device. Glitches can also be manipulated (e.g., colors can be changed [as in Tony (Ant) Scotts work], clips can be edited) and then saved as stable files. These files can then be printed or burned to a DVD or other media. The glitch

Glitch art aesthetic seeks to select regions of interest from this often very rich raw material input, digitally manipulate it, and produce images which are pleasing to the artist. [3] The genre of the glitch and its role in a conceptual framework can be considered as an art form. In its visual and practical manifestations though, glitches and glitch-alikes have a distinct medium like quality. They exist within other media but their often out of place characteristics have the capacity to convey a message and that is what makes them an effective medium, sub-medium or accompanying medium. The Glitch imagery may be unrecognizable from its source data, but the source is usually implied or can be perceived in an obvious manner in order for the glitch process to fulfill its objective existence, in particular when it comes to conveying meaning. The creation of Glitch-alike artwork doesnt have to result in the conveyance of meaning, it can be fulfilling and satisfying as a process in itself. ... In the world of perfect telecommunication, glitches are undesirables for which countless error checking protocols exist with the sole purpose of eliminating them. In terms of representation, the ones that dont make it into modes of audio or visual communication are merely represented as a trace log of error occurrences that could be used to eliminate further instances before they happen. This symptomatic lack of function or unwanted function in society, gives the glitch its unique status in art.[1]

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Glitch history, context, and appreciation

As a signifier of data, glitch art is often so obtuse that most casual viewers would not have the technical savvy to fully understand the processes and sources of the information they are seeing. Thus, the viewer's experience with a glitch art piece involves a personal awareness of computing and technology. Some of the work requires just menial technological experience -- any child of the 80's would recognize the familiar blips and digital warps that might arise from an incorrectly-loaded Nintendo cartridge. But the aesthetic and conceptual beauty of a visualized Unix core dump (a copy of the contents of memory used by a computing process) is thrown to those who would understand it.[4] Many comparisons can be made between the glitchs formal aesthetics and those of the art that preceded it. At first glance, the works blocky, low-res aesthetics appear formally reminiscent of the most geometric of modernist abstract art, particularly the rectangular forms of de Stijl works like Mondrians earlier Composition pieces and some Bauhaus or Expressionist works of Klee, Rothko, and Kandinsky. These artists avoided direct visual representations of figurative reality, in favor of experiments in spontaneity, absolutes, or studies in form, color, or shape.[4] Another similar connection can be made to the cubist works of Picasso and Braque. The incorporation of chance operations/experiments by John Cage and others in their work is a philosophy shared by many glitch artists who manipulate digital files and devices sometimes at random in anticipation of the results. This tendency to experiment with the physical medium is also very similar to the approach taken by many avant-garde filmmakers like Stan Brakhage who would paint, scratch, and manipulate in countless ways the actual celluloid addressing the medium by exploiting its imperfections. A history for appreciation of imperfections can also be seen in the works of artist like Gerhard Richter, who recreates the flaws found in photographs in his paintings, as well as in Mondrians work which, though seemingly perfect, is marked by varying elements which disrupt this perfection. These connections to more traditional artistic mediums may account for glitchs appreciation today. Todays trend of perfection in communication reminds us less of our past when communications were imperfect and anything that glitches brings us closer to experiencing that past. This is partly why glitches are sometimes coupled with retro aesthetics, and it may be part of the reason for their appreciation. Glitch artists who were children of the eighties and nineties may comment on this especially.[1]

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Glitch artists
In contrast to the digital artists who aim to produce hyper-realistic images (e.g., Jurassic Park, through the use of high-end 3-D computer graphics, the glitch artist uses the computer as a tool for exploring the digital medium and its inherent aesthetic potential, as well as a tool for manipulating it. The glitch artist assumes a role akin to that of a photographer, exploring the environment, waiting for interesting events to happen, and capturing the image before it disappears.[3] For these artists, glitch art is process that stems from an understanding of their tools: computer hardware, software, display adapters, storage media, etc.[1] Glitching is a process of creating work that raises awareness of the means by which we communicate and ultimately exteriorize thought. It is an attempt to integrate the nebula of video with a concrete process of interpretation and injunction, thereby incorporating the properties of a medium into the narrative of its content. At very least, glitch-art functions as a reminder that the technology of digital production and information theory remains as an inexorable collaborator in all works of digital propagation and therefore should be treated as significant.[5]

Glitches and popular culture

Though glitching may often involve a complicated systemized process of file corruption or hardware manipulation there are also very simple and commonly known methods for glitching such as the word pad glitch. This is as simple as opening an uncompressed image file (bmp, tif) in Microsoft WordPad and clicking save. When you open the file as an image again after having saved it on WordPad the result is a glitched version of the original.[6]

Datamoshing
One form of glitching which has recently become very popular is called Datamoshing. Datamoshing occurs when the I-frames or key-frames of a temporally compressed video are removed, causing frames from different video sequences to bleed together. The popularity of datamoshing can be attributed to the creator of a Chairlift music video and his on-line tutorials on his particular method.[7]

Spread
These kinds of tutorials as well as interactive works like the glitch browser (by Lima, Moradi and Scott) and Corrupt (by Benjamin Gaulon) in addition to online groups/communities like the Flickr Glitch Art group have all been contributing factors to the democratization of glitch as a digital art form. There are also devices (hardware) that have been known to have common glitches. The iPhone for example has a very particular glitch that occurs often when taking pictures.[8] [9]

Commercialization
The use of the glitch aesthetic has recently begun to appear in commercial media such as advertising/television commercials (e.g., Absolut Vodka), Hollywood films (e.g., Cloverfield), and music videos such as the Kanye West video Welcome to Heartbreak. This particular use of the glitch has been met with some criticism. Angela Lorenz, suggests in the case of the visual glitch, marketing executives are exploiting styles they see without considering or promoting any experimentation, according to Lorenz, they try to make themselves appear more interesting / appealing to a 'young' audience by hopping onto a certain trend.[1]

Glitch art

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Aesthetics
The aesthetics of the glitch have also recently been mimicked and re-created by other means (using traditional design tools/software) and used in a more traditional art sense. Artists and designers like metaphsk and ratsi have all adopted the glitchs look and begun to apply it to their work. There exist web tutorials that explain how to re-create the glitch aesthetic using programs like Jitter.[10] It is important to note that there is a distinction between a work which is actually corrupted (where there occurs a kind of collaboration between the computer and the glitch practitioner) and a work which adopts some of the glitchs characteristics and achieves similar results by secondary means.

See also
Circuit bending Datamoshing Glitch Glitch (music) Glitching New media art

References
[1] Moradi, Iman. (2004) Glitch Aesthetic http:/ / www. oculasm. org/ glitch/ download/ Glitch_dissertation_print_with_pics. pdf [2] Motherboard. (2002) http:/ / www. liveart. org/ motherboard/ [3] Scott, Tony. (2002) Glitch on Paper http:/ / beflix. com/ gop. html [4] Downey, Jonas. Glitch Art http:/ / half-a-world-away. com/ about [5] Meaney, Evan. (2008) on glitching http:/ / www. evanmeaney. com/ glitching/ theory/ evan_meaney_onglitching. pdf [6] WordPad Glitch tutorial (http:/ / www. animalswithinanimals. com/ stallio/ 2008/ 08/ databending-and-glitch-art-primer-part. html) [7] Chairlift video (http:/ / www. youtube. com/ watch?v=tYytVzbPky8) [8] iPhone Cubism (http:/ / flickr. com/ groups/ iphonecubism/ ) [9] iPhone Camera Art (http:/ / flickr. com/ groups/ iphonecameraart/ ) [10] Jitter (http:/ / abstrakt. vade. info/ ?p=48)

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Blast Theory
Blast Theory is a Brighton-based artists group, whose work mixes interactive media, digital broadcasting and live performance.

Biography
The group was founded in 1991 by Matt Adams, Niki Jewett, Will Kittow and Ju Row Farr. The group is currently led by Matt Adams, Ju Row Farr and Nick Tandavanitj. Other members include the film maker John Hardwick and performer Jamie Iddon. Over its history, Blast Theorys work has explored interactivity and the social and political aspects of technology through a multitude of forms using performance, installation, video, mobile and online technologies. Currently based at their studios in Portslade, UK, Blast Theory tours nationally and internationally, working with a number of Associate Artists on different projects. The group has collaborated with The University of Nottinghams Mixed Reality Lab since 1998.[1] Works created collaboratively with the MRL include Desert Rain (1999), Can You See Me Now? (2001) and Rider Spoke (2007). Blast Theorys work has been shown at NTT InterCommunication Center (ICC) in Tokyo, the Chicago Museum of Contemporary Art, Sydney Biennale, National Museum in Taiwan, Hebbel Theater in Berlin, Basel Art Fair, Dutch Electronic Arts Festival, Snar Festival in Barcelona, and Palestine International Video Festival.[2] [3] [4] [5] Recent commissions include You Get Me (2008) at the Royal Opera House, Covent Garden, for Deloitte Ignite 08, and Ulrike and Eamon Compliant (2009) for the De La Warr Pavilion at the 53rd Venice Biennale.[6]

Approach
Blast Theorys artists describe their work as collaborative and interdisciplinary. With early works such as Gunmen Kill Three (1991) and Chemical Wedding (1994) fitting more in the category of live and performance art, Desert Rain (1999) saw a shift towards work that aims to question performativity, site and presence. Works such as Can You See Me Now? (2001), a game of chase through real and virtual city streets, have seen Blast Theory mix video games and performance, with Can You See Me Now? and You Get Me (2008) being open to a worldwide audience via the internet. Recent work uses mobile technologies such as text messaging, MMS messaging and 3G phones with the aim of exploring how technology might be considered to create new cultural spaces in which the work is customised and personalised for each participant.[7]

Selected works
2009 Urike and Eamon Compliant Flypad 2008 You Get Me 2007 Rider Spoke 2006 Soft Message Day Of The Figurines 2005

Blast Theory Single Story Building, Tate Online 2004 Energy Gallery, The Science Museum Light Square I Like Frank 2003 Uncle Roy All Around You 2001 Can You See Me Now? - Installation 2002 Stay Home Read Single Story Building TRUCOLD 2001 Viewfinder Can You See Me Now? An Explicit Volume 2000 Choreographic Cops In A Complicated World Sidetracks : Light Sleeper & Body Chemistry IV 1999 Desert Rain 10 Backwards Route 12:36 1998 Kidnap Architecture Foundation Atomic Installation

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1997 Safehouse Invisible Bullets (video) Atomic Performance Blipvert C'mon Baby, Fight! Fight! Fight! Ultrapure

1996 Something American Internal Ammunition 1995 The Gilt Remake 1994 Invisible Bullets Stampede

Blast Theory 1992 Chemical Wedding 1991 Gunmen Kill Three

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Awards
2008 - Winner of The Digital Collaboration Award at DiMA:S 2007 - Honorary Mention, Prix Ars Electronica for Day Of The Figurines 2006 - Winner of The Hospital Award for Interactive Media 2005 - Winner of the Maverick Award, Game Developers Choice Awards, USA 2005 - Interactive Arts BAFTA Award, nominated for Uncle Roy All Around You in two categories: Interactive Arts and Technical & Social Innovation 2004 - Net Art Award, the Webby Awards, nominated for Uncle Roy All Around You 2003 - Winner of the Prix Ars Electronica Golden Nica for Interactive Art for Can You See Me Now? 2003 - VIPER Basel International Award, nominated for Can You See Me Now? 2002 - Interactive Arts BAFTA Award, nominated for Can You See Me Now? 2002 - International Fellowship Award, Arts Council England 2002 - Innovation Award, Arts and Humanities Research Board, awarded for Uncle Roy All Around You 2001 - International Media Art Award, ZKM Centre for Arts and Media, Karlsruhe, nominated for Kidnap 2001 - Transmediale Awards, Berlin, Honorary Mention for Desert Rain 2000 - Interactive Arts BAFTA Award, nominated for Desert Rain 2000 - Breakthrough Award for Innovation, nominated, Arts Council England 1999 - The 18 Creative Freedom Awards, nominated for Kidnap 1996 - Winner of the Barclays New Stages Award, for Something American

Key Reading
Steve Benford, Rob Anastasi, Martin Flintham, Adam Drozd, Andy Crabtree, Chris Greenhalgh, Nick Tandavanitj, Matt Adams, Ju Row-Farr, Can You See Me Now?, Pervasive Computing, No.3, Volume 2, July/September 2003, pp.4951 Blast Theory, Desert Rain (A Virtual Reality Game/Installation), 2002, pp.1-36 (Blast Theory, London) [8] Dixon, Steve Digital Performance, A history of new media in theatre, dance, performance art, and installation, 2007, pp. 616-621 (The MIT Press, Cambridge, UK) [9] Giannachi, Gabriella About War and Inaction: Blast Theory's Desert Rain, Virtual Theatres: An Introduction, 2004, pp.115-122 (Routledge, London) [10] Emma Govan, Helen Nicholson and Katie Normington Making a Performance, Devising Histories and Contemporary Practices, 2008, pp. 179 187 (Routledge Taylor and Francis Group, London) [11]

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External links
Arts Council England: http://www.artscouncil.org.uk/ Blast Theory on YouTube: http://www.youtube.com/user/blasttheory Blast Theory on Vimeo: http://www.vimeo.com/blasttheory IPerG Integrated Project of Pervasive Games: http://www.pervasive-gaming.org/index.php Mixed Reality Lab, Nottingham: http://www.mrl.nott.ac.uk/

References
[1] Mixed Reality Lab (http:/ / www. mrl. nott. ac. uk/ ) [2] ICC (http:/ / www. ntticc. or. jp/ Archive/ 2005/ art_meets_media/ Works/ work00. html) [3] Can You See Me Now? at MOCAC (http:/ / www. mcachicago. org/ performances/ perf_detail. php?id=5) [4] Blast Theory Interview RealTime Arts Magazine (http:/ / www. realtimearts. net/ article/ issue51/ 6871) [5] SonarMtica (http:/ / www. sonar. es/ 2006/ eng/ multimedia_matica. cfm) [6] Ulrike and Eamon Compliant DLWP (http:/ / www. dlwp. com/ news/ article. aspx?id=1469) [7] Blast Theory (http:/ / www. blasttheory. co. uk) [8] http:/ / www. amazon. co. uk/ dp/ 095432580X [9] http:/ / www. amazon. co. uk/ dp/ 0262042355 [10] http:/ / www. amazon. co. uk/ dp/ 0415283795 [11] http:/ / www. amazon. co. uk/ dp/ 0415286530

Rider Spoke
Rider Spoke developed by Blast Theory in collaboration with the Mixed Reality Lab [2] was first staged at the Barbican, London in October 2007. Created for cyclists, it combines elements of theatre, performance, game play and state of the art technology. Rider Spoke has since been presented in Athens (2008), Brighton (2008), Budapest (2008), Sydney (2009, Adelaide (2009) and Liverpool (2010).

References
Icon Issue 054, December 2007, p. 97. The Guardian, 03.10.2007, pp. 28-29. Metro, 15.10.2007 Metro, 09.10.2007

Academic References
Chamberlain, A and Benford, S. Eds, "Deliverable D17.3 A Cultural Console Game, Final Report", Rider Spoke, IperG (Integrated Project on Pervasive Gaming) 2008. (http:/ / www. pervasive-gaming. org/ Deliverables/ D17. 3. pdf) Chamberlain, A. , Rowland, D., Foster, J. & Giannachi, G., "Riders Have Spoken: Replaying and Archiving Pervasive Performances". In Leonardo Journal for The International Society for the Arts, Sciences and Technology Issue 43:1 2009. (http://www.leonardo-transactions.com/announcements/download/169) Rowland, D., Flintham, M., Oppermann, L., Marshall, J., Chamberlain, A., Koleva, B., Benford, S & Perez, C. 'Ubikequitous Computing: Designing Interactive Experiences for Cyclists'. Mobile HCI 09. 15-18 September 2009, Bonn, Germany. (http://portal.acm.org/citation.cfm?id=1613858.1613886) Chamberlain, A. 'Being: Pysical - People, Performance, Art and Space'. HCI 09 (BCS-SIGCHI). ws, The Body in Communication, 1-5 September 2009, Cambridge, UK.

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External links
Blast Theory (http://www.blasttheory.co.uk) Mixed Reality Lab (http://www.mrl.nott.ac.uk/) Rider Spoke (http://www.riderspoke.co.uk) Riders Have Spoken (http://www.crg.cs.nott.ac.uk/~azc/Riders/indexriders.html)

British Council documentary by Jess Scully and Jonathon Rogers (http://www.youtube.com/ watch?v=jyI78ZFo--Y)

Ulrike and Eamon Compliant

Ulrike and Eamon Compliant is a work by Blast Theory that premiered at the 53rd Venice Biennale in June 2009, commissioned by the De La Warr Pavilion and supported by Arts Council England.[1] The work is based on the lives of Ulrike Meinhof (Red Army Faction) and Eamon Collins (Irish Republican Army). Having chosen to be Eamon or Ulrike, participants walk through the city receiving mobile phone calls. Exploring subjectivities and political obligations, the work culminates in an interview with the artists in a hidden room.[2] Mixing locative media, live performance, and interactivity, the work counterpoints the context of Venice with Berlin in the 1970s and Northern Ireland in the 1980s. A book with a foreword by Alan Haydon, Director of the De La Warr Pavilion, featuring an essay by Richard Grayson (artist), was first published in November 2009. Ulrike and Eamon Compliant won "Best Real-World Game" at the 2010 International Mobile Gaming Awards on 15 February at Mobile World Congress in Barcelona.[3]

External links
Ulrike and Eamon Compliant on Vimeo [4] DLWP [5] Blast Theory [6] Arts Council England [7]

References
[1] http:/ / nuke. nuovaicona. com/ Exhibitions160160Events/ Oratorio160San160Ludovico/ UlrikeEamonCompliant47June2009/ tabid/ 605/ Default. aspx [2] http:/ / www. labouchemag. com/ issue-two. php?art=47 [3] http:/ / www. pocketgamer. co. uk/ r/ iPhone/ IMGA+ Awards+ 2010/ news. asp?c=18509 [4] http:/ / www. vimeo. com/ 6207810 [5] http:/ / www. dlwp. com/ dlwpinternational/ venice/ [6] http:/ / www. blasttheory. co. uk/ bt/ work_ulrikeandeamoncompliant. html [7] http:/ / www. artscouncil. org. uk/ our-work/ blast-theory-presents-ulrike-and-eamon-compliant/

433

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433
433 (pronounced Four minutes, thirty-three seconds or, as the composer himself referred to it, Four, thirty-three[1] ) is a three-movement composition[2] [3] by American experimental composer John Cage (19121992). It was composed in 1952 for any instrument (or combination of instruments), and the score instructs the performer not to play the instrument during the entire duration of the piece throughout the three movements (the first being thirty seconds, the second being two minutes and twenty-three seconds, and the third being one minute and forty seconds). Although commonly perceived as "four minutes thirty-three seconds of silence",[4] [5] the piece actually consists of the sounds of the environment that the listeners hear while it is performed.[6] Over the years, 433 became Cage's most famous and most controversial composition.[2] Conceived around 19471948, while the composer was working on Sonatas and Interludes,[2] 433 became for Cage the epitome of his idea that any sounds constitute, or may constitute, music.[7] It was also a reflection of the influence of Zen Buddhism, which Cage studied since the late forties. In a 1982 interview, and on numerous other occasions, Cage stated that 433 was, in his opinion, his most important work.[8]

History of composition
Background and influences
Silence played a major role in several of Cage's works composed before 433. The Duet for Two Flutes (1934), composed when Cage was 22, opens with silence, and silence was an important structural element in some of the Sonatas and Interludes (194648), Music of Changes (1951) and Two Pastorales (1951). The Concerto for prepared piano and orchestra (1951) closes with an extended silence, and Waiting (1952), a piano piece composed just a few months before 433, consists of long silences framing a single, short ostinato pattern. Furthermore, in his songs The Wonderful Widow of Eighteen Springs (1942) and A Flower (1950) Cage directs the pianist to play a closed instrument, which may be understood as a metaphor of silence.[9] The first time Cage mentioned the idea of a piece composed entirely of silence was during a 1947 (or 1948) lecture at Vassar College, A Composer's Confessions. Cage told the audience that he had "several new desires", one of which was to compose a piece of uninterrupted silence and sell it to Muzak Co. It will be three or four-and-a-half minutes longthose being the standard lengths of "canned" music and its title will be Silent Prayer. It will open with a single idea which I will attempt to make as seductive as the color and shape and fragrance of a flower. The ending will approach imperceptibility.[10] At the time, however, Cage felt that such a piece would be "incomprehensible in the Western context," and was reluctant to write it down: "I didn't wish it to appear, even to me, as something easy to do or as a joke. I wanted to mean it utterly and be able to live with it."[11] In 1951, Cage visited the anechoic chamber at Harvard University. An anechoic chamber is a room designed in such a way that the walls, ceiling and floor absorb all sounds made in the room, rather than reflecting them as echoes. Such a chamber is also externally sound-proofed. Cage entered the chamber expecting to hear silence, but he wrote later, "I heard two sounds, one high and one low. When I described them to the engineer in charge, he informed me that the high one was my nervous system in operation, the low one my blood in circulation."[12] Cage had gone to a place where he expected total silence, and yet heard sound. "Until I die there will be sounds. And they will continue following my death. One need not fear about the future of music."[13] The realisation as he saw it of the impossibility of silence led to the composition of 433. Another cited influence[11] for this piece came from the field of the visual arts. Cage's friend and sometimes colleague Robert Rauschenberg had produced, in 1951, a series of white paintings, seemingly "blank" canvases

433 (though painted with white house paint) that in fact change according to varying light conditions in the rooms in which they were hung, the shadows of people in the room and so on. This inspired Cage to use a similar idea, as he later stated, "Actually what pushed me into it was not guts but the example of Robert Rauschenberg. His white paintings when I saw those, I said, 'Oh yes, I must. Otherwise I'm lagging, otherwise music is lagging'." Cage's musical equivalent to the Rauschenberg paintings uses the "silence" of the piece as an aural "blank canvas" to reflect the dynamic flux of ambient sounds surrounding each performance; the music of the piece is natural sounds of the players, the audience, the building, and the outside environment.

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Precursors
Cage was not the first composer to conceive of a piece consisting solely of silence. Precedents and prior examples include: Alphonse Allais's 1897 Funeral March for the Obsequies of a Deaf Man, consisting of nine blank measures. Allais's composition is arguably closer in spirit to Cage's work; Allais was an associate of Erik Satie, and given Cage's profound admiration for Satie, the possibility that Cage was inspired by the Funeral March is tempting. However, according to Cage himself, he was unaware of Allais's composition at the time (though he had heard of a nineteenth century book that was completely blank).[14] Erwin Schulhoff's 1919 "In futurum", a movement from the Fnf Pittoresken for piano. The Czech composer's meticulously notated composition is made up entirely of rests.[15] Cage was, however, almost certainly unaware of Schulhoff's work. In Harold Acton's 1928 book Cornelium a musician conducts "performances consisting largely of silence".[16] Yves Klein's 1949 Monotone-Silence Symphony (informally The Monotone Symphony, conceived 19471948), an orchestral forty minute piece whose second and last movement is a twenty minute silence[17] (the first movement being an unvarying twenty minute drone).

Premiere and reception

They missed the point. Theres no such thing as silence. What they thought was silence, because they didnt know how to listen, was full of accidental sounds. You could hear the wind stirring outside during the first movement. During the second, raindrops began patterning the roof, and during the third the people themselves made all kinds of interesting sounds as they talked or walked out. John Cage speaking about the premiere of 433.
[8]

The premiere of the three-movement 4'33 was given by David Tudor on August 29, 1952, at Woodstock, New York as part of a recital of contemporary piano music. The audience saw him sit at the piano and, to mark the beginning of the piece, close the keyboard lid. Some time later he opened it briefly, to mark the end of the first movement. This process was repeated for the second and third movements.[18] The piece had passed without a note being playedin fact without Tudor (or anyone else) having made any deliberate sound as part of the piece. Tudor timed the three movements with a stopwatch while turning the pages of the score. Richard Kostelanetz suggests that the very fact that Tudor, a man known for championing experimental music, was the performer, and that Cage, a man known for introducing unexpected non-musical noise into his work, was the composer, would have led the audience to expect unexpected sounds. Anybody listening intently would have heard them: while the performer produces no deliberately musical sound, there will nonetheless be sounds in the concert hall (just as there were sounds in the anechoic chamber at Harvard). It is these sounds, unpredictable and unintentional, that are to be regarded as constituting the music in this piece. The piece remains controversial to this day, and is seen as challenging the very definition of music. In the course of interviews which took place in Surrey and London during 1983, Lee Crampton pointed out to Cage the 'coincidence' between 273 seconds and the absolute zero temperature, to which Cage replied that he had never realized that or had it brought to his attention before.

433 In defining noise music and its value, Paul Hegarty in Noise/Music: A History (2007) contends that it is John Cage's composition 4'33" that represents the beginning of noise music proper. For Hegarty, noise music, as with 4'33", is that music made up of incidental sounds that represent perfectly the tension between "desirable" sound (properly played musical notes) and undesirable "noise" that make up all noise music.[19]

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Versions of the score

Several versions of the score exist:[20] The original Woodstock manuscript (August 1952): conventional notation, dedicated to David Tudor. This manuscript is currently lost. Tudor's attempt at re-creating the original score is reproduced in Fetterman 1996, 74. The Kremen manuscript (1953): graphic, space-time notation, dedicated to Irwin Kremen. The movements of the piece are rendered as space between long vertical lines; a tempo indication is provided (60), and at the end of each movement the time is indicated in minutes and seconds.[21] Edition Peters No. 6777a. The so-called First Tacet Edition: a typewritten score, lists the three movements using Roman numbers, with the word "TACET" underneath each. A note by Cage describes the first performance and mentions that "the work may be performed by (any) instrumentalist or combination of instrumentalists and last any length of time." Edition Peters No. 6777 (out of print). The so-called Second Tacet Edition: same as the First, except that it is printed in Cage's calligraphy, and the explanatory note mentions the Kremen manuscript. Edition Peters No. 6777 (i.e. it carries the same catalogue number as the first Tacet Edition) Additionally, a facsimile, reduced in size, of the Kremen manuscript, appeared in July 1967 in Source. There is some discrepancy between the lengths of individual movements specified in different versions of the score. The Woodstock printed program specifies the lengths 30, 223 and 140, as does the Kremen manuscript, and presumably the original manuscript had the same indications. However, in the First Tacet Edition Cage writes that at the premiere the timings were 33, 240 and 120. In the Second Tacet Edition he adds that after the premier a copy has been made for Irwin Kremen, in which the timelengths of the movements were 30, 223 and 140. The causes of this discrepancy is not currently understood, the original manuscript being still lost.[1]

433 No. 2
In 1962, Cage wrote 0'00", which is also referred to as 4'33" No. 2. The directions originally consisted of one sentence: "In a situation provided with maximum amplification, perform a disciplined action." The first performance had Cage write that sentence. The second performance added four new qualifications to the directions: "the performer should allow any interruptions of the action, the action should fulfill an obligation to others, the same action should not be used in more than one performance, and should not be the performance of a musical composition."[10]

One3
In late 1989, three years before his death, Cage revisited the idea of 433 one last time. He composed One3, the full title of which is One3 = 433 (000) + . As in all number pieces, "One" refers to the number of performers required. The score instructs the performer to build a sound system in the concert hall, so that "the whole hall is on the edge of feedback, without actually feeding back." The content of the piece is the electronically amplified sound of the hall and the audience.

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64

Performances and recordings

4'33 has been recorded on several occasions: Frank Zappa recorded it as part of A Chance Operation: The John Cage Tribute, on the Koch label, 1993; in 2002, James Tenney performed 4'33" at Rudolf Schindler's historic Kings Road House in celebration of the work's 50th anniversary.[22] A performance of 4'33 was broadcast on Australian radio station ABC Classic FM, as part of a program exploring "sonic responses" to Cage's work.[23] The BBC comedy sketch series The Fast Show featured a jazz version of 4'33 as part of the regular Jazz Club segment. The fact that this version only lasted roughly 90 seconds was put down in the sketch to the need for artistic expression and thrusting as part of jazz, and that any piece of music was open to an artist's interpretation. On January 16, 2004, at the Barbican Centre in London, the BBC Symphony Orchestra gave the UK's first orchestral performance of this work. The performance was broadcast live on BBC Radio 3, and one of the main challenges was that the station's emergency backup systems are designed to switch on and play music whenever apparent silence (dead air) lasting longer than a preset duration is detected. They had to be switched off for the sole purpose of this performance.[24] A tongue-in-cheek version was recorded by the staff of the UK Guardian newspaper on January 16, 2004.[25]

References by other artists

Several other artists have paid tribute to Cage's work. Some of the more notable include the following: Ciccone Youth, the collaboration between members of Sonic Youth and Mike Watt, included a track titled "(silence)" on The Whitey Album that consists of sixty-three seconds of just that. Sonic Youth is also known for experimental music and have covered other pieces by John Cage on their SYR release Goodbye 20th Century. In July 2002, composer Mike Batt was accused of copyright infringement by the estate of John Cage after crediting his track "A Minute's Silence" as being written by "Batt/Cage". Batt initially vowed to fight the suit, even going so far as to claim that his piece is "a much better silent piece. I have been able to say in one minute what Cage could only say in four minutes and thirty-three seconds." Batt told The Independent that "My silence is original silence, not a quotation from his silence." Batt eventually settled out of court for an undisclosed six figure sum in September 2002.[26]

References
Bek, Joseph. "Erwin Schulhoff", Grove Music Online, ed. L. Macy (accessed 11 December 2006), grovemusic.com [27] (subscription access). Cage, John. 1961. Silence: Lectures and Writings. Wesleyan Paperback (1973 edition). ISBN 0-8195-6028-6 Dickinson, Peter. 1991. Reviews of three books on Satie. Musical Quarterly 75 (3): 404409. Fetterman, William. 1996. John Cage's Theatre Pieces: Notations and Performances. Routledge. ISBN 3718656434 Kostelanetz, Richard. 2003. Conversing with John Cage. New York: Routledge. ISBN 0-415-93792-2 Lienhard, John H. 2003. Inventing Modern: Growing Up with X-Rays, Skyscrapers, and Tailfins, Oxford University Press US. ISBN 0195189515 Pritchett, James. 1993. The Music of John Cage. Cambridge University Press. ISBN 0521565448 Pritchett, James, and Kuhn, Laura. . "John Cage", Grove Music Online, ed. L. Macy (accessed 15 December 2006), grovemusic.com [27] (subscription access). Revill, David. 1993. The Roaring Silence: John Cage a Life. Arcade Publishing. ISBN 1559702206, ISBN 978-1559702201 Solomon, Larry J. 1998 (revised 2002). The Sounds of Silence: John Cage and 433. Available online. [28]

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65

External links
"Radio 3 plays 'silent symphony' [29]", BBC Online. (includes Real Audio sound file) A quiet night out with Cage [30] from the UK Observer The Music of Chance [31] from the UK Guardian newspaper 4'33" song of the day on thishereboogie.com Nov 4, 2008 [32] The Sounds of Silence [33] further commentary by Peter Gutmann Video [34] of a 2004 orchestral performance

Audio (ersatz)
John Cage's 4'33" [35] in MIDI, OGG, Au, and WAV formats. John Cage's 4'33" [36] from National Public Radio's "The 100 most important American musical works of the 20th century" (Real Audio file format)

References
[1] Solomon 1998/2002. [2] Pritchett, Kuhn, Grove. [3] Kostelanetz 2003, 6971,86,105,198,218,231. [4] [5] [6] [7] Fetterman 1996, 69. Lienhard 2003, 254. Kostelanetz 2003, 6970. Gutmann, Peter (1999). "John Cage and the Avant-Garde: The Sounds of Silence" (http:/ / www. classicalnotes. net/ columns/ silence. html). . Retrieved April 4, 2007. [8] Kostelanetz 2003, 70. [9] Revill 1993, 162. [10] Pritchett 1993, 59, 138. [11] Revill 1993, 164. [12] "A few notes about silence and John Cage" (http:/ / www. cbc. ca/ sask/ features/ artist/ journal2. html). CBC.ca. November 24, 2004. . [13] Cage 1961, 8. [14] Dickinson 1991. [15] Bek, Grove. [16] Carpenter, Humphrey. 1990. The Brideshead Generation: Evelyn Waugh and His Friends, 153. Houghton Mifflin. ISBN 9780395441428 [17] See sources and recordings at the Yves Klein article. [18] The actions of Tudor in the first performance are often misdescribed so that the lid is explained as being open during the movements. Cage's handwritten score (produced after the first performance) states that the lid was closed during the movements, and opened to mark the spaces between. [19] Paul Hegarty, Noise/Music: A History (2007) Continuum International Publishing Group [20] This paragraph summarizes some of the findings from Solomon 1998/2002. [21] Fetterman 1996, 7678. [22] Tenney's recording is archived on line via The Society for the Activation of Social Space through Art and Sound (SASSAS) [23] "ABC Classic FM" (http:/ / www. abc. net. au/ classic/ daily/ stories/ s376971. htm). . [24] "BBC Press Office, Cage Uncaged" (http:/ / www. bbc. co. uk/ pressoffice/ pressreleases/ stories/ 2004/ 01_january/ 12/ john_cage. shtml). February 21, 2007. . [25] "Guardian recording of 4'33" (http:/ / stream. guardian. co. uk:7080/ ramgen/ sys-audio/ Guardian/ audio/ 2004/ 01/ 16/ silence. ra). January 16, 2004. . [26] "Silent music dispute resolved" (http:/ / news. bbc. co. uk/ 1/ hi/ entertainment/ music/ 2276621. stm). BBC News. 2002-09-23. . Retrieved 2010-01-01. [27] http:/ / www. grovemusic. com/ [28] http:/ / solomonsmusic. net/ 4min33se. htm [29] http:/ / news. bbc. co. uk/ 1/ hi/ entertainment/ music/ 3401901. stm [30] http:/ / observer. guardian. co. uk/ review/ story/ 0,6903,1125447,00. html [31] http:/ / www. guardian. co. uk/ arts/ fridayreview/ story/ 0,12102,1123639,00. html [32] http:/ / thishereboogie. com/ 433-john-cage-1948/ [33] http:/ / www. classicalnotes. net/ columns/ silence. html [34] http:/ / www. ubu. com/ film/ cage_433. html

433
[35] http:/ / interglacial. com/ ~sburke/ stuff/ cage_433. html [36] http:/ / www. npr. org/ ramfiles/ atc/ 20000508. atc. 08. rmm

66

Agrippa (a book of the dead)

Agrippa (a book of the dead)

Author Cover artist Subject(s) Genre(s) Publisher

William Gibson Dennis Ashbaugh Memory Poetry Kevin Begos Jr.

Publication date 1992 Media type Artist's book

OCLC Number 48079355 [1]

Agrippa (a book of the dead) is a work of art created by speculative fiction novelist William Gibson, artist Dennis Ashbaugh and publisher Kevin Begos Jr. in 1992.[2] [3] The work consists of a 300-line semi-autobiographical electronic poem by Gibson, embedded in an artist's book by Ashbaugh.[4] Gibson's text focused on the ethereal nature of memories (the title is taken from a photo album). Its principal notoriety arose from the fact that the poem, stored on a 3.5" floppy disk, was programmed to erase itself after a single use; similarly, the pages of the artist's book were treated with photosensitive chemicals, effecting the gradual fading of the words and images from the book's first exposure to light.[4]

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67

Origin and concept

The impetus for the initiation of the project was Kevin Begos Jr., a publisher of museum-quality manuscripts motivated by disregard for the commercialism of the art world,[5] who suggested to abstract painter Dennis Ashbaugh that they "put out an art book on computer that vanishes".[6] Ashbaughwho despite his "heavy art-world resume" was bored with the abstract impressionist paintings he was doingtook the suggestion seriously, and developed it further.[6] [7] A few years beforehand, Ashbaugh had written a fan letter to cyberpunk novelist William Gibson, whose oeuvre he had admired, and the pair had struck up a telephone friendship.[6] [7] Shortly after the project had germinated in the minds of Begos Jr. and Ashbaugh, they contacted and recruited Gibson.[3] The project exemplified Gibson's deep ambivalence towards technologically advanced futurity, and as The New York Times expressed it, was "designed to challenge conventional notions about books and art while extracting money from collectors of both".[3]

Some people have said that they think this is a scam or pure hype [m]aybe fun, maybe interesting, but still a scam. But Gibson thinks of it as becoming a memory, which he believes is more real than anything you can actually see.

[8]

Kevin Begos Jr., End Notes,

The project manifested as a poem written by Gibson incorporated into an artist's book created by Ashbaugh; as such it was as much a work of collaborative conceptual art as poetry.[9] Gibson stated that Ashbaugh's design "eventually included a supposedly self-devouring floppy-disk intended to display the text only once, then eat itself."[10] Ashbaugh was gleeful at the dilemma this would pose to librarians: in order to register the copyright of the book, he had to send two copies to the United States Library of Congress, who, in order to classify it had to read it, and in the process, necessarily had to destroy it.[7] The creators had initially intended to infect the disks with a computer virus, but declined to after considering the potential damage to the computer systems of innocents.[7]

Release and replication

OK, sit down and pay attention. Were only going to say this once. William Gibson, National Public Radio, December 9, 1992.[11] The work was premiered on December 9, 1992 at The Kitchen, an art space in Greenwich Village, New York City.[12] [13] The performanceknown as "The Transmission"consisted of the public incomplete reading of the poem by illusionist Penn Jillette, recorded and simultaneously transmitted to several other cities.[12] [14] The poem was inscribed on a sculptural magnetic disk which had been vacuum-sealed until the event's commencement, and was programmed to erase itself upon exposure to air.[12] Contrary to numerous colourful reports,[15] neither this disk nor the diskettes embedded in the artist's book were ever actually hacked in any strict sense.[16] Academic researcher Matthew Kirschenbaum has reported that a pirated text of the poem was released the next day on MindVox, "an edgy New York City-based electronic bulletin board".[16] Kirschenbaum considers Mindvox, an interface between the darknet and the global Internet, to have been "an ideal initial host".[16] The text spread rapidly from that point on, first on FTP servers and anonymous mailers and later via USENET and listserv email. Since Gibson did not use email at the time, fans sent copies of the pirated text to his fax machine.[15] The precise manner in which the text was obtained for MindVox is unclear, although the initial custodian of the text, known only as "Templar" attached to it an introductory note in which he claimed credit.[16] Begos claimed that a troupe of New York University students representing themselves as documentarians attended The Transmission and made a videotape recording of the screen as it displayed the text as an accompaniment of Jillette's reading. Kirschenbaum speculates that this group included the offline persona of Templar or one of his associates. According to this account, ostensibly endorsed by Templar in a post to Slashdot in February 2000,[16] the students then transcribed the poem from the tape and within hours had uploaded it to MindVox. However, according to a

Agrippa (a book of the dead) dissenting account by hacktivist and MindVox co-founder Patrick K. Kroupa, subterfuge prior to The Transmission elicited a betrayal of trust which yielded the uploaders the text. Kirschenbaum declined to elaborate on the specifics of the Kroupa conjecture, which he declared himself "not at liberty to disclose".[16] Agrippa owes its transmission and continuing availability to a complex network of individuals, communities, ideologies, markets, technologies, and motives. Only in the most heroic reading of the events is Agrippa saved for posterity solely by virtue of the knight Templar. Today, the 404 File Not Found messages that Web browsing readers of Agrippa inevitably encounter are more than just false leads; they are latent affirmations of the works original act of erasure that allow the text to stage anew all of its essential points about artifacts, memory, and technology. Because the struggle for the text is the text. Kirschenbaum, Matthew G., "Hacking Agrippa: The Source of the Online Text", The Agrippa Files.[16] On December 9, 2008 (the sixteenth anniversary of the original Transmission), the Agrippa Files, working with a scholarly team at the University of Maryland, released an emulated run [17] of the entire poem (derived from an original diskette loaned by a collector) and an hour's worth of "bootleg" footage shot covertly at the Americas Society (the source of the text that was posted on MindVox).[18]

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Content and editions

Agrippa comes in a rough-hewn black box adorned with a blinking green light and an LCD readout that flickers with an endless stream of decoded DNA. The top opens like a laptop computer, revealing a hologram of a circuit board. Inside is a battered volume, the pages of which are antique rag-paper, bound and singed by hand. Gavin Edwards, Details, June 1992.
[7]

The book was published in 1992 in two limited editionsDeluxe and Smallby Kevin Begos Jr. Publishing, New York City.[2] The deluxe edition came in a 16 by 21-inch (41cm 55cm) metal mesh case sheathed in Kevlar (a polymer used to make bulletproof vests) and designed to look like a buried relic.[3] Inside is a book of 93 ragged and charred pages sewn by hand and bound in stained and singed linen by Karl Foulkes;[19] the book gives the impression of having survived a fire;[2] [3] it was described by Peter Schwenger as "a black box recovered from some unspecified disaster."[6] The edition includes pages of DNA sequences set in double columns of 42 lines each like the Gutenberg Bible, and copperplate aquatint etchings by Ashbaugh editioned by Peter Pettingill on Fabriano Tiepolo paper.[20] [21] The monochromatic etchings depict stylised chromosomes, a hallmark of Ashbaugh's work, accompanied by imagery of a pistol, camera or in some instances simple line drawingsall allusions to Gibson's contribution.[22] The deluxe edition was set in Monotype Gill Sans at Golgonooza Letter Foundry, and printed on Rives heavyweight text by Begos Jr. and the Sun Hill Press.[21] The final 60 pages of the book were then fused together, with a hollowed-out section cut into the centre, containing the self-erasing diskette on which the text of Gibson's poem was encrypted.[3] The encryption was the work of a pseudonymous computer programmer, "BRASH", assisted by Electronic Frontier Foundation founders John Perry Barlow and John Gilmore.[19] The deluxe edition was originally priced at US$1500 (later $2000), and each copy is unique to some degree because of handmade or hand-finished elements.[19] The small edition was sold for $450;[23] like the deluxe edition, it was set in Monotype Gill Sans, but in single columns.[21] It was printed on Mohawk Superfine text by the Sun Hill Press,[22] with the reproduction of the etchings printed on a Canon laser printer. The edition was then Smythe sewn at Spectrum Bindery and enclosed in a clamshell box.[21] A bronze-boxed collectors' copy was also released, and retailed at $7,500.[23] Fewer than 95 deluxe editions of Agrippa are extant, although the exact number is unknown and is the source of considerable mystery.[19] [24] The Victoria and Albert Museum possesses a deluxe edition, numbered 4 of 10.[19] A publicly accessible copy of the deluxe edition is available at the Rare Books Division of the New York Public Library and a small copy resides at Western Michigan University in Kalamazoo, Michigan, while the Frances

Agrippa (a book of the dead) Mulhall Achilles Library at the Whitney Museum of American Art in New York City hosts a promotional prospectus.[19] The book was exhibited in the 2003-2004 exhibition Ninety from the Nineties at the New York Public Library. Gibson at one point claimed never to have seen a copy of the printed book, spurring speculation that no copies had actually been made. Many copies have since been documented, and Gibson's signature was noted on the copy held by the New York Public Library.[22]

69

The poem
The construction of the book and the subject matter of the poem within it share a metaphorical connection in the decay of memory.[25] [26] In this light, critic Peter Schwenger asserts that Agrippa can be understood as organized by two ideas: the death of Gibson's father, and the disappearance or absence of the book itself.[27] In this sense, it instantiates the ephemeral nature of all text.[28]

Theme and form

The poem is a detailed description of several objects, including a photo album and the camera that took the pictures in it, and is essentially about the nostalgia that the speaker, presumably Gibson himself, feels towards the details of his family's history: the painstaking descriptions of the houses they lived in, the cars they drove, and even their pets. It starts around 1919 and moves up to today, or possibly beyond. William Gibson, author of the Agrippa poem, If it works, it makes the reader uncomfortably aware of how pictured in Paris on his 60th birthday, May 17, much we tend to accept the contemporary media version of the 2008. past. You can see it in Westerns, the way the 'mise-en-scene' and the collars on cowboys change through time. It's never really the past; it's always a version of your own time. Gibson, as quoted in Details, June 1992.[7] In its original form, the text of the poem was supposed to fade from the page and, in Gibson's own words, "eat itself" off of the diskette enclosed with the book. The reader would, then, be left with only the memory of the text, much like the speaker is left with only the memory of his home town and his family after moving to Canada from South Carolina, in the course of the poem (as Gibson himself did during the Vietnam War).[29]

"The mechanism"
The poem contains a motif of "the mechanism", described as "Forever / Dividing that from this",[30] and which can take the form of the camera or of the ancient gun that misfires in the speaker's hands.[31] [32] Technology, "the mechanism", is the agent of memory,[31] which transforms subjective experience into allegedly objective records (photography). It is also the agent of life and death, one moment dispensing lethal bullets, but also likened to the life-giving qualities of sex. Shooting the gun is "[l]ike the first time you put your mouth / on a woman".[33] The poem is, then, not merely about memory, but how memories are formed from subjective experience, and how those memories compare to mechanically-reproduced recordings. In the poem, "the mechanism" is strongly associated with recording, which can replace subjective experience. Insomuch as memories constitute our identities, "the mechanism" thus represents the destruction of the self via recordings. Hence both cameras, as devices of recording, and guns, as instruments of destruction, are part of the same mechanismdividing that (memory, identity, life) from this (recordings, anonymity, death).

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Critical reception and influence

Agrippa was extremely influentialas a sigil for the artistic community to appreciate the potential of electronic mediafor the extent to which it entered public consciousness.[26] It caused a fierce controversy in the art world, among museums and among libraries.[34] It challenged established notions of permanence of art and literature, and, as Ashbaugh intended,[7] raised significant problems for archivists seeking to preserve it for the benefit of future generations.[34] Agrippa was particularly well-received by critics,[35] with digital media theorist Peter Lunenfeld describing it in 2001 as "one of the most evocative hypertexts published in the 1990s".[2] Professor of English literature John Johnson has claimed that the importance of Agrippa stems not only from its "foregrounding of mediality in an assemblage of texts", but also from the fact that "media in this work are explicitly as passageways to the realm of the dead".[36] The Cambridge History of Twentieth-Century English Literature, which described the poem as "a mournful text", praised Agrippa's inventive use of digital format.[32] However, academic Joseph Tabbi remarked in a 2008 paper that Agrippa was among those works that are "canonized before they have been read, resisted, and reconsidered among fellow authors within an institutional environment that persists in time and finds outlets in many media".[9] In a lecture at the exhibition of Agrippa at the Center for Book Arts in New York City, semiotician Marshall Blonsky of New York University drew an allusion between the project and the work of two French literary figuresphilosopher Maurice Blanchot (author of "The Absence of the Book"), and poet Stphane Mallarm, a 19th-century forerunner of semiotics and deconstruction.[3] In response to Blonsky's analysis that "[t]he collaborators in Agrippa are responding to a historical condition of language, a modern skepticism about it", Gibson disparagingly commented "Honest to God, these academics who think it's all some sort of big-time French philosophythat's a scam. Those guys worship Jerry Lewis, they get our pop culture all wrong."[3]

Footnotes
[1] http:/ / worldcat. org/ oclc/ 48079355 [2] Lunenfeld, Peter (2001). Snap to Grid. Cambridge: MIT. p.46. ISBN0262621584. [3] Jonas, Gerald (August 29, 1993). "The Disappearing $2,000 Book" (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9F0CE3DE1030F93AA1575BC0A965958260). The New York Times (The New York Times Company). . Retrieved 2008-07-30. [4] Kirschenbaum, Matthew G. (2002). Burns, Edward. ed. "Textual Studies and First Generation Electronic Objects". Text: an Interdisciplinary Annual of Textual Studies (Ann Arbor: University of Michigan Press) 14: 1516. ISBN0472112724. [5] Barber, John (2001). New Worlds, New Words. Cresskill: Hampton Press. p.176. ISBN1572733330. [6] Schwenger, Peter (1995). "Agrippa, or, The Apocalyptic Book". in Dellamora, Richard. Postmodern Apocalypse. Philadelphia: University of Pennsylvania Press. pp.277278. ISBN0812215583. [7] Edwards, Gavin (June 1992). "Cyber Lit" (http:/ / www. textfiles. com/ sf/ cyberlit. txt). Details: for Men (134). . Retrieved 2008-09-29. [8] Fein, Esther B. (November 18, 1992). "Book Notes" (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9E0CEFD9153DF93BA25752C1A964958260& sec=& spon=& pagewanted=all). The New York Times (The New York Times Company). . Retrieved 2008-10-10. [9] Tabbi, Joseph (Summer 2008). "Locating the Literary in New Media". Contemporary Literature (University of WisconsinMadison) 49 (2): 311331. doi:10.1353/cli.0.0027. [10] Gibson, William (1992). "Introduction to Agrippa: A Book of the Dead" (http:/ / www. williamgibsonbooks. com/ source/ source. asp). WilliamGibsonBooks.com. . Retrieved 2007-11-11. [11] William Gibson. Interview with Tom Vitale. Amazing Disappearing Computer Book. Morning Edition. National Public Radio. December 9, 1992. [12] "Art collection.". International Contemporary Art. June 22, 2003. "Prior to the publication of Count Zero, Gibson did a performance along these lines with the artist Dennis Ashbaugh in New York City at The Kitchen. Simulcast to several other cities, the performance, called Agrippa--A Book of the Dead (1992), consisted of the public reading of a text that had been inscribed onto a sculptural magnetic disk. Vacuum-sealed until the beginning of the performance, the disk was programmed to erase itself upon exposure to the air. Words disappeared as soon as they were spoken.". [13] Kirschenbaum, Matthew G; Doug Reside and Alan Liu (December 5, 2008). "No Round Trip: Two New Primary Sources for Agrippa" (http:/ / agrippa. english. ucsb. edu/ kirschenbaum-matthew-g-with-doug-reside-and-alan-liu-no-round-trip-two-new-primary-sources-for-agrippa). The Agrippa Files. University

Agrippa (a book of the dead)

71

of California, Santa Barbara. . Retrieved April 27, 2009. [14] "Re:Agrippa (Experimental Video of Dec. 9, 1992, Transmission of Agrippa) (1993)" (http:/ / agrippa. english. ucsb. edu/ post/ documents-subcategories/ the-transmission/ reagrippa). The Agrippa Files. University of Santa Barbara, California. . Retrieved 2008-10-10. [15] Moschovitis Group (2005). "William Gibson (1948)". in Laura Lambert, Chris Woodford, Hilary W. Poole, Christos J.P. Moschovitis. The Internet: A Historical Encyclopedia. Santa Barbara: ABC-CLIO. p.13. ISBN1851096590. [16] Kirschenbaum, Matthew G. (2008). "Hacking 'Agrippa': The Source of the Online Text." (http:/ / agrippa. english. ucsb. edu/ kirschenbaum-matthew-g-hacking-agrippa-the-source-of-the-online-text/ ). Mechanisms : new media and the forensic imagination (2 ed.). Cambridge, Massachusetts: MIT Press. ISBN9780262113113. OCLC79256819. . Retrieved 2007-11-11. [17] http:/ / agrippa. english. ucsb. edu/ category/ the-book-subcategories/ the-poem-running-in-emulation [18] "Bootleg Video of Transmission Event at the Americas Society, With Live Run of the Diskette Containing William Gibsons Agrippa (9 December 1992)" (http:/ / agrippa. english. ucsb. edu/ post/ documents-subcategories/ the-transmission/ bootleg-video-of-a-live-run-of-the-diskette-containing-william-gibsons-poem-at-the-americas-society-public-unveiling-of-agrippa-december-9-1992). The Agrippa Files (http:/ / agrippa. english. ucsb. edu/ ). . Retrieved December 13, 2008. [19] Hodge, James J.. "Bibliographic Description of Agrippa" (http:/ / agrippa. english. ucsb. edu/ hodge-james-bibliographic-description-of-agrippa-commissioned-for-the-agrippa-files/ ). The Agrippa Files. University of Santa Barbara, California. . Retrieved 2008-08-05. [20] Rosenheim, Shawn (1997). The Cryptographic Imagination. Baltimore: Johns Hopkins University Press. p.250. ISBN0801853311. [21] "AGRIPPA: (a book of the dead)" (http:/ / www. centerforbookarts. org/ archive/ workdetail. asp?workID=747). Center for Book Arts. . Retrieved 2008-08-03. [22] Kirschenbaum, Matthew G. (June 4, 2005). "Ashbaugh and Gibson's AGRIPPA: A Description of the Book Based Upon My Examination of the NYPL Copy" (http:/ / www. otal. umd. edu/ ~mgk/ blog/ archives/ 000804. html#more). MGK. . Retrieved 2008-11-07. [23] Lindberg, Kathryne V. (Oct 1996). "Prosthetic Mnemonics and Prophylactic Politics: William Gibson among the Subjectivity Mechanisms" (http:/ / links. jstor. org/ sici?sici=0190-3659(199622)23:2<47:PMAPPW>2. 0. CO;2-4). Boundary 2 (Duke University Press) 23 (2): 4483. doi:10.2307/303807. . Retrieved 2007-09-09. [24] "Deluxe Edition" (http:/ / agrippa. english. ucsb. edu/ category/ the-book-subcategories/ deluxe-edition/ ). The Agrippa Files. University of California, Santa Barbara. . Retrieved 2008-08-05. [25] Dannatt, Adrian (December 19, 1992). "The book that ate itself". The Independent (Independent News & Media). [26] Abbott, Chris (2001). Information Communications Technology. New York: Routledge/Falmer. p.91. ISBN0750709510. [27] Johnston, John (1998). Information Multiplicity. Baltimore: Johns Hopkins University Press. p.255. ISBN0801857058. [28] Walker, Janice (1998). The Columbia Guide to Online Style. New York: Columbia University Press. p.187. ISBN0231107889. [29] Mark Neale (director), William Gibson (subject). (2000). No Maps for These Territories. [Documentary]. Docurama. [30] Agrippa, Pt II, L 4-5 [31] Marcus 2004, p.802 [32] Marcus 2004, p.794 [33] Agrippa, Pt II, L 41-42 [34] Killheffer, Robert (September 6, 1993). "Publishers Weekly Interviews William Gibson." (http:/ / agrippa. english. ucsb. edu/ post/ bibliography-subcategories/ interviews/ killheffer-robert-publishers-weekly-interviews--william-gibson). Publishers Weekly (Reed Business Information). . Retrieved 2008-08-05. [35] Liu, Alan (2004-06-30). The laws of cool : knowledge work and the culture of information. Chicago: University of Chicago Press. pp.33948. ISBN0226486982. OCLC53823956. [36] Johnston, John (1998). Information Multiplicity. Baltimore: Johns Hopkins University Press. p.255. ISBN0801857058. "What makes Agrippa important, then, is not only its foregrounding of mediality in an assemblage of texts but also that media in this work are explicitly as passageways to the realm of the dead."

References
Ashbaugh, Dennis; Gibson, William (Winter 1993). "Dennis Ashbaugh and William Gibson" (http://www.jstor. org/stable/777636). Art Journal (College Art Association) 52 (4): 7979. doi:10.2307/777636. Marcus, Laura (2004). The Cambridge History of Twentieth-Century English Literature. Cambridge: Cambridge University Press. ISBN0521820774.

External links
Agrippa (a book of the dead) (http://www.williamgibsonbooks.com/source/agrippa.asp) at WilliamGibsonBooks.com The Agrippa Files (http://agrippa.english.ucsb.edu/) an online homage to, and archive of, the book's many forms by the University of California, Santa Barbara English department

Agrippa (a book of the dead) Gallery of Agrippa images (http://www.antonraubenweiss.com/gibson/gallery/agrippa/) from the William Gibson Aleph

72

Chianciano International Award for Digital Art and Photography

Chianciano International Award for Digital Art and Photography
Awarded for Presented by Country Official website Photography and Digital Art Chianciano Art Museum Italy
[1]

The Chianciano International Award for Digital Art and Photography is a biannual international photography and digital art competition owned by the Chianciano Art Museum[2] . The Award is open to both amateur and professional photographers and Digital Artists, and has a number of different categories[3] . The Award involves both a photo and digital art exhibition in the Chianciano Art Museum and a series of courses and workshops[4] for the participants, held by important photographers and digital artists from news papers from around the world, including the New York Times, Il Corriere, Le Monde, The Times, and Der Spiegel. For the 2010 edition the tutors will be Lonnie Schlein, Zoltan Nagy, Chris Warde-Jones, Gerard Bruneau, and Marcello Mencarini[5] .

External links
Home - Chianciano International Award for Photography (Chianciano Art Museum Website) [1]

References
[1] [2] [3] [4] [5] http:/ / museodarte. org/ photography_award/ EN/ home. html http:/ / museodarte. org/ photography_award/ EN/ home. html http:/ / museodarte. org/ photography_award/ EN/ prizes. html http:/ / museodarte. org/ photography_award/ EN/ workshops. html http:/ / museodarte. org/ photography_award/ EN/ lonnie_schlein. html

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Complaints Choir
Complaints Choir is a community art project that invites people to sing about their complaints in a choir together with fellow complainers. The first Complaints Choir was organized in Birmingham (UK) in 2005, followed by the Complaints Choirs of Helsinki, Hamburg and St. Petersburg in 2006. The project was initiated by artists Tellervo Kalleinen and Oliver Kochta-Kalleinen. A video installation consisting of the documentation of the public performances of the four choirs were shown at Kiasma (Helsinki, Finland), S.M.A.K. (Ghent, Belgium) and Museum Fridericianium Kassel (Germany) among other venues. When the video clips of the choirs were distributed through online magazines and video sharing websites, the idea spread quickly to many other countries. To date additional Complaints Choirs have been organized in Bod (Norway), Poikkilaakso primary school (Helsinki, Finland), Budapest (Hungary), Chicago (Illinois, United States), Juneau (Alaska), Gabriola Island (Canada), Melbourne (Australia), Jerusalem (Israel), Singapore, Breslau (Poland), Hong Kong, Philadelphia, Enschede in The Netherlands (as part of its international Grenswerk art festival) in the Netherlands and and Tokyo (Japan).[1]

Trivia
One of the complaints mentioned in the Helsinki version was the fact that the Finns were always beaten by the Swedes in the Eurovision Song Contest. A few months later, Finland won the contest for the first time, with Sweden coming fifth.

References
[1] Complaints Choir - Schotts Vocab Blog - NYTimes.com (http:/ / schott. blogs. nytimes. com/ 2009/ 12/ 23/ complaints-choir/ )

The choir wants your complaint, BBC, January 12, 2006 (http://www.bbc.co.uk/birmingham/content/articles/ 2006/12/01/complaints_choir_feature.shtml) Complaints Choir complains to full house - Embrace your inner complainer!, Helsingin Sanomat, March 27, 2006 (http://www.hs.fi/english/article/Complaints+Choir+complains+to+full+house/1135219309755) Mika Hannula: The Art of Complaining, Kunstkritikk, January 23, 2006 A Complaint Choir, Voicing Displeasure, NPR Weekend Edition, January 6, 2007 (http://www.npr.org/ templates/story/story.php?storyId=6734100) Evgenia Ivanova: Musical moaning, The St. Petersburg Times, September 22, 2006 (http://www.sptimes.ru/ index.php?action_id=2&story_id=18899) "Wir kommen, um uns zu beschweren, ORF, June 19, 2006 (http://www.orf.at/060613-537/?href=http:// www.orf.at/060613-537/538txt_story.html) Patrick Cox: Complaints Choirs Worldwide, BBC World, December 12, 2006 (http://www.theworld.org/ ?q=taxonomy_by_date/2/20061212) Julie Gregson: Complainers of the World Unite -- in Choirs, Deutsche Welle, June 1, 2007 (http://www. dw-world.de/dw/article/0,2144,2572357,00.html) Martin Koch: Singende Nrgler, Deutschlandradio Kultur, April 4, 2007 (http://www.dradio.de/dkultur/ sendungen/profil/613944/) Lost & Found, published by S.M.A.K., Ghent, 2006, ISBN 90-7567-930-0 John Bailey: It's sing when you're whining, The Age, June 3, 2007 (http://www.theage.com.au/news/ entertainment/its-sing-when-youre-whining/2007/06/02/1180205580373.html) Peter Visnovitz: Megneklik a mocskos buszt s a kutyaszart, Origo, March 5, 2007 (http://origo.hu/itthon/ 20070502dalolja.html)

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External links
Complaints Choirs Worldwide (http://www.complaintschoir.org)

Contemporary Canadian art

Canadian Contemporary Art can refer simply to any visual art made in Canada currently or by living Canadian artists. However, it is a term that more accurately refers to Canadian visual, media, performance, video, and other artistic and/or conceptual practices that are critically and intellectually engaged and that deliberately address both a local and global context. One might further define it by the intended audience and expected venues for its exhibition and display: public galleries, art museums, artist-run centres, certain commercial galleries, etc. There has been much debate over whether such a national style, philosophical outlook, or unified and cohesive culture exists or ever has existed within Canada. It is large geographically, with many distinct regions, and its population is diverse and is made up of varying national and ethnic backgrounds. Also, as traditional distinctions between "high art" and "low" and "popular" art seem to be becoming less clear, the task of locating one or even a few common characteristics of Canadian art or culture becomes difficult. There are, however, a few notable moments when Canadian contemporary artists as individuals or groups have distinguished themselves through commonality, international recognition, collaboration, or zeitgeist: The Vancouver School of Photo-Conceptualism (artists include Jeff Wall, Rodney Graham, Stan Douglas, Iain Baxter) The Royal Art Lodge (including member is Marcel Dzama, centred in Winnipeg, Manitoba) Nova Scotia College of Art and Design University (NSCAD University). In 1967 the artist Garry Kennedy was appointed President, remaking the College into an international centre for artistic activity and inviting notable artists to come to NSCAD as visiting artists, particularly those involved in conceptual art. Artists who made significant contributions during this period include Vito Acconci, Sol LeWitt, Dan Graham, Eric Fischl, Lawrence Weiner, Joseph Beuys and Claes Oldenburg. The success of the career of Janet Cardiff and George Bures Miller, who represented Canada at the 49th Venice Biennial in 2001 The conceptually-based artistic practice of Michael Snow

See also
Canadian art Canadian artist-run centres Artexte Information Centre

External links
CCCA A list of living Canadian artists with examples of their work at the Centre for Contemporary Canadian Art Database [1]

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References
[1] http:/ / www. ccca. ca

Contemporary art
Art history series

Prehistoric art Ancient art history Western art history Eastern art history Islamic art history Western painting History of painting Art history

Contemporary art can be defined variously as art produced at this present point in time or art produced since World War II. The definition of the word contemporary would support the first view, but museums of contemporary art commonly define their collections as consisting of art produced since World War II.

Institutions
Contemporary art is exhibited by commercial contemporary art galleries, private collectors, corporations, publicly funded arts organizations, contemporary art museums or by artists themselves in artist-run spaces. Contemporary artists are supported by grants, awards and prizes as well as by direct sales of their work. There are close relationships between publicly funded contemporary art organisations and the commercial sector. For instance, in Britain a handful of dealers represent the artists featured in leading publicly funded contemporary art museums.[1]

Individual collectors can wield considerable influence. Charles Saatchi dominated the contemporary art market in Britain during the 1980s and the 1990s; the subtitle of the 1999 book Young British Artists: The Saatchi Decade uses of the name of the private collector to define an entire decade of contemporary art production.[2]

Viewers of Jonas Burgert's work at the Museum of Contemporary Art in Denver, Colorado.

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Corporations have attempted to integrate themselves into the contemporary art world: exhibiting contemporary art within their premises, organising and sponsoring contemporary art awards and building up extensive collections of corporate art.[3] The institutions of art have been criticised for regulating what is designated as contemporary art. Outsider art, for instance, is literally contemporary art, in that it is produced in the present day. However, it is not considered so because the artists are self-taught and are assumed The Museum of Contemporary Art in Miami, to be working outside of an art historical context.[4] Craft activities, Florida. such as textile design, are also excluded from the realm of contemporary art, despite large audiences for exhibitions.[5] Attention is drawn to the way that craft objects must subscribe to particular values in order to be admitted. "A ceramic object that is intended as a subversive comment on the nature of beauty is more likely to fit the definition of contemporary art than one that is simply beautiful."[6] At any one time a particular place or group of artists can have a strong influence on globally produced contemporary art; for instance New York artists in the 1980s.[7]

Public attitudes
Contemporary art can sometimes seem at odds with a public that does not feel that art and its institutions share its values.[8] In Britain in the 1990s contemporary art became a part of popular culture, with artists becoming stars, but this did not lead to a hoped for "cultural utopia".[9] Some critics like Julian Spalding and Donald Kuspit have suggested that skepticism, even rejection, is a legitimate and reasonable response to much contemporary art.[10]

Concerns
A common concern since the early part of the 20th century is the question of what constitutes art. This concern can be seen running through the "modern" and "postmodern" periods. The concept of avant-garde[11] may come into play in determining what art is taken notice of by galleries, museums, and collectors. Serious art is ultimately exceedingly difficult to distinguish definitively from art that falls short of that designation.

Prizes
Some competitions, awards and prizes in contemporary art are Emerging Artist Award awarded by The Aldrich Contemporary Art Museum Hugo Boss Prize awarded by the Solomon R. Guggenheim Museum Factor Prize in Southern Art Turner Prize for British artists under 50 Jindrich Chalupecky prize for Czech artists under 35 [12] Participation in the Whitney Biennial Vincent Award, The Vincent van Gogh Biennial Award for Contemporary Art in Europe, founded by The Broere Charitable Foundation and hosted by Stedelijk Museum. Marcel Duchamp Prize awarded by ADIAF and Centre Pompidou. The Winifred Shantz Award for Ceramists, awarded by the Canadian Clay and Glass Gallery Ricard Prize for a French artist under 40. Deste Prize for young Greek artists, held every two years; funded by Dakis Joannou [13] .

John Moores Painting Prize

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History
This table lists art movements by decade. It should not be assumed to be conclusive.

1950s
Abstract Expressionism American Figurative Expressionism Bay Area Figurative Movement Lyrical Abstraction New York Figurative Expressionism New York School

1960s
Abstract expressionism American Figurative Expressionism Abstract Imagists Bay Area Figurative Movement Color field Computer art Conceptual art Fluxus Happenings Hard-edge painting Lyrical Abstraction Minimalism Neo-Dada New York School Nouveau Ralisme Op Art Performance art Pop Art Postminimalism Washington Color School Kinetic art

1970s
Arte Povera Ascii Art Bad Painting Body art Artist's book Feminist art Installation art Land Art Lowbrow (art movement) Photorealism Postminimalism Process Art Video art Funk art Pattern and Decoration

1980s
Appropriation art Culture jamming Demoscene Electronic art Figuration Libre Graffiti Art Live art Mail art Postmodern art Neo-conceptual art Neo-expressionism Neo-pop Sound art Transgressive art Transhumanist Art Video installation Institutional Critique

1990s
Bio art Cyberarts Cynical Realism Digital Art Information art Internet art Massurrealism Maximalism New media art Software art New European Painting Young British Artists

2000s
Classical realism Relational art Street art Stuckism Superflat Videogame art Superstroke VJ art Virtual art

See also
Anti-art and Anti-anti-art Burmese contemporary art Classificatory disputes about art List of contemporary art museums List of contemporary artists Medium specificity Plop art Reductive art Tattoo

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External links
Theories and Documents of Contemporay Art [14] (eBook)

References
[1] [2] [3] [4] Derrick Chong in Iain Robertson, Understanding International Art Markets And Management, Routledge, 2005, p95. ISBN 0415339561 Chin-Tao Wu, Privatising Culture: Corporate Art Intervention Since the 1980s, Verso, 2002, p300. ISBN 1859844723 Chin-Tao Wu, Privatising Culture: Corporate Art Intervention Since the 1980s, Verso, 2002, p14. ISBN 1859844723 Gary Alan Fine, Everyday Genius: Self-Taught Art and the Culture of Authenticity, University of Chicago Press, 2004, pp42-43. ISBN 0226249506 [5] Peter Dormer, The Culture of Craft: Status and Future, Manchester University Press, 1996, p175. ISBN 0719046181 [6] Peter Timms, What's Wrong with Contemporary Art?, UNSW Press, 2004, p17. ISBN 0868404071 [7] George E. Marcus and Fred R. Myers, The Traffic in Culture: Refiguring Art and Anthropology, University of California Press, 1995, p257. ISBN 0520088476 [8] Mary Jane Jacob and Michael Brenson, Conversations at the Castle: Changing Audiences and Contemporary Art, MIT Press, 1998, p30. ISBN 026210072X [9] Julian Stallabrass, High Art Lite: British Art in the 1990s, Verso, 1999, pp1-2. ISBN 1859847218 [10] Spalding, Julian, The Eclipse of Art: Tackling the Crisis in Art Today, Prestel Publishing, 2003. ISBN 3-7913-2881-6 [11] Fred Orton & Griselda Pollock, Avant-Gardes and Partisans Reviewed. Manchester University, 1996. ISBN 0-7190-4399-9 [12] http:/ / www. jchalupecky. cz/ home_en. html [13] http:/ / www. deste. gr/ en/ award/ index/ index. htm [14] http:/ / books. google. ca/ books?id=XJFh9TT0Z9MC

Postmodern dance
Postmodern dance is a 20th century concert dance form. A reaction to the compositional and presentation constraints of modern dance, postmodern dance hailed the use of everyday movement as valid performance art and advocated novel methods of dance composition. Claiming that any movement was dance, and any person was a dancer (with or without training) early postmodern dance was more closely aligned with ideology of modernism rather than the architectural, literary and design movements of postmodernism. However, the postmodern dance movement rapidly developed to embrace the ideology of postmodernism which was reflected in the wide variety of dance works emerging from Judson Dance Theater, the home of postmodern dance. Lasting from the 1960s to the 1970s the main thrust of Postmodern dance was relatively short lived but its legacy lives on in contemporary dance (a blend of modernism and postmodernism) and the rise of postmodernist choreographic processes that have produced a wide range of dance works in varying styles.

The influence of postmodern dance

Postmodern dance led to: contemporary dance dance improvisation contact improvisation dance for camera the concept of all movement as dance the postmodern choreographic process

see also: 20th century concert dance

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The postmodern choreographic process

The postmodern choreographic process may reflect the following elements: post-structuralism / deconstructivism parody irony jouissance hyperreality Death of the Author

see also: choreographic technique

Founders of postmodern dance

the founders of postmodern dance are Merce Cunningham (who came before postmodern dance per se but used a postmodern choreographic process) Robert Ellis Dunn (who taught composition at the Cunningham school) the members of the Judson Dance Theater Alwin Nikolais

Murray Louis

See also
Judson Dance Theater 20th century concert dance Modern dance List of dance style categories Dance Postmodernism

Further reading
Banes, S (1987) Terpsichore in Sneakers: Post-Modern Dance. Wesleyan University Press. ISBN 0-8195-6160-6 Banes, S (Ed) (1993) Greenwich Village 1963: Avant-Garde Performance and the Effervescent Body. Duke University Press. ISBN 0-8223-1391-X Banes, S (Ed) (2003) Reinventing Dance in the 1960s: Everything Was Possible. University of Wisconsin Press. ISBN 0-299-18014-X Bremser, M. (Ed) (1999) Fifty Contemporary Choreographers. Routledge. ISBN 0-415-10364-9 Carter, A. (1998) The Routledge Dance Studies Reader. Routledge. ISBN 0-415-16447-8 Copeland, R. (2004) Merce Cunningham: The Modernizing of Modern Dance. Routledge. ISBN 0-415-96575-6 Reynolds, N. and McCormick, M. (2003) No Fixed Points: Dance in the Twentieth Century. Yale University Press. ISBN 0-300-09366-7 Denby, Edwin "Dancers, Buildings, and People in the Streets".(1965) Curtis Books. ASIN B0007DSWJQ

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Arthur Danto
Full name Born Era Region School Arthur Coleman Danto 1924 (age8586) Ann Arbor, Michigan 20th-century philosophy Western Philosophy Analytic

Main interests Philosophy of art Philosophy of history Philosophy of action Notable ideas Narrative Sentences Basic Actions End of Art Post-historical art Indiscernibles

Arthur Coleman Danto (born 1924) is an American art critic, and professor of philosophy. He is best known as the influential, long-time art critic for the Nation and for his work in philosophical aesthetics and philosophy of history, though he has contributed significantly to a number of fields. His interests span thought, feeling, philosophy of art, theories of representation, philosophical psychology, Hegel's aesthetics, and the philosophers Maurice Merleau-Ponty and Arthur Schopenhauer.

Background and education

Danto was born in Ann Arbor, Michigan, in 1924, and grew up in Detroit. After spending two years in the Army, Danto studied art and history at Wayne University (now Wayne State University) and then pursued graduate study in philosophy at Columbia University. From 1949 to 1950, Danto studied in Paris on a Fulbright scholarship under Maurice Merleau-Ponty, and in 1951 returned to teach at Columbia, where he is currently Johnsonian Professor of Philosophy Emeritus.

Thought
"Artworld" and the Definition of Art
Danto laid the groundwork for an institutional definition of art that sought to answer the questions raised by the emerging phenomenon of twentieth century art. The definition of the term art is a subject of constant contention and many books and journal articles have been published arguing over the answer to the question, What is Art? Definitions can be categorized into conventional and non-conventional definitions. Non-conventional definitions take a concept like the aesthetic as an intrinsic characteristic in order to account for the phenomena of art. Conventional definitions reject this connection to aesthetic, formal, or expressive properties as essential to defining art but rather, in either an institutional or historical sense, say that art is basically a sociological category. In terms of classificatory disputes about art, Danto takes a conventional approach. His "institutional definition of art" considers whatever art schools, museums, and artists get away, regardless of formal definitions. Danto has written on this subject in several of his recent works and a detailed treatment is to be found in Transfiguration of the Commonplace.[1]

Arthur Danto The essay "The Artworld" in which Danto coined the term artworld, by which he meant cultural context or an atmosphere of art theory,[2] first appeared in the Journal of Philosophy (1964) and has since been widely reprinted. It has had considerable influence on aesthetic philosophy and, according to professor of philosophy Stephen David Ross, "especially upon George Dickie's institutional theory of art. Dickie defines work as an artifact 'which has had conferred upon it the status of candidate for appreciation by some person or persons acting in behalf of a certain social institution (the artworld)' (p. 43.)"[3] According to the Stanford Encyclopedia of Philosophy, "Danto's definition has been glossed as follows: something is a work of art if and only if (i) it has a subject (ii) about which it projects some attitude or point of view (has a style) (iii) by means of rhetorical ellipsis (usually metaphorical) which ellipsis engages audience participation in filling in what is missing, and (iv) where the work in question and the interpretations thereof require an art historical context. (Danto, Carroll) Clause (iv) is what makes the definition institutionalist. The view has been criticized for entailing that art criticism written in a highly rhetorical style is art, lacking but requiring an independent account of what makes a context art historical, and for not applying to music."[2]

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The End of Art

The basic meaning of the term "art" has changed several times over the centuries, and has continued to evolve during the 20th century as well. Danto describes the history of Art in his own contemporary version of Hegel's dialectical history of art. "Danto is not claiming that no-one is making art anymore; nor is he claiming that no good art is being made any more. But he thinks that a certain history of western art has come to an end, in about the way that Hegel suggested it would."[4] The "end of art" refers to the beginning of our modern era of art in which art no longer adheres to the constraints of imitation theory but serves a new purpose. Art began with an "era of imitation, followed by an era of ideology, followed by our post-historical era in which, with qualification, anything goes... In our narrative, at first only mimesis [imitation] was art, then several things were art but each tried to extinguish its competitors, and then, finally, it became apparent that there were no stylistic or philosophical constraints. There is no special way works of art have to be. And that is the present and, I should say, the final moment in the master narrative. It is the end of the story"[5]

Art criticism
Arthur Danto was an art critic for The Nation from 1984 to 2009, and has also published numerous articles in other journals. In addition, he is an editor of the Journal of Philosophy and a contributing editor of the Naked Punch Review and Artforum. In art criticism, he has published several collected essays, including Encounters and Reflections: Art in the Historical Present (Farrar, Straus & Giroux, 1990), which won the National Book Critics Circle Prize for Criticism in 1990; Beyond the Brillo Box: The Visual Arts in Post-Historical Perspective (Farrar, Straus & Giroux, 1992); Playing With the Edge: The Photographic Achievement of Robert Mapplethorpe (University of California, 1995); and The Madonna of the Future: Essays in a Pluralistic Art World (Farrar, Straus & Giroux, 2000) and Unnatural Wonders: Essays from the Gap Between Art and Life.

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Works
Books
Danto is the author of numerous books on philosophy and art, including: Nietzsche as Philosopher (1965) Analytical Philosophy of Action (1973) Jean-Paul Sartre (1975) The Transfiguration of the Commonplace (1981) Narration and Knowledge (1985) - Including earlier book Analytical Philosophy of History (1965) Mysticism and Morality: Oriental Thought and Moral Philosophy (1987) Connections to the World: The Basic Concepts of Philosophy (1997) After the End of Art (1997) The Abuse of Beauty (2003) Red Grooms (2004) Andy Warhol (2009)

Selected Essays
The Artworld (1964) The State of the Art (1987) Encounters and Reflections: Art in the Historical Present (1990) Beyond the Brillo Box: The Visual Arts in Post-Historical Perspective (1992) Playing With the Edge: The Photographic Achievement of Robert Mapplethorpe (1995) The Wake of Art: Criticism, Philosophy, and the Ends of Taste (1998) Hegel's End-of-Art Thesis [6] (1999) The Madonna of the Future: Essays in a Pluralistic Art World (2000) Philosophizing Art: Selected Essays (2001) The Body/Body Problem: Selected Essays (2001) The Philosophical Disenfranchisement of Art (2004) Unnatural Wonders: Essays from the Gap Between Art and Life (2007)

Further reading
Action, Art, History: Engagements with Arthur C. Danto: A collection of essays edited by Daniel Herwitz and Michael Kelly, including contributions by Frank Ankersmit, Hans Belting, Stanley Cavell, Donald Davidson, Lydia Goehr, Gregg Horowitz, Philip Kitcher, Daniel Immerwahr, Daniel Herwitz and Michael Kelly and replies by Danto himself. Danto and his Critics (1993). A collection of essays including contributions by David Carrier, Richard Wollheim, Jerry Fodor, and George Dickie. Danto and His Critics: Art History, Historiography and After the End of Art. An issue of History and Theory [7] Journal where philosophers David Carrier, Frank Ankersmit, Nol Carroll, Michael Kelly, Brigitte Hilmer, Robert Kudielka, Martin Seeland Jacob Steinbrenner address his work; includes a final reply by the author.

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External links
KultureFlash interview [8] (03/2006) "Is it art?" [9] - an interview with Alan Saunders of ABC Radio National (03/2006) Biography [10] Arthur C. Danto's Biography on Columbia University Website.

References
[1] Danto, Arthur (1981). The transfiguration of the commonplace: a philosophy of art (http:/ / books. google. com/ books?id=LIW60mm5QJkC& dq=transfiguration+ of+ the+ commonplace& hl=hr& source=gbs_navlinks_s). Harvard University Press. ISBN9780674903463. . [2] Adajian, Thomas. "The Definition of Art" (http:/ / plato. stanford. edu/ entries/ art-definition/ ), The Stanford Encyclopedia of Philosophy, London, Oct 23, 2007. [3] Ross, Stephen David (1984). Art and its Significance (http:/ / books. google. com/ books?id=vDdZNwTmEqUC& printsec=frontcover& source=gbs_navlinks_s#v=onepage& q=danto& f=false). SUNY Press. pp.469. ISBN0873957644. . Note: Ross also refers us to Dickie's book Art and the Aesthetic (Cornell University Press, 1974). [4] Cloweny, David W. (December 21, 2009). "Arthur Danto" (http:/ / www. rowan. edu/ open/ philosop/ clowney/ Aesthetics/ philos_artists_onart/ danto. htm#top). Rowan university. . Retrieved 2009-12-21. [5] Danto, Arthur Coleman (1998). After the end of art: contemporary art and the pale of history (http:/ / books. google. com/ books?id=2y2ChJWfYoYC& dq=after+ the+ end+ of+ art. & source=gbs_navlinks_s). Princeton University Press. pp.47. ISBN0691002991. . As quoted by Professor David W. Cloweny on his website. (http:/ / www. rowan. edu/ open/ philosop/ clowney/ Aesthetics/ philos_artists_onart/ danto. htm#top) [6] http:/ / www. rae. com. pt/ Danto%20hegel%20end%20art. pdf [7] http:/ / www. wesleyan. edu/ histjrnl [8] http:/ / www. kultureflash. net/ archive/ 155/ priview. html [9] http:/ / www. abc. net. au/ rn/ philosopherszone/ stories/ 2006/ 1580766. htm [10] http:/ / www. columbia. edu/ cu/ philosophy/ fac-bios/ danto/ faculty. html

Defamiliarization
Defamiliarization or ostranenie () is the artistic technique of forcing the audience to see common things in an unfamiliar or strange way, in order to enhance perception of the familiar. A basic satirical tactic, it is a central concept of 20th century art, ranging over movements including Dada, postmodernism, epic theatre, and science fiction.

History
Defamiliarization of that which is or has become familiar or taken for granted, hence automatically perceived, is the basic function of all devices. And with defamiliarization come both the slowing down and the increased difficulty (impeding) of the process of reading and comprehending and an awareness of the artistic procedures (devices) causing them. (Margolin 2005) The term defamiliarization was first coined in 1917 by Viktor Shklovsky (also spelled Shklovskij) in his essay Art as Device (alternate translation: Art as Technique) (Crawford 209). Shklovsky invented the term as a means to distinguish poetic from practical language on the basis of the formers perceptibility (Crawford 209). Essentially, he is stating that poetic language is fundamentally different than the language that we use everyday because it is more difficult to understand: Poetic speech is framed speech. Prose is ordinary speech economical, easy, proper, the goddess of prose [dea prosae] is a goddess of the accurate, facile type, of the direct expression of a child (Shklovsky 20). This difference is the key to the creation of art and the prevention of over-automatization, which causes an individual to function as though by formula (Shklovsky 16). This distinction between artistic language and everyday language, for Shklovsky, applies to all artistic forms:

Defamiliarization The purpose of art is to impart the sensation of things as they are perceived and not as they are known. The technique of art is to make objects unfamiliar, to make forms difficult to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged. (Shklovsky 16) Thus, defamiliarization serves as a means to force individuals to recognize artistic language: In studying poetic speech in its phonetic and lexical structure as well as in its characteristic distribution of words and in the characteristic thought structures compounded from the words, we find everywhere the artistic trademark that is, we find material obviously created to remove the automatism of perception; the authors purpose is to create the vision which results from that deautomatized perception. A work is created artistically so that its perception is impeded and the greatest possible effect is produced through the slowness of the perception. (Shklovsky 19) This technique is meant to be especially useful in distinguishing poetry from prose, for, as Aristotle said, poetic language must appear strange and wonderful (Shklovsky 19).

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Defamiliarization in Russian literature

To illustrate what he means by defamiliarization, Shklovsky uses examples from Tolstoy, whom he cites as using the technique throughout his works: The narrator of Kholstomer, for example, is a horse, and it is the horses point of view (rather than a persons) that makes the content of the story seem unfamiliar (Shklovsky 16). As a Russian Formalist, many of Shklovskys examples use Russian authors and Russian dialects: And currently Maxim Gorky is changing his diction from the old literary language to the new literary colloquialism of Leskov. Ordinary speech and literary language have thereby changed places (see the work of Vyacheslav Ivanov and many others) (Shklovsky 19-20). Defamiliarization also includes the use of foreign languages within a work. At the time that Shklovsky was writing, there was a change in the use of language in both literature and everyday spoken Russian. As Shklovsky puts it: Russian literary language, which was originally foreign to Russia, has so permeated the language of the people that it has blended with their conversation. On the other hand, literature has now begun to show a tendency towards the use of dialects and/or barbarisms (Shklovsky 19).

Defamiliarization and diffrance

Shklovskys defamiliarization can also be compared to Jacques Derridas concept of diffrance: What Shklovskij wants to show is that the operation of defamiliarization and its consequent perception in the literary system is like the winding of a watch (the introduction of energy into a physical system): both originate difference, change, value, motion, presence. Considered against the general and functional background of Derridian diffrance, what Shklovskij calls perception can be considered a matrix for production of difference. (Crawford 212) Since the term diffrance refers to the dual meanings of the French word difference to mean both to differ and to defer, defamiliarization draws attention to the use of common language in such a way as to alter ones perception of an easily understandable object or concept. The use of defamiliarization both differs and defers, since the use of the technique alters ones perception of a concept (to defer), and forces one to think about the concept in different, often more complex, terms (to differ). Shklovskijs formulations negate or cancel out the existence/possibility of real perception: variously, by (1) the familiar Formalist denial of a link between literature and life, connoting their status as non-communicating vessels, (2) always, as if compulsively, referring to a real experience in terms of empty, dead, and automatized repetition and recognition, and (3) implicitly locating real perception at an unspecifiable temporally anterior and spatially other place, at a mythic first time of nave experience,

Defamiliarization the loss of which to automatization is to be restored by aesthetic perceptual fullness. (Crawford 218)

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Usage
The technique appears in English Romantic poetry, particularly in the poetry of Wordsworth, and was defined in the following way by Samuel Taylor Coleridge, in his Biographia Literaria: "To carry on the feelings of childhood into the powers of manhood; to combine the childs sense of wonder and novelty with the appearances which every day for perhaps forty years had rendered familiar [. . .] this is the character and privilege of genius." In more recent times, it has been associated with the poet and playwright Bertolt Brecht, whose Verfremdungseffekt ("alienation effect") was a potent element of his approach to theater. Brecht, in turn, has been highly influential for artists and filmmakers including Jean-Luc Godard and Yvonne Rainer.

References
Crawford, Lawrence. Victor Shklovskij: Diffrance in Defamiliarization. Comparative Literature 36 (1984): 209-19. JSTOR. 24 February 2008 <http://links.jstor.org/sici?sici=0010-4124%28198422%2936%3a3%3c209%3avsdid%3e2.0.co%3b2-6>. Margolin, Uri. Russian Formalism . The Johns Hopkins Guide to Literary Theory and Criticism. Ed. Michael Groden, Martin Kreiswirth, and Imre Szeman. Baltimore, Maryland: The Johns Hopkins University Press, 1994. <http://litguide.press.jhu.edu.proxy.uchicago.edu/cgi-bin/view.cgi?eid=227&query=defamiliarization>. Shklovskij, Viktor. Art as Technique. Literary Theory: An Anthology. Ed. Julie Rivkin and Michael Ryan. Malden: Blackwell Publishing Ltd, 1998. Ostranenie Magazine <http://www.wesleyan.edu/wsa/ostranenie>

Digital art
Digital art is an umbrella term for a range of artistic works and practices that use digital technology. Since the 1970s, various names have been used to describe what is now called digital art including computer art and multimedia art but digital art is itself placed under the larger umbrella term new media art.[1] [2] The impact of digital technology has transformed traditional activities such as painting, drawing and sculpture, while new forms, such as net art, digital installation art, and virtual reality, have become recognized artistic practices.[3] More generally the term digital artist is used to describe an artist who makes use of digital technologies in the production of art. In an expanded sense, "digital art" is a term applied to contemporary art that uses the methods of mass production or digital media.[4]

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Examples of digital art

World Skin (1997), Maurice Benayoun's virtual reality interactive installation

Newschool ASCII Screenshot

Digital Mosaic at Habsburgerallee (Underground station), Frankfurt am Main by Manfred Stumpf

Joseph Nechvatal Orgiastic abattOir 2004 computer-robotic assisted acrylic on canvas (digital painting)

Picture produced by Drawing Machine 2

Benot Mandelbrot Initial image of a Mandelbrot set zoom sequence with continuously coloured environment Electronic Language International Festival

A scene from Rooster Teeth Productions' popular machinima series Red vs. Blue: The Blood Gulch Chronicles

Installation by Shawn Brixey of Chimera Obscura at the Gene(sis) Exhibition (2002)

Picture by drawing machine 1, Desmond Paul Henry, c.1960s

The Cave Automatic Virtual Environment

ComplexCity by John F. Simon Jr. 2000. Software, Macintosh Powerbook G3 and acrylic. 19 16 3 inches.

Loops (still frame) by The OpenEnded Group

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Nude by Sandro Bocola Multiple for xartcollection, 1970

Arambilet: Sutil/Subtle Museum of Modern Art (MAM), Dominican Republic, 2006

Bob Holmes Uncuttable (Flash Interaction), e.space, 2007, San Francisco Museum of Modern Art

Pascal Dombis Instalation view of Irrationnal Geometrics 2008

R Gopakumar: Cognition-Libido (Digital Print on Canvas, Limited Edition, 1/7) Permanent Art Collection Kinsey Institute for Research in Sex, Gender, and Reproduction

Arambilet: Dots on the I's, D-ART 2009 Online Digital Art Gallery, exhibited at IV09 and CG09 computer Graphics conferences, at Pompeu Fabra University, Barcelona; Tianjin University, China; Permanent Exhibition at the London South Bank University

Shooter G.H. Hovagimyan & Peter Sinclair, 2001 installation view at Eyebeam Atelier

Lillian Schwartz Comparison of Leonardo's self portrait and the Mona Lisa based on Schwartz's Mona Leo

Various aspects of digital art

Algorithmic art Art game Art software Austin Museum of Digital Art Computer art Computer art scene Computer generated music Computer graphics Computer music Cyberarts Demoscene Digital illustration Digital imaging Digital morphogenesis Digital painting Digital photography Digital poetry Dynamic Painting

Digital art Electronic art Electronic music Evolutionary art Movie special effects Fractal art Generative art Immersion (virtual reality) Interactive film Machinima Motion graphics Multimedia Music visualization New Media Art New Media Photo manipulation Pixel art Software art Systems art Tradigital art Video art Video game art Video game design Video poetry Virtual art

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Digital production techniques in visual media

The techniques of digital art are used extensively by the mainstream media in advertisements, and by film-makers to produce special effects. Desktop publishing has had a huge impact on the publishing world, although that is more related to graphic design. It is possible that general acceptance of the value of digital art will progress in much the same way as the increased acceptance of electronically produced music over the last three decades.[5] Digital art can be purely computer-generated (such as fractals and algorithmic art) or taken from other sources, such as a scanned photograph or an image drawn using vector graphics software using a mouse or graphics tablet.[6] Though technically the term may be applied to art done using other media or processes and merely scanned in, it is usually reserved for art that has been non-trivially modified by a computing process (such as a computer program, microcontroller or any electronic system capable of interpreting an input to create an output); digitized text data and raw audio and video recordings are not usually considered digital art in themselves, but can be part of the larger project of computer art and information art.[7] Artworks are considered digital painting when created in similar fashion to non-digital paintings but using software on a computer platform and digitally outputting the resulting image as painted on canvas.[8] Andy Warhol created digital art with the help of Amiga, Inc. in July 1985 when he publicly introduced at Lincoln Center Amiga paint software.[9] [10]

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Digital photography and image processing

Digital photography and digital printing is now an acceptable medium of creation and presentation by major museums and galleries. But the work of artists who produce digital paintings and digital printmakers is beginning to find acceptance, as the output capabilities advance and quality increases. Internationally, many museums are now beginning to collect digital art such as the San Jose Museum of Art and the Victoria and Albert Museum print department also has a reasonable but small collection of digital art. One reason why the established art community finds it difficult to accept digital art is the erroneous perception of digital prints being endlessly reproducible. Many artists though are erasing the relevant image file after the first print, thus making it a unique artwork. The availability and popularity of photograph manipulation software has spawned a vast and creative library of highly modified images, many bearing little or no hint of the original image. Using electronic versions of brushes, filters and enlargers, these "neographers" produce images unattainable through conventional photographic tools. In addition, digital artists may manipulate scanned drawings, paintings, collages or lithographs, as well as using any of the above-mentioned techniques in combination. Artists also use many other sources of electronic information and programs to create their work.[11]

Computer-generated visual media

There are two main paradigms in computer generated imagery. The simplest is 2D computer graphics which reflect how you might draw using a pencil and a piece of paper. In this case, however, the image is on the computer screen and the instrument you draw with might be a tablet stylus or a mouse. What is generated on your screen might appear to be drawn with a pencil, pen or paintbrush. The second kind is 3D computer graphics, where the screen becomes a window into a virtual environment, where you arrange objects to be "photographed" by the computer. Typically a 2D computer graphics use raster graphics as their primary means of source data representations, whereas 3D computer graphics use vector graphics in the creation of immersive virtual reality installations. A possible third paradigm is to generate art in 2D or 3D entirely through the execution of algorithms coded into computer programs and could be considered the native art form of the computer. That is, it cannot be produced without the computer. Fractal art, Datamoshing, algorithmic art and Dynamic Painting are examples.

Computer generated 3D still imagery

3D graphics are created via the process of designing complex imagery from geometric shapes, polygons or NURBS curves[12] to create three-dimensional shapes, objects and scenes for use in various media such as film, television, print, rapid prototyping and the special visual effects. There are many software programs for doing this. The technology can enable collaboration, lending itself to sharing and augmenting by a creative effort similar to the open source movement, and the creative commons in which users can collaborate in a project to create unique pieces of art.

Computer generated animated imagery

Computer-generated animations are animations created with a computer, from digital models created by the artist. The term is usually applied to works created entirely with a computer. Movies make heavy use of computer-generated graphics; they are called computer-generated imagery (CGI) in the film industry. In the 1990s, and early 2000s CGI advanced enough so that for the first time it was possible to create realistic 3D computer animation, although films had been using extensive computer images since the mid-70s. A number of modern films have been noted for their heavy use of photo realistic CGI.[13]

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Digital installation art

Digital installation art constitutes a broad field of activity and incorporates many forms. Some resemble video installations, particularly large scale works involving projections and live video capture. By using projection techniques that enhance an audiences impression of sensory envelopment, many digital installations attempt to create immersive environments. Others go even further and attempt to facilitate a complete immersion in virtual realms. This type of installation is generally site specific, scalable, and without fixed dimensionality, meaning it can be reconfigured to accommodate different presentation spaces.[14] Noah Wardrip-Fruin's interactive new media art piece entitled "Screen [15] is an example of digital installation art. To view and interact with the piece, a user first enters a room, called the "Cave," which is a virtual reality display area with four walls surrounding the participant. White memory texts appear on the background of black walls. Through bodily interaction, such as using one's hand, a user can move and bounce the text around the walls. The words can be made into sentences and eventually begin to "peel" off and move more rapidly around the user, creating a heightening sense of misplacement. "In addition to creating a new form of bodily interaction with text through its play, Screen moves the player through three reading experiences beginning with the familiar, stable, page-like text on the walls, followed by the word-by-word reading of peeling and hitting (where attention is focused), and with more peripheral awareness of the arrangements of flocking words and the new (often neologistic) text being assembled on the walls. Screen was first shown in 2003 as part of the Boston Cyberarts Festival (in the Cave at Brown University) and documentation of it has since been featured at The Iowa Review Web, presented at SIGGRAPH 2003, included in Alt+Ctrl: a festival of independent and alternative games, published in the DVD magazines Aspect and Chaise, as well as in readings in the Hammer Museum's HyperText series, at ACM Hypertext 2004, and in other venues." [16]

List of digital artists

Carlos Amorales Arambilet Cory Arcangel Roy Ascott San Base Maurice Benayoun Ryan Bliss Sandro Bocola Shawn Brixey Thomas Charvriat Agricola de Cologne Brody Condon Edmond Couchot Donna Cox Charles Csuri Char Davies Caterina Davinio Ronald Davis Heiko Daxl Rich DiSilvio

Pascal Dombis David Em Ken Feingold

Digital art Fred Forest Herbert W. Franke Ingeborg Flepp Laurence Gartel George Grie Lynn Hershman Perry Hoberman Bob Holmes Marc Horowitz G.H. Hovagimyan Eduardo Kac Junichi Kakizaki KMA Knowbotic Research Roy LaGrone John Lansdown George Legrady Golan Levin Liu Dao Rafael Lozano-Hemmer Machfeld Sergio Maltagliati Michael Mandiberg Lev Manovich Dave McKean Christian Moeller Manfred Mohr Francesco Monico Michael Naimark Frieder Nake Joseph Nechvatal Graham Nicholls The OpenEnded Group Zaven Par Nicola Pezzetta Melinda Rackham Ken Rinaldo Don Ritter Miroslaw Rogala David Rokeby Stefan Roloff Jason Salavon Lillian Schwartz Stjepan eji Graham Smith

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Scott Snibbe Alan Sondheim

Digital art Manfred Stumpf Camille Utterback Bill Viola Noah Wardrip-Fruin Andy Warhol Hisham Zreiq Bodo Sperling

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See also
Algorithm art Computer art scene Computer Arts Society Computer graphics Computer music Demoscene Digital illustration Digital morphogenesis Digital painting Tradigital art Evolutionary art Fractal art Generative art Generative music Image development Interactive art Kisekae Set System Motion graphics New media art Multimedia Music visualization Software art Systems art Video game

References
Donald Kuspit The Matrix of Sensations [17] VI: Digital Artists and the New Creative Renaissance Fred Forest (1998) " Pour un art actuel, l'art l'heure d'Internet, l'Harmattan. ISBN 2-7385-7223-0, "Art et Internet", Cercle d'Art,2008. ISBN 978-2-7022- 0864-9 Paul, Christiane (2003). Digital Art (World of Art series). London: Thames & Hudson. ISBN 0-500-20367-9 Frank Popper (1997) Art of the Electronic Age, Thames & Hudson Christine Buci-Glucksmann,(2002) La folie du voir: Une esthtique du virtuel, Galile Lev Manovich (2001). The Language of New Media [11] Cambridge, Massachusetts: The MIT Press. ISBN 0-262-63255-1 Charlie Gere, (2002) Digital Culture, Reaktion ISBN 978-1-86189-143-3 Edward A. Shanken, Art and Electronic Media. London: Phaidon, 2009. ISBN 978-0-7148-4782-5 Wands, Bruce [18] (2006). Art of the Digital Age, London: Thames & Hudson. ISBN 0-500-23817-0.

Digital art Ryan Bliss Artist Biography [19] Digital Blasphemy 3D Wallpaper

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Further reading
Cynthia Goodman Digital Visions, Harry N. Abrams 1987. Oliver Grau Ed., MediaArtHistories, Cambridge/Mass.: MIT Press, 2007. Oliver Grau, (2003) Virtual Art: From Illusion to Immersion [6] (Leonardo Book Series). Cambridge/Mass.: MIT-Press. Fred Forest (1998) " Pour un art actuel, l'art l'heure d'Internet, l'Harmattan. ISBN 2-7385-7223-0, "Art et Internet", Cercle d'Art,2008. ISBN 978-2-7022- 0864-9 Frank Popper, From Technological to Virtual Art [20], MIT Press/Leonardo Books, 2007 Frank Popper Ecrire sur l'art : De l'art optique a l'art virtuel, L'Harmattan 2007 Joline Blais and Jon Ippolito At the Edge of Art [21], Thames & Hudson Ltd, 2006 Digital fine art [22] Donald Kuspit "Del Atre Analogico al Arte Digital" in Arte Digital Y Videoarte, Kuspit, D. ed., Consorcio del Circulo de Bellas Artes, Madrid Robert C. Morgan Digital Hybrids, art press Volume #255 Alan Liu The Laws of Cool, Chicago Press Bruce Wands Art of the Digital Age, London: Thames & Hudson Donald Kuspit The Matrix of Sensations [17] VI: Digital Artists and the New Creative Renaissance Wolf Lieser Digital Art, H.F. Ullmann Publishing, Germany. 4/2009, 276 pp., ISBN 978-3-8331-5344-0 Lopes, Dominic McIver. (2009). A Philosophy of Computer Art. [10] London: Routledge Christiane Paul. Digital Art (World of Art series). London: Thames & Hudson. 2003 ISBN 0-500-20367-9 Peter Weibel and Shaw, Jeffrey, Future Cinema, MIT Press 2003, pp.472,572-581, ISBN 0-262-69286-4 Christine Buci-Glucksmann, "Lart lpoque virtuel", in Frontires esthtiques de lart, Arts 8, Paris: LHarmattan, 2004 Wilson, Steve Information Arts: Intersections of Art, Science, and Technology [7] (MIT Press/Leonardo Books) ISBN 0-262-23209-X Margot Lovejoy Digital Currents: Art in the Electronic Age Routledge 2004 Lev Manovich, Ten Key Texts on Digital Art: 19702000 Leonardo - Volume 35, Number 5 [12], October 2002, pp.567569 Dick Higgins, Intermedia (1966), reprinted in Donna De Salvo (ed.), Open Systems Rethinking Art c. 1970, London: Tate Publishing, 2005 Ernest Edmonds, Andrew Martin, Sandra Pauletto, (2004). Audio-visual interfaces in digital art. In: The Australasian Computing Education Conference; Vol. 74. Proceedings of the 2004 ACM SIGCHI International Conference on Advances in computer entertainment technology, Singapore, pp 331 336, ISBN 1-58113-882-2 [23] Ernest Edmonds, Andrew Martin, Sandra Pauletto, (2004) Audiovisual Discourse in Digital Art, SIGGRAPH International Conference on Computer Graphics and interactive techniques, Los Angeles, USA, ISBN 1-58113-896-2 Linda Candy, Ernest Edmonds (2002). Explorations in Art and Technology. Springer Verlag, 2002, 304 pp. Greg Turner, Ernest Edmonds. Towards a Supportive Technological Environment for Digital Art. In : Viller & Wyeth (Eds.) Proceedings of OzCHI2003: New directions in interaction, information environments, media and technology. 2628 November 2003, Brisbane, Australia: Information Environments Program, University of Queensland. [24]

Linda Candy. (2002). Co-Creativity in Interactive Digital Art, Consciousness Reframed. Fourth International CAiiA-STAR Research Conference, 2-4 August, Perth: CD ROM. [25] Carly Berwick, Digital Art - Collecting New Media, Art + Auction, June 2006

Digital art Nicolas Bourriaud, (1997) Relational Aesthetics, Dijon: Les Presses du Rel, 2002, orig. 1997 Rainer Usselmann, (2003)"The Dilemma of Media Art: Cybernetic Serendipity at the ICA London" [13], Cambridge, Masschusetts: The MIT Press/Leonardo Journal - Volume 36, Number 5, October 2003, pp.389396 Rainer Usselmann, (2002)"About Interface: Actualisation and Totality" [13], University of Southampton Press Charlie Gere, (2006) White Heat, Cold Logic: Early British Computer Art [26], co-edited with Paul Brown, Catherine Mason and Nicholas Lambert, MIT Press/Leonardo Books Mark Hansen, (2004) New Philosophy for New Media (Cambridge, MA: MIT Press Joseph Nechvatal (2009) Immersive Ideals / Critical Distances. LAP Lambert Academic Publishing Fleischmann, Monika, Reinhard, Ulrike (2004) (eds.): Digital Transformations [14] Media Art at the Interface between Art, Science, Economy and Society. Fraunhofer IAIS - MARS Exploratory Media Lab [27] and whois, Heidelberg 2004, ISBN 3-934013-38-4. And on netzspannung.org [28] platform for Media Art & Electronic Culture. James Faure Walker (2006) Painting the Digital River: How an Artist Learned to Love the Computer, Prentice-Hall (USA). ISBN 0-13-173902-6 Fred Forest (2008) Art et Internet, Editions Cercle D'Art / Imaginaire Mode d'Emploi Robert C. Morgan, Commentaries on the New Media Arts Pasadena, CA: Umbrella Associates,1992 Sarah J. Rogers (ed), Body Mcanique: Artistic Explorations of Digital Realms, Columbus, Ohio, Wexner Center for the Arts, The Ohio State University, 1998 Joseph Nalven and JD Jarvis "Going Digital: The Practice and Vision of Digital Artists," Thompson Course Technology, July 2005, 432 pp., ISBN 1-59200-918-2 Alan Kirby (2009) Digimodernism. New York: Continuum. Anne-Ccile Worms, (2008) Arts Numriques: Tendances, Artistes, Lieux et Festivals [18] M21 Editions 2008 ISBN 2-916260-33-1. Wolf Lieser, Digital art: Le monde de l'art numrique, Editeur: Knemann, ISBN 978-3-8331-5347-1. 2010 Sarah Cook & Beryl Graham, Rethinking Curating: Art After New Media, Cambridge, Mass.: MIT Press, 2010. ISBN 978-0-262-01388-8. Sarah Cook, Verina Gfader,[Beryl Graham & Axel Lapp, A Brief History of Curating New Media Art Conversations with Curators, Berlin: The Green Box, 2010. ISBN 978-3-941644-20-5. Sarah Cook, Verina Gfader, Beryl Graham & Axel Lapp, A Brief History of Working with New Media Art Conversations with Artists, Berlin: The Green Box, 2010. ISBN 978-3-941644-21-2. Bruce Wands, Digital Creativity: Techniques for Digital Media, John Wiley & Sons; Ill edition. 2001. ISBN 0471390577

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External links
File Prix Lux [29] Database of Digital Art [30] MediaArtHistories, Master of Arts, MA at Danube University Krems, Austria [31] [32] Art and Technology: Contemporary Art and New Media: Towards a Hybrid Discourse, moderated by Edward A. Shanken at Art Basel Conversations [[Andy Warhol [33]] makes a digital painting of Debbie Harry at the Commodore Amiga product launch press conference in 1985.]

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References
[1] Christiane Paul (2006). Digital Art, pp 78. Thames & Hudson. [2] Lieser, Wolf. Digital Art. Langenscheidt: h.f. ullmann. 2009, pp. 1315 [3] Donald Kuspit The Matrix of Sensations (http:/ / www. artnet. com/ magazineus/ features/ kuspit/ kuspit8-5-05. asp) VI: Digital Artists and the New Creative Renaissance [4] Charlie Gere Art, Time and Technology: Histories of the Disappearing Body (Berg, 2005). ISBN 978-1-84520-135-7 This text concerns artistic and theoretical responses to the increasing speed of technological development and operation, especially in terms of so-called real-time digital technologies. It draws on the ideas of Jacques Derrida, Bernard Stiegler, Jean-Franois Lyotard and Andr Leroi-Gourhan, and looks at the work of Samuel Morse, Vincent van Gogh and Kasimir Malevich, among others. [5] Charlie Gere, (2002) Digital Culture, Reaktion. [6] Christiane Paul (2006). Digital Art, pp. 2767. Thames & Hudson. [7] Wands, Bruce (2006). Art of the Digital Age, pp. 1011. Thames & Hudson. [8] Paul, Christiane (2006. Digital Art, pp. 5460. Thames & Hudson. [9] Amiga: The Computer That Wouldnt Die' http:/ / design. osu. edu/ carlson/ history/ PDFs/ amiga-ieeespectrum. pdf [10] [[Andy Warhol (http:/ / www. youtube. com/ watch?v=3oqUd8utr14)] makes a digital painting of Debbie Harry at the Commodore Amiga product launch press conference in 1985.] [11] Frank Popper, Art of the Electronic Age, Thames & Hudson, 1997. [12] Wands, Bruce (2006). Art of the Digital Age, pp. 1516. Thames & Hudson. [13] Lev Manovich (2001) The Language of New Media Cambridge, Massachusetts: The MIT Press. [14] Paul, Christiane (2006). Digital Art, pp 71. Thames & Hudson. [15] http:/ / www. noahwf. com/ screen/ index. html/ [16] [17] [18] [19] [20] [21] [22] [23] [24] [25] [26] [27] [28] [29] [30] [31] [32] [33] http:/ / www. noahwf. com/ screen/ index. html http:/ / www. artnet. com/ magazineus/ features/ kuspit/ kuspit8-5-05. asp http:/ / www. brucewands. com http:/ / ryanbliss. com http:/ / leonardo. info/ isast/ leobooks/ books/ popper. html http:/ / at-the-edge-of-art. com http:/ / jeromepoitevin. com http:/ / portal. acm. org/ citation. cfm?id=1067392 http:/ / www. creativityandcognition. com/ downloads/ ozchi2003-233. pdf http:/ / research. it. uts. edu. au/ creative/ COSTART/ pdfFiles/ ConsReFramed. pdf http:/ / www. leonardo. info/ isast/ leobooks/ books/ gere. html http:/ / netzspannung. org/ about/ mars/ http:/ / netzspannung. org/ on http:/ / www. fileprixlux. org http:/ / dada. compart-bremen. de http:/ / donau-uni. ac. at/ en/ studium/ medienkunstgeschichte/ index. php http:/ / www. art. ch/ go/ id/ mhv/ http:/ / www. youtube. com/ watch?v=3oqUd8utr14

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Digital painting
Digital painting is an emerging art form in which traditional painting techniques such as watercolor, oils, impasto, etc. are applied using digital tools by means of a computer, a digitizing tablet and stylus, and software. Traditional painting is painting with a physical medium as opposed to a more modern style like digital. Digital painting differs from other forms of digital art, particularly computer-generated art, in that it does not involve the computer rendering from a model. The artist uses painting techniques to create the digital painting directly on the computer. All digital painting programs try to mimic the use of physical media through various brushes and paint effects. Included in many programs are brushes that are digitally styled to represent the traditional style like oils, acrylics, pastels, charcoal, pen and even media such as airbrushing. There are also certain effects unique to each type of digital paint which portraying the realistic effects of say watercolor on a digital 'watercolor' painting.[1] In most digital painting programs, the user can create their own brush style using a combination of texture and shape. This ability is very important in bridging the gap between traditional and digital painting. Digital painting thrives mostly in production art. It is most widely used in conceptual design for film, television and video games. Digital painting software such as Corel Painter, Adobe Photoshop, ArtRage, GIMP, and openCanvas give artists a similar environment to a physical painter: a canvas, painting tools, mixing palettes, and a multitude of color options. There are various types of digital painting, including impressionism, realism, and watercolor. There are both benefits and drawbacks of digital painting. While digital painting allows the artist the ease of working in an organized, mess-free environment, some argue there will always be more control for an artist holding a physical brush in their hand. Some artists believe there is something missing from digital painting, such as the character that is unique to every physically made object. Many artist post blogs and comment on the various differences between digitally created work and traditionally created artwork.[2] [3]

Digital painting

Digital painting, The Woman of Rock (section)

Comparison with traditional painting

The main difference between digital and traditional painting is the non-linear process. That is, an artist can often arrange their painting in layers that can be edited independently. Also, the ability to undo and redo strokes frees the artist from a linear process. But digital painting is limited in how it employs the techniques and study of a traditional painter because of the surface differences and lack of physicality. The digital artist has at their disposal several tools not available to the traditional painter. Some of these include: a virtual palette consisting of millions of colors, almost any size canvas or media, and the ability to take back mistakes, as well as erasers, pencils, spray cans,

Digital painting brushes, combs, and a variety of 2D and 3D effect tools. A graphics tablet allows the artist to work with precise hand movements simulating a real pen and drawing surface. Even the traditional surface has changed for digital painting. Instead of a canvas or sketchbook, artists would use a mouse or tablet to display strokes that would appear with the touch of a pen to the tablets surface, or a click of pen. Tablets can be pressure sensitive, allowing the artist to vary the intensity of the chosen media on the screen. There are even tablets with over two thousand different levels of pressure sensitivity [4] .

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Origins
Sketchpad
The earliest graphical manipulation program was called Sketchpad. Created in 1963 by Ivan Sutherland, a grad student at MIT, Sketchpad allowed the user to manipulate objects on a CRT (cathode ray tube).[5] Sketchpad eventually led to the creation of the Rand Tablet for work on the GRAIL project in 1968, and the very first tablet was created. Other early tablets, or digitizers, like the ID (intelligent digitizer) and the BitPad were commercially successful and used in CAD (Computer Aided Design) programs. Modern day tablets are the tools of choice by digital painters. WACOM is the industry leader in tablets which can range in size from 4 x 6 all the way to 12 x 19 and are less than an inch thick.

Tablets
The idea of using a tablet to communicate directions to a computer has been an idea since 1968 when the RAND (Research and Development) company out of Santa Monica, developed a tablet that was used to program.[6] Digitizers were popularized in the mid 1970s and early 1980s by the commercial success of the ID (Intelligent Digitizer) and BitPad manufactured by the Summagraphics Corp. These digitizers were used as the input device for many high-end CAD (Computer Aided Design) systems as well as bundled with PC's and PC based CAD software like AutoCAD.

Many artists prefer using graphics tablets to create digital paintings instead of using a mouse.

a simple example of digital paint done from tablet. http://www.youtube.com/watch?v=r2_uC2MJFi0

MacPaint
The first commercial program that allowed users to design, draw, and manipulate object was the program MacPaint. This programs first version was introduced on January 22, 1984 on the Apple Lisa. The ability to freehand draw and create graphics with this program made it the top program of its kind during 1984 [7] . The earlier versions of the program were called MacSketch and LisaSketch, and the last version of MacPaint was MacPaint 2.0 released in 1998.[8] Much of MacPaint's universal success was attributed to the release of the first Macintosh computer which was equipped with one other program called MacWrite. It was the first personal computer with a graphical user interface and lost much of the bulky size of its predecessor, the Lisa. The Macintosh was available at about $2500 and the combination of a smaller design made the computer a hit, exposing the average computer user to the graphical possibilities of the included MacPaint [9] .

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Adobe
Another early image manipulation program was Adobe Photoshop. It was first called Display and was created in 1987 by Thomas Knoll at the University of Michigan as monochrome picture display program. With help from his brother John, the program was turned into an image editing program called Imagepro, but later changed to Photoshop. The Knolls agreed on a deal with Adobe systems and Apple, and Photoshop 1.0 was released in 1990 for Macintosh. Adobe systems had previously release Adobe Illustrator 1.0 in 1986 on the Apple Macintosh. These two programs, Adobe Photoshop and Adobe Illustrator are currently two of the top programs used in the productions of digital paintings. Illustrator introduced the uses of Bezier curves which allowed the user to be incredibly detailed in their vector drawings.

Kid Pix
In 1988, Craig Hickman created a paint program called Kid Pix, which made it easier for children to use MacPaint. The program was originally created in black in white, and after several revisions was released in color in 1991. Kid Pix was one of the first commercial programs to integrate color and sound in a creative format. While the Kid Pix was intentionally created for children, it became a useful tool for introducing adults to the computer as well. [10]

On line painting programs

In recent years there has been a growth in the websites which support painting digitally online. Internet resources for this include Sumo Paint [11] and Queeky [12]. The user is still drawing digitally with the use of software, but the software is on the server of the website which is being used. The range of tools and brushes is usually more limited than free standing software. However speed of response, quality of colour and the ability to save to a file or print are similar in either media.

Displaying digital paintings

Digitally painted images have the flexibility of being either uploaded onto a computer for viewing or simply printed directly onto paper for display. Digital painting has had a large impact on speed painting.The ability to capture every stroke of the painting process in this digital format is a unique advantage of digital painting. The nature of digital painting has allowed facilitated the ability to learn how to digitally paint. Tutorials are easy to document, create and share on the internet, so with the given tools and resources anyone can learn.

See also
Digital photography Art software Computer art Computer painting Electronic art Tradigital art New Media Computer graphics

Joseph Nechvatal Orgiastic abattOir

Digital illustration Software art

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References
Donald Kuspit The Matrix of Sensations [17] VI: Digital Artists and the New Creative Renaissance Joline Blais and Jon Ippolito, At the Edge of Art [21], Thames & Hudson Ltd, 2006 Christiane Paul Digital Art, Thames & Hudson Ltd Donald Kuspit "Del Atre Analogico al Arte Digital" in Arte Digital Y Videoarte, Kuspit, D. ed., Consorcio del Circulo de Bellas Artes, Madrid Robert C. Morgan Digital Hybrids, Art Press volume #255, pp. 75-76 Frank Popper From Technological to Virtual Art, MIT Press Bruce Wands Art of the Digital Age, London: Thames & Hudson Christine Buci-Glucksmann, "Lart lpoque virtuel", in Frontires esthtiques de lart, Arts 8, Paris: LHarmattan, 2004 Margot Lovejoy Digital Currents: Art in the Electronic Age Routledge 2004 Brandon Taylor Collage Thames & Hudson Ltd, 2006, p. 221 Wayne Enstice & Melody Peters, Drawing: Space, Form, & Expression, New Jersey: Prentice Hall Frank Popper Ecrire sur l'art : De l'art optique a l'art virtuel, L'Harmattan 2007 Fred Forest Art et Internet, Editions Cercle D'Art / Imaginaire Mode d'Emploi Lieser, Wolf. Digital Art. Langenscheidt: h.f. ullmann. 2009

References
[1] [2] [3] [4] [5] [6] [7] http:/ / www. corel. com/ servlet/ ContentServer/ us/ en/ Product/ 1166553941991 Art: Traditional vs. Digital Vindicated (http:/ / vindicated13. wordpress. com/ 2007/ 11/ 13/ art-traditional-vs-digital/ ) deviantART Forum: Traditional painting vs Digital painting (http:/ / forum. deviantart. com/ galleries/ digital/ 1061392/ ) Intuos3 12x19 - Product Overview (http:/ / www. wacom. com/ intuos/ 12x19. cfm) The Real History of the GUI [Design Principles] (http:/ / www. sitepoint. com/ article/ real-history-gui/ 4) Smithsonian Institution Archives (http:/ / siarchives. si. edu/ research/ videohistory_catalog9536. html) Personal Computers; Software For The Macintosh: Plenty On The Way - New York Times (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9406E1DD173BF932A05752C0A962948260& sec=technology& spon=& pagewanted=2) [8] YouTube - Apple Lisa (http:/ / www. youtube. com/ watch?v=a4BlmsN4q2I& feature=related) [9] The Real History of the GUI [Design Principles] (http:/ / www. sitepoint. com/ article/ real-history-gui/ 5-) [10] Kid Pix: The Early Years (http:/ / pixelpoppin. com/ kidpix/ ) [11] http:/ / www. sumopaint. com/ app/ [12] http:/ / www. queeky. com/ app

http://www.youtube.com/watch?v=r2_uC2MJFi0

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Electronic art
Electronic art is a form of art that makes use of electronic media or, more broadly, refers to technology and/or electronic media. It is related to information art, new media art, video art, digital art, interactive art, internet art, and electronic music. It is considered an outgrowth of conceptual art and systems art.

Background
The term electronic art is almost, but not entirely, synonymous to computer art and digital art.[1] The latter two terms, and especially the term computer-generated art are mostly used for visual artworks generated by computers. However, electronic art has a much broader connotation, referring to artworks that include any type of electronic component , such as works in music, dance, architecture and performance.[2] It is an interdisciplinary field and so artists often collaborate with scientists and engineers when creating their works. The art historian of experimental new media art, Edward A. Shanken is documenting current and past experimental art with a focus on the entwinement of art, science, and technology, as are, in France, virtual historians Frank Popper and Dominique Moulon. Electronic art is often, but not always, interactive. ."[3] Artists make use of technologies like the Internet, computer networks, robotics, wearable technology, digital painting, wireless technology and immersive virtual reality. As the technologies used to deliver works of electronic art become obsolete, electronic art faces serious issues around the challenge to preserve artwork beyond the time of its contemporary production. Currently, research projects are underway to improve the preservation and documentation of the fragile electronic arts heritage (see DOCAM - Documentation and Conservation of the Media Arts Heritage).

An example of an image produced by the automatic running of filters in Adobe Photoshop Elements

Art Festivals that use the term Electronic Art in their Name
International Symposium for Electronic Art (ISEA), organized approximately every two years since 1988, international; Ars Electronica Symposium, organized yearly since 1979 by Ars Electronica in Linz, Austria; Dutch Electronic Art Festival (DEAF), organized yearly since 1994 by V2 Institute for the Unstable Media in Rotterdam, the Netherlands.
Stelarc Parasite: Event for Invaded and Involuntary Body, at the 1997 Ars Electronica Festival

Electronic Language International Festival (FILE) organized yearly since 2000 in So Paulo, Brazil. The Prix Ars Electronica is a major yearly award for several categories of electronic art.

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Artists
Notable artists working in electronic art include: Laurie Anderson Roy Ascott Maurice Benayoun Angie Bonino Douglas Cooper Heiko Daxl Elizabeth Diller and Ricardo Scofidio David Em Ken Feingold Ingeborg Flepp Peter Gabriel Pietro Grossi Perry Hoberman Jodi (internet artists) Eduardo Kac Knowbotic Research Liu Dao George Legrady Rafael Lozano-Hemmer Chico MacMurtrie Sergio Maltagliati Jennifer & Kevin McCoy Joseph Nechvatal Yves Netzhammer Graham Nicholls Melinda Rackham Ken Rinaldo David Rokeby Stefan Roloff and * Martin Rev Don Ritter Lillian Schwartz Michael Snow Stelarc Survival Research Laboratories Gianni Toti Bill Vorn Norman White

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See also
Algorithm art Computer art Digital painting Digital poetry Digital art Tradigital art Evolutionary art Fractal art Generative art Image development Interactive art New media art Intermedia Multimedia Music visualization Systems art Computer art scene Computer graphics Demoscene Computer music Digital illustration EVA Conferences (Electronic Visualisation and the Arts)

References
Sarah J. Rogers (ed), Body Mcanique: Artistic Explorations of Digital Realms, Columbus, Ohio, Wexner Center for the Arts, The Ohio State University, 1998 Christine Buci-Glucksmann, "Lart lpoque virtuel", in Frontires esthtiques de lart, Arts 8, Paris: LHarmattan, 2004 Frank Popper, Art of the Electronic Age, Thames & Hudson, 1997 Joline Blais and Jon Ippolito, At the Edge of Art [21], Thames & Hudson Ltd, 2006 Oliver Grau (2003). Virtual Art: From Illusion to Immersion (Leonardo Book Series). Cambridge, Massachusetts: The MIT Press/Leonardo Books. ISBN 0-262-07241-6. Oliver Grau (Ed.): Media Art Histories, MIT Press/Leonardo Books, 2007. Christiane Paul, Digital Art, Thames & Hudson Ltd Donald Kuspit "Del Atre Analogico al Arte Digital" in Arte Digital Y Videoarte, Kuspit, D. ed., Consorcio del Circulo de Bellas Artes, Madrid, pp.3334 & 3 color images Lopes, Dominic McIver. (2009). A Philosophy of Computer Art. [10] London: Routledge Robert C. Morgan Digital Hybrids, art press volume #255 Frank Popper, From Technological to Virtual Art [20], MIT Press/Leonardo Books, 2007 Alan Liu The Laws of Cool, Chicago Press, pp.331336 & 485-486 Bruce Wands Art of the Digital Age, London: Thames & Hudson Donald Kuspit The Matrix of Sensations [17] VI: Digital Artists and the New Creative Renaissance Frank Popper, Origins and Development of Kinetic Art, Studio Vista and New York Graphic Society, 1968 Frank Popper, Die Kinetische Kunst-Licht und Bewegung, Umweltkunst und Aktion, Dumont Schauberg, 1975 Frank Popper, Le Dclin de l'objet, Le Chne, 1975

Electronic art Lev Manovich (2001). [Leonardo Books, The Language of New Media] Cambridge, Massachusetts: The MIT Press/Leonardo Books. ISBN 0-262-63255-1 Dick Higgins, Intermedia (1966), reprinted in Donna De Salvo (ed.), Open Systems Rethinking Art c. 1970, London: Tate Publishing, 2005 Nicolas Bourriaud, (1997) Relational Aesthetics, Dijon: Les Presses du Rel, 2002, orig. 1997 Rainer Usselmann, (2003)"The Dilemma of Media Art: Cybernetic Serendipity at the ICA London" [13], Cambridge, Masschusetts: The MIT Press/Leonardo Journal - Volume 36, Number 5, October 2003, pp.389396 Charlie Gere, (2002) Digital Culture, Reaktion ISBN 978-1-86189-143-3 Lev Manovich, Ten Key Texts on Digital Art: 1970-2000 Leonardo - Volume 35, Number 5, October 2002 [12], pp.567569 Charlie Gere, (2006) White Heat, Cold Logic: Early British Computer Art [9], co-edited with Paul Brown, Catherine Mason and Nicholas Lambert, MIT Press/Leonardo Books Mark Hansen, (2004) New Philosophy for New Media (Cambridge, MA: MIT Press Frank Popper, ArtAction and Participation, New York University Press, 1975 Frank Popper, Origins and Development of Kinetic Art, New York Graphic Society/Studio Vista, 1968 Frank Popper, Rflexions sur l'exil, l'art et l'Europe : Entretiens avec Aline Dallier, Klincksieck 1998 Margot Lovejoy Digital Currents: Art in the Electronic Age Routledge 2004 Frank Popper Ecrire sur l'art : De l'art optique a l'art virtuel, L'Harmattan 2007 Fred Forest Art et Internet, Editions Cercle D'Art / Imaginaire Mode d'Emploi Edward A. Shanken Selected Writings on Art and Technology http://artexetra.com Edward A. Shanken Art and Electronic Media. London: Phaidon, 2009. ISBN 978-0-7148-4782-5

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External links
Stephen Wilson: extensive list of "information arts" links [4] newArteest [5], list of prominent digital artists New Media Art book (wiki edition) [6]

References
[1] [2] [3] [4] [5] [6] Paul, Christiane 2006. Digital Art, p. 10. Thames & Hudson. Paul, Christiane (2006. Digital Art, p. 132 Thames & Hudson. Paul, Christiane (2006. Digital Art, pp. 8 & 11. Thames & Hudson. http:/ / userwww. sfsu. edu/ ~infoarts/ links/ wilson. artlinks2. html http:/ / www. newarteest. com/ digitalart. html https:/ / wiki. brown. edu/ confluence/ x/ Wkg

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Figurations on Plastic
La Leccin de Anatoma

Artist Rafael Trelles Year Type 2007 Visual Representation of Rafael Trelles' Original Painting from Figurations on Plastic

Figurations on Plastic (Figuraciones sobre Plstico in Spanish) is an exhibition by two artists in the field of post-modern surrealist figuration, Rafael Trelles in conjunction with Mara Antonieta Ordez. According to Manuel Alvarez Lezama, Trelles and Ordez have accepted the challenge to turn the human figure into poetry by using plastic as their support to let us see ourselves on plastic, an everyday reality for millions in this technology-oriented society of ours.[1]

Hypnos by Rafael Trelles Ink and Graphite on PVC 25" x 33"

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References
[1] Lezama MA, Landmark exhibition: Ordez and Trelles in 'Figuraciones sobre plstico' (http:/ / www. thesanjuanstar. com), San Juan Star Document ID: 11D0D6F57A88C590, November 18, 2007.

Fluxus
Fluxusa name taken from a Latin word meaning "to flow"is an international network of artists, composers and designers noted for blending different artistic media and disciplines in the 1960s. They have been active in Neo-Dada noise music and visual art as well as literature, urban planning, architecture, and design. Fluxus is often described as intermedia, a term coined by Fluxus artist Dick Higgins in a famous 1966 essay.

History of Fluxus
Early Fluxus
The origins of Fluxus lie in many of the concepts explored by composer John Cage in his experimental music of the 1950s. Cage explored notions of indeterminacy in art, through works such as 4' 33", which influenced Lithuanian-born artist George Maciunas.[1] Maciunas (19311978) organized the first Fluxus event in 1961 at the AG Gallery in New York City and the first Fluxus festivals in Europe in 1962.[1] While Fluxus was named and organized by Maciunas, the Fluxus community began in a small but global network of Fluxus Manifesto, 1963, by George Maciunas artists and composers who were already at work when Maciunas met them through minimalist composer La Monte Young and poet Jackson Mac Low in the early 1960s. John Cage's 1957 to 1959 Experimental Composition classes at the New School for Social Research in New York City were attended by Jackson Mac Low, Al Hansen, George Brecht and Dick Higgins, many of whom were working in other media with little or no background in music. Another cluster of artists was connected to each other through Rutgers University. Many other artists were invited by Cage to attend his classes unofficially at the New School. Marcel Duchamp and Allan Kaprow (who is credited as the creator of the first "happenings") were also influential to Fluxus. In its early days Fluxus artists were active in Europe (especially in Germany), and Japan as well as in the United States.

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La Monte Young had been asked to guest-edit an issue of a literary journal "Beatitude East" and that effort led to the proto-Fluxus publication called An Anthology of Chance Operations. Maciunas supplied the paper, design, and some money for publishing of the anthology, which contained a more or less arbitrary association of New York avant garde artists at that time. By the end of 1961 before An Anthology of Chance Operations was completed (it was finally published in 1963 by Jackson Mac Low and La Monte Young), Maciunas had moved to Germany to escape his creditors. From there, he continued his contact with the New York artists and sent out announcements about a series of "yearbooks" of artists works under the title of Fluxus.
cover of An Anthology of Chance Operations

Fluxus encouraged a "do-it-yourself" aesthetic, and valued simplicity over complexity. Like Dada before it, Fluxus included a strong current of anti-commercialism and an anti-art sensibility, disparaging the conventional market-driven art world in favor of an artist-centered creative practice. As Fluxus artist Robert Filliou wrote, however, Fluxus differed from Dada in its richer set of aspirations, and the positive social and communitarian aspirations of Fluxus far outweighed the anti-art tendency that also marked the group. In terms of an artistic approach, Fluxus artists preferred to work with whatever materials were at hand, and either created their own work or collaborated in the creation process with their colleagues. Outsourcing part of the creative process to commercial fabricators was not usually part of Fluxus practice. Maciunas personally hand-assembled many of the Fluxus multiples and editions. While Maciunas assembled many objects by hand, he designed and intended them for mass production. Where many multiple publishers produced signed, numbered objects in limited editions intended for sale at high prices, Maciunas produced open editions at low prices. Several other Fluxus publishers produced different kinds of Fluxus editions. The best known of these was Something Else Press, a book publishing company established by Fluxus artist Dick Higgins. Something Else Press was probably the largest and most extensive Fluxus publisher, producing books in editions that ran from 1,500 copies to as many as 5,000 copies, all available at standard bookstore prices.

Fluxus art
The art forms most closely associated with Fluxus are event scores and Fluxus boxes. Fluxus boxes (sometimes called Fluxkits or Fluxboxes) originated with George Maciunas who would gather collections of printed cards, games, and ideas, organizing them in small plastic or wooden boxes.[2] The idea of the event began in Henry Cowell's philosophy of music. Cowell, a teacher to John Cage and later to Dick Higgins, coined the term that Higgins and others later applied to short, terse descriptions of performable work. The term "score" is used in exactly the sense that one uses the term to describe a music score: a series of notes that allow anyone to perform the work, an idea linked both to what Nam June Paik labeled the "do it yourself" approach and to what Ken Friedman termed "musicality." While much is made of the do it yourself approach to art, it is vital to recognize that this idea emerges in music, and such important Fluxus artists as Paik, Higgins, or Corner began as composers, bringing to art the idea that each person can create the work by "doing it." This is what Friedman meant by musicality, extending the idea more radically to conclude that anyone can create work of any kind from a score, acknowledging the composer as the originator of the work while realizing the work freely and even interpreting it in far different ways from those the original composer might have done. Event scores, such as George Brecht's "Drip Music", are essentially performance art scripts that are usually only a few lines long and consist of descriptions of actions to be performed rather than dialogue. Fluxus artists differentiate

Fluxus event scores from "happenings". Whereas happenings were sometimes complicated, lengthy performances meant to blur the lines between performer and audience, performance and reality, Fluxus performances were usually brief and simple. The Event performances sought to elevate the banal, to be mindful of the mundane, and to frustrate the high culture of academic and market-driven music and art. Other creative forms that have been adopted by Fluxus practitioners include collage, sound art, music, video, and poetryespecially visual poetry and concrete poetry. Among its early associates were Joseph Beuys, Dick Higgins, Nam June Paik, Wolf Vostell, La Monte Young, Joseph Byrd and Yoko Ono who explored media ranging from performance art to poetry to experimental music to film. They took the stance of opposition to the ideas of tradition and professionalism in the arts of their time, the Fluxus group shifted the emphasis from what an artist makes to the artist's personality, actions, and opinions. Throughout the 1960s and 1970s (their most active period) they staged "action" events, engaged in politics and public speaking, and produced sculptural works featuring unconventional materials. Their radically untraditional works included, for example, the video art of Nam June Paik and the performance art of Joseph Beuys. The often playful style of Fluxus artists led to their being considered by some little more than a group of pranksters in their early years. Fluxus has also been compared to Dada and aspects of Pop Art and is seen as the starting point of mail art and no wave artists. Artists from succeeding generations such as Mark Bloch do not try to characterize themselves as Fluxus but create spinoffs such as Fluxpan or Jung Fluxus as a way of continuing some of the Fluxus ideas in a 21st century, post-mail art context.

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Fluxus since 1978

After the death of George Maciunas in 1978 a rift opened in the movement between a few collectors and curators who placed Fluxus in a specific time frame (1962 to 1978), and the artists themselves, most of whom continued to see Fluxus as a living entity held together by its core values and world view. Different theorists and historians adopted each of these views. Fluxus is therefore referred to variously in the past or the present tense depending on which view is taken. The question is now significantly more complex due to the fact that many of the original artists who were still living when the controversy arose are now dead and several others are no longer as active and prolific as they once were. Scholars who study Fluxus have argued that the unique control that curator Jon Hendricks holds over a major historical Fluxus collection (the Gilbert and Lila Silverman collection) has enabled him to influence, through the numerous books and catalogues subsidized by the collection, the view that Fluxus died with Maciunas. Hendricks argues that Fluxus was a historical movement that occurred at a particular time, asserting that such central Fluxus artists as Dick Higgins and Nam June Paik could no longer label themselves as active Fluxus artists after 1978, and that contemporary artists influenced by Fluxus cannot lay claim to be Fluxus artists. However, the influence of Fluxus continues today in multi-media digital art performances. Other historians and scholars assert that although Maciunas was a key participant, there were many more, including Fluxus co-founder Higgins, who continued to work within Fluxus after the death of Maciunas. There are a number of post-1978 artists who remain associated with Fluxus. Some were contemporaries of Maciunas who became active in Fluxus after 1978. While there is not a large Fluxus artist community in any single urban center, the rise of the Internet in the 1990s has enabled a vibrant Fluxus community to thrive online. Some of the original artists from the 1960s and 1970s remain active in online communities such as the Fluxlist, and other artists, writers, musicians, and performers have joined them in cyberspace. Fluxus-oriented artists continue to meet in cities around the world to collaborate and communicate in "real-time" and physical spaces.

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Artistic philosophies
Fluxus is similar in spirit to the earlier art movement of Dada, emphasizing the concept of anti-art and taking jabs at the seriousness of modern art.[1] Fluxus artists used their minimal performances to highlight their perceived connections between everyday objects and art, similarly to Duchamp in pieces such as Fountain.[1] Fluxus art was often presented in "events", which Fluxus member George Brecht defined as "the smallest unit of a situation".[1] The events consisted of a minimal instruction, opening the events to accidents and other unintended effects.[3] Also contributing to the randomness of events was the integration of audience members into the performances, realizing Duchamp's notion of the viewer completing the art work.[3] The Fluxus artistic philosophy can be expressed as a synthesis of four key factors that define the majority of Fluxus work: 1. Fluxus is an attitude. It is not a movement or a style.[4] 2. Fluxus is intermedia.[5] Fluxus creators like to see what happens when different media intersect. They use found and everyday objects, sounds, images, and texts to create new combinations of objects, sounds, images, and texts. 3. Fluxus works are simple. The art is small, the texts are short, and the performances are brief. 4. Fluxus is fun. Humour has always been an important element in Fluxus.

Fluxus artists
Fluxus artists shared several characteristics including wit and "childlikeness", though they lacked a consistent identity as an artistic community.[6] This vague self-identification allowed the group to integrate a varied group of artists, including a high number of women. The possibility that Fluxus had the most female members of any Western art group up to that point in history is particularly significant considering that Fluxus came on the heels of the white male-dominated abstract expressionism movement.[6] However, despite the designed open-endedness of Fluxus, Maciunas insisted on maintaining unity in the collective. Because of this, Maciunas was accused of expelling certain members for deviating from what he perceived as the goals of Fluxus.[7] Many artists, writers, and composers have been associated with Fluxus over the years, including:
Eric Andersen John Armleder Ay-O Joseph Beuys George Brecht Peter Brtzmann Allen Bukoff Joseph Byrd John Cage John Cale Henning Christiansen Philip Corner Jean Dupuy Robert Filliou Henry Flynt Ken Friedman Al Hansen Geoffrey Hendricks Dick Higgins Ruud Janssen Ray Johnson Joe Jones Franz Kamin Allan Kaprow Bengt af Klintberg Milan Knizak Alison Knowles Takehisa Kosugi Philip Krumm Shigeko Kubota George Landow Vytautas Landsbergis Jackson Mac Low George Maciunas Richard Maxfield Jonas Mekas Gustav Metzger Charlotte Moorman Yoko Ono Robin Page Nam June Paik Terry Riley Dieter Roth Takako Saito Carolee Schneemann Litsa Spathi Daniel Spoerri James Tenney Yasunao Tone Cecil Touchon Ben Vautier Wolf Vostell Yoshi Wada Robert Watts Emmett Williams La Monte Young

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Scholars, critics, and curators associated with Fluxus

Simon Anderson Mark Bloch Ina Blom Anne Carson Anna Dezeuze Emily Harvey Jon Hendricks Hannah Higgins Judith Hoffberg Jill Johnston Jonas Mekas Julia Robinson Craig Saper Owen Smith Kristine Stiles Knud Pedersen

Major collections and archives

Alternative Traditions in Contemporary Art, University Library and University Art Museum, University of Iowa, Iowa City, Iowa, USA Archiv Sohm, Staatsgalerie Stuttgart, Stuttgart, Germany Archivio Conz, Verona, Italy Artpool, Budapest, Hungary Emily Harvey Foundation, New York, New York, and Venice, Italy David Mayor/Fluxshoe/Beau Geste Press papers, Tate Gallery Archive, Tate Britain, London, England [8] Fluxus Collection, Ken Friedman papers, Tate Gallery Archive, Tate Britain, London, England Fluxus Collection, Walker Art Center, Minneapolis, Minnesota, USA Franklin Furnace Archive, The Museum of Modern Art, New York, USA George Maciunas Memorial Collection, The Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, USA Gilbert and Lila Silverman, Fluxus Foundation, Detroit, Michigan, and New York, New York, USA Jean Brown papers, Getty Research Institute, Los Angeles, California, USA[9] Sammlung Maria und Walter Schnepel, Bremen, Germany TVF The Endless Story of FLUXUS [10], Gent, Belgium Jonas Mekas Visual Arts Center, Vilnius, Lithuania The Israel Museum, Jerusalem, Gift from the Gilbert and Lila Silverman Collection, Detroit, to American Friends of the Israel Museum

Selected bibliography
Block, Ren, ed. 1962 Wiesbaden Fluxus 1982. Wiesbaden: Harlekin Art, Museum Wiesbaden, and Nassauischer Kunstverein, 1982. Fluxus und Freunde: Sammlung Maria und Walter Schnepel, Katalog zur Ausstellung Neues Museum Weserburg Bremen; Fondazione Morra, Napoli; Kunst Museum Bonn 2002. Friedman, Ken, ed. The Fluxus Reader. Chicester, West Sussex and New York: Academy Editions, 1998. Gray, John. Action Art. A Bibliography of Artists Performance from Futurism to Fluxus and Beyond. Westport, Connecticut: Greenwood Press, 1993. Hansen, Al, and Hansen, Beck. Playing with Matches. RAM USA, 1998 Held, John Jr. Mail Art: an Annotated Bibliography. Metuchen, New Jersey and London: The Scarecrow Press, Inc., 1991. Hendricks, Geoffrey, ed. Critical Mass, Happenings, Fluxus, Performance, Intermedia and Rutgers University 19581972. Mason Gross Art Galleries, Rutgers, and Mead Art Gallery, Amherst, 2003.

Fluxus Hendricks, Jon. Fluxus Codex. New York: Harry N. Abrams, Inc. 1989. Jon Hendricks, ed. Fluxus, etc.: The Gilbert and Lila Silverman Collection. Bloomfield Hills, Michigan: Cranbrook Museum of Art, 1982. Higgins, Hannah. Fluxus Experience. Berkeley: University of California Press, 2002. Kellein, Thomas. Fluxus. London and New York: Thames and Hudson, 1995. Milman, Estera, ed. Fluxus: A Conceptual Country, Visible Language [Special Issue], Vol. 26, Nos. 1/2, Providence: Rhode Island School of Design, 1992. Moren, Lisa. Intermedia. Baltimore, Maryland: University of Maryland, Baltimore County, 2003. Paul, Silke and Herv Wrz, eds. How we met or a microdemystification, AQ 16. Phillpot, Clive, and Jon Hendricks, eds. Fluxus: Selections from the Gilbert and Lila Silverman Collection. New York: Museum of Modern Art, 1988. Saper, Craig J. Networked Art. Minneapolis: University of Minnesota Press, 2001. Schmidt-Burkhardt, Astrit. Maciunas Learning Machine from Art History to a Chronology of Fluxus. Detroit, Michigan: Gilbert and Lila Silverman Fluxus Collection, 2005. Smith, Owen. Fluxus: The History of an Attitude. San Diego State University Press, San Diego, California, 1998. Williams, Emmett and Ann Noel, eds. Mr. Fluxus: A Collective Portrait of George Maciunas. London: Thames and Hudson, 1997.

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See also
Anti-art Gutai group Art intervention Happening Pop art Neo-Dada Performance art Noise music

References
Higgins, Dick. 1966. "Intermedia." Something Else Newsletter. Vol. 1, No. 1. Kellein, Thomas, and Jon Hendricks (1995). Fluxus. London: Thames & Hudson. O'Dell, Kathy. 1997. "Fluxus Feminus." The Drama Review. Vol. 41, No. 1, pp. 43-60. Oren, Michel. 1993. "Anti-Art as the End of Cultural History." Performing Arts Journal. Vol. 15, No. 2, pp. 1-30. Robinson, Julia. 2005. George Brecht Events: A Heterospective. Cologne: Museum Ludwig and Bucchandlung Walther Koenig. Robinson, Julia. 2008. From Abstraction to Model: In the Event of George Brecht and the Conceptual Turn in the Art of the 1960s. Unpublished doctoral dissertation. Princeton: Princeton University. Rush, Michael. 2005. New Media in Art. London: Thames & Hudson. Smith, Owen. 1998. Fluxus: The History of an Attitude. San Diego: San Diego State University Press.

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External links
Links at Ubuweb: Samples of Fluxus Audio [11] on the Tellus Audio Cassette Magazine "An Anthology of Chance Operations" (1963) [32] FluxFilms (19621970) in MPEG format [12] Fluxus Performance Workbook [13] Subjugated Knowledges exhibition catalogue [14] Fluxus Debris! Art/Not Art [15] Fluxus.org [16] Fluxus Blog [17] Fluxus Museum in Potsdam, Germany [18] Fluxus Heidelberg Center [19] The Copenhagen Fluxus Archive [20] The Fluxnexus [21] Archivio Bonotto, Fluxus - Zaj. Poesia Visuale, Concreta e Sonora [22] Thomas Dreher: "Aprs John Cage": Zeit in der Kunst der sechziger Jahre - von Fluxus-Events zu interaktiven Multi-Monitor-Installationen [23] (PDF; 3,37 MB) German article on Fluxus.

Thomas Dreher: John Cage und Fluxus [24] (PDF; 1,92 MB) Folder on key aspects of the works of Fluxus artists (in German). Dick Higgins collection at the University of Maryland, Baltimore County [25] [26] mp3 of radio show on the Fluxus movement FluxRadio [27] an online radio programme on the Fluxus movement at Rdio Web MACBA

References
[1] [2] [3] [4] [5] [6] [7] [8] Rush 2005, p. 24. Kellein, Hendriks, and Hendricks 1995. Rush 2005, p. 25 Smith 1998,. Higgins 1966, O'Dell, 1997, p. 43 Oren 1993, p. 8. http:/ / archive. tate. org. uk/ DServe/ dserve. exe?dsqServer=tb-calm& dsqIni=Dserve. ini& dsqApp=Archive& dsqCmd=Show. tcl& dsqDb=Catalog& dsqPos=8& dsqSearch=(UserWrapped5='Mayor') [9] Getty Research Institute. Selected Special Collections Finding Aids. Jean Brown papers, 1916-1995, bulk 1958-1985. (http:/ / archives. getty. edu:8082/ cgi/ f/ findaid/ findaid-idx?cc=utf8a;c=utf8a;view=reslist;subview=standard;didno=US::CMalG::890164). Retrieved August 28, 2008. [10] http:/ / www. artvideo. tv [11] http:/ / www. ubu. com/ sound/ tellus_24. html [12] http:/ / www. ubu. com/ film/ fluxfilm. html [13] http:/ / www. thing. net/ ~grist/ ld/ fluxus. htm [14] http:/ / sdrc. lib. uiowa. edu/ atca/ subjugated/ cover. htm [15] http:/ / www. artnotart. com/ fluxus/ [16] http:/ / www. fluxus. org/ [17] http:/ / www. digitalsalon. com/ weblog/ [18] http:/ / www. fluxus-plus. de/ [19] http:/ / www. fluxusheidelberg. org [20] http:/ / www. fluxus-archive. dk [21] http:/ / www. fluxnexus. com/ [22] http:/ / www. archiviobonotto. org/ [23] http:/ / dreher. netzliteratur. net/ 2_Cage. pdf [24] http:/ / dreher. netzliteratur. net/ 2_FluxusFolder. pdf [25] http:/ / aok2. lib. umbc. edu/ specoll/ Higgins/ index. php

Fluxus
[26] http:/ / rwm. macba. cat/ uploads/ fluxradio/ fluxradio. mp3 [27] http:/ / rwm. macba. cat/ en/ specials?id_capsula=614

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Happening
A happening is a performance, event or situation meant to be considered as an art, usually as performance art. Happenings take place anywhere (from basements to studio lofts and even street alley ways), are often multi-disciplinary, with a nonlinear narrative and the active participation of the audience. Key elements of happenings are planned, but artists sometimes retain room for improvisation. This new media art aspect to happenings eliminates the boundary between the artwork and its viewer. Henceforth, the interactions between the audience and the artwork makes the audience, in a sense, part of the art. In the later sixties, perhaps due to the depiction in films of hippie culture, the term was used much less specifically to mean any gathering of interest, from a pool hall meetup or a jamming of a few young people to a beer blast or fancy formal party.

History
Origins
Allan Kaprow first coined the term happening in the Spring of 1957 at an art picnic at George Segal's farm to describe the art pieces that were going on. The first appearance in print was in Kaprow's famous "Legacy of Jackson Pollock" essay that was published in 1958 but primarily written in 1956. Happening also appeared in print in one issue of the Rutgers University undergraduate literary magazine, Anthologist.[1] The form was imitated and the term was adopted by artists across the U.S., Germany, and Japan. Jack Kerouac referred to Kaprow as "The Happenings man," and an ad showing a woman floating in outer space declared, "I dreamt I was in a happening in my Maidenform brassiere."

Survival Research Laboratories Performance in L.A. 2006

"Happenings" are very difficult to describe, in part because each one is unique and completely different from one another. One definition comes from Wardrip-Fruin and Montfort in The New Media Reader, "The term "Happening" has been used to describe many performances and events, organized by Allan Kaprow and others during the 1950s and 1960s, including a number of theatrical productions that were traditionally scripted and invited only limited audience interaction."[2] A "Happening" of the same performance will have a different outcomes because each performance depends on the action of the audience. In New York especially, "Happenings" become quite popular even though many have not seen nor experienced it. "Happenings" are a form of participatory new media art, emphasizing an interaction between the performer and the audience. Breaking the fourth wall between "performer" and "spectator", it replaces criticism with support. While it includes everyone present in the making of the art, the form of the art depends on the engagement of the audience, for they are a key factor in where the performers' spontaneity leads. There are no set rules, only vague guidelines that the performers follow based on surrounding props. Unlike other forms of art, "Happenings" are ever-changing. Because only chance determines the path the performance will follow, there is no room for failure. As Kaprow writes in his essay, '"Happenings" in the New York Scene', "Visitors to a Happening are now and then not sure what has taken place, when it has ended, even when things have gone 'wrong'. For when something goes 'wrong', something far more 'right,' more revelatory, has many times emerged"(New Media Reader, pg. 86). The art thrives

Happening on an artist's whim, with the comfort of giving their "mistakes" the benefit of the doubt. The art defines itself by the fact that it is a unique, one-time experience that depends on audience response. It cannot be bought or brought home, which entitles every "Happening" artist to a sense of privacy. As Kaprow explains in the aforementioned essay, since the performances are always different, each one of these artists cannot lose their creative drive to a mainstream force. Kaprows piece 18 Happenings in 6 Parts (1959) is commonly cited as the first happening, although that distinction is sometimes given to a 1952 performance of Theater Piece No. 1 at Black Mountain College by John Cage, one of Kaprow's teachers in the mid-1950s. Cage stood reading from a ladder, Charles Olson read from another ladder, Robert Rauschenberg showed some of his paintings and played scratched phonograph records, David Tudor performed on a prepared piano and Merce Cunningham danced.[3] All these things took place at the same time, among the audience rather than on a stage. Happenings flourished in New York City in the late 1950s and early 1960s. Key contributors to the form included Carolee Schneemann, Red Grooms, Robert Whitman, Jim Dine Car Crash, [4] Claes Oldenburg, Robert Delford Brown, Lucas Samaras, and Robert Rauschenberg. Some of their work is documented in Michael Kirby's book Happenings (1966). Interestingly, Kaprow claimed that "some of us will become famous, and we will have proven once again that the only success occurred when there was a lack of it." (New Media Reader, pg. 87)

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Difference between Plays

Happenings emphasize the organic connection between art and its environment. Kaprow supports that "happenings invite us to cast aside for a moment these proper manners and partake wholly in the real nature of the art and life. It is a rough and sudden act, where one often feels "dirty", and dirt, we might begin to realize, is also organic and fertile, and everything including the visitors can grow a little into such circumstances." Secondly, happenings have no plot or philosophy, but rather is materialized in an improvisatory fashion. There is no direction thus the outcome is unpredictable. "It is generated in action by a headful of ideas...and it frequently has words but they may or may not make literal sense. If they do, their meaning is not representational of what the whole element conveys. Hence they carry a brief, detached quality. If they do not make sense, then they are acknowledgement of the sound of the word rather than the meaning conveyed by it." Last, due to the convention's nature, there is no such term as "failure" which can be applied. "For when something goes "wrong", something far more "right", more revelatory may emerge. This sort of sudden near-miracle presently is made more likely by chance procedures." As a conclusion, a happening is fresh while it lasts and cannot be reproduced (Wardrip-Fruin, 86). The lack of plot as well as the expected audience participation can be likened to Augusto Boal's Theater of the Oppressed, which also claims that "spectator is a bad word". Boal expected audience members to participate in the theater of the oppressed by becoming the actors. His goal was to allow the downtrodden to act out the forces oppressing them in order to mobilize the people into political action. Both Kaprow and Boal are reinventing theater to try and make plays more interactive and to abolish the traditional narrative form to make theater something more free-form and organic.[5]

Contribution Toward Digital Media

Allan Kaprow's and other artists of the 1950s and 1960s that performed these "Happenings" helped put "new media technology developments into context." It was highly influential in true "intermedia" work and the interactivity in art. The "Happenings" allowed other artists to create performances that would attract attention to the issue they wanted to portray. Digital media examples of "Happenings" could be as simple as artists creating a webpage about their issues or going on to blogs, forumns and other networks that they could send mass art and information through.

Happening

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Around the world

In 1959 the French artist Yves Klein first performed Zone de Sensibilit Picturale Immatrielle. The work involved the sale of documentation of ownership of empty space (the Immaterial Zone), taking the form of a cheque, in exchange for gold; if the buyer wished, the piece could then be completed in an elaborate ritual in which the buyer would burn the cheque, and Klein would throw half of the gold into the Seine [6] . The ritual would be performed in the presence of an art critic or distinguished dealer, an art museum director and at least two witnesses [6] . In 1960, Jean-Jacques Lebel oversaw and partook in the first European Happening L'enterrement de la Chose in Venice. For his performance there - called Happening Funeral Ceremony of the Anti-Process - Lebel invited the audience to attend a ceremony in formal dress. In a decorated room within a grand residence, a draped 'cadaver' rested on a plinth which was then ritually stabbed by an 'executioner' while a 'service' was read consisting of extracts from the French dcadent writer Joris-Karl Huysmans and le Marquis de Sade. Then pall-bearers carried the coffin out into a gondola and the 'body' - which was in fact a mechanical sculpture by Jean Tinguely - was ceremonially slid into the canal.[7] Poet and painter Adrian Henri claimed to have organized the first happenings in England in Liverpool in 1962,[8] taking place during the Merseyside Arts Festival.[9] The most important event in London was the Albert Hall International Poetry Incarnation on June 11, 1965, where an audience of 7,000 people witnessed and participated in performances by some of the leading avant-garde young British and American poets of the day (see British Poetry Revival and Poetry of the United States). One of the participants, Jeff Nuttall, went on to organize a number of further happenings, often working with his friend Bob Cobbing, sound poet and performance poet. In Tokyo in 1964, Yoko Ono created a happening by performing her "Cut Piece" at the Sogetsu Art Center. She walked onto the stage draped in fabric, presented the audience with a pair of scissors, and instructed the audience to cut the fabric away gradually until she was naked.[10] In Belgium, the first happenings were organized around 19651968 in Antwerp, Brussels and Ostend by artists Hugo Heyrman and Panamarenko. In the Netherlands, Provo organized happenings around the little statue "Het Lieverdje" on the Spui, a square in the centre of Amsterdam, from 1966 till 1968. Police often raided these events. In Germany, HA Schult (b. 1939), together with his muse, Elke Koska, organizes happenings since the late 1960s, thereby primarily working with garbage. In Australia, the Yellow House Artist Collective in Sydney housed 24-hour happenings throughout the early 1970s. Behind the Iron Curtain, in Poland, artist and theater director Tadeusz Kantor staged the first happenings starting in 1965. Also, in the second half of 1980s, a student-based happening movement Orange Trash people by HA Schult Alternative founded by Major Waldemar Fydrych became known for its much attended happenings (over 10 thousand participants at one time) aimed against the military regime led by General Jaruzelski and the fear blocking the Polish society ever since the Martial Law had been imposed in December 1981. The non-profit, artist-run organization, iKatun[11] , has reflected the use of "Happenings" influence while incorporating the medium of internet. They aim is one that "fosters public engagement in the politics of information." Their project entitled "The International Database of Corporate Commands" presents a scrutinizing look at the super-saturating advertisements slogans, and "commands" of companies. "The Institute for Infinitely Small Things uses these commands to conduct research performances- performances in which we attempt to enact,

Happening as literally as possible, what the command tells us to do and where it tells us to do it. For example, a user may look at a long list of slogans on the website database section, and may submit, in text, his or her take on the most literal way to act out the slogan/ command. The iKatun team will then act out the slogan in a research-performance related way. This means of performance art draws on the collaboration of the web world and tangible reality to conduct a new, modern "Happening."[12]

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Modern happenings
Flashmob Improv Everywhere Performance Art Zombie Walk Subway party International Pillow Fight Day Silent Disco
Flash Mob Bang

Philosophy

Kaprow explains that happenings are not a new style, but a moral act, a human stand of great urgency, whose professional status as art is less critical than their certainty as an ultimate existential commitment. He argues that once artists have been recognized and paid, they also surrender to the confinement, rather the tastes of the patrons (even if that may not be the intention on both ends). "The whole situation is corrosive, neither patrons nor artists comprehend their role...and out of this hidden discomfort comes a stillborn art, tight or merely repetitive and at worst, chic." Though the we may easily blame those offering the temptation, Kaprow reminds us that it is not the publicist's moral obligation to protect the artist's freedom, and artists themselves hold the ultimate power to reject fame if they do not want it's responsibilities. (Wardrip-Fruin, 87)

Festivals as happenings
Art and music festivals play a large roll in positive and successful happenings. Some of these festivals include Burning Man and Oregon Country Fair.[13] [14] Along with the famous Allan Kaprow Burning Man frowns on the idea of spectators and stresses the importance of everyone being involved to create something amazing and unique. Both parties embody the "audience" and instead of creating something to show the people, the people become involved in helping create something incredible and spontaneous to the moment.[15] Both of these events are happenings that are recreated and special each year and are always new and organic. These events draw crowds of close to 50,000 people each year and reach more people then just the attendees with their messages and ideals.[16] [17]

Important people
One very important person who has greatly influenced the idea and culture of happenings is Allan Kaprow. Kaprow's influences can be seen in all of his various efforts and art pieces that have spread across the world and have reached the hearts and eyes of many.[18] Kaprow has helped shape a new form and unique art installation that you must be a part of in order to truly understand the significances of the piece.

Further reading
Wardrip-Fruin, Noah and Nick Montfort, ed (2003). The New Media Reader. pp.8388. The MIT Press. ISBN 0-262-23227-8. Soke Dinkla, "From Participation to Interaction" (283, 289-290) Referenced in Wardrip-Fruin, Noah and Nick Montfort, ed (2003). The New Media Reader. The MIT Press. ISBN 0-262-23227-8.

Happening Joseph Nechvatal, Immersive Ideals / Critical Distances. LAP Lambert Academic Publishing, 2009 Kaprow, Allan. Allan Kaprow: 18 Happenings in 6 Parts. 2007. Print. Hendricks, Geoffrey. Critical Mass: Happenings, Fluxus, Performance, Intermedia, and Rutgers University, 1958-1972. New Brunswick, N.J.: Mason Gross Art Galleries, Rutgers University, 2003. Print. Kaprow, Allan, and Jean Jacques. Lebel. Assemblage, Environments & Happenings. New York: H.N. Abrams, 1966. Print.

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See also
Performance art Fluxus Situationism Flash mob Robert Delford Brown Fluxus at Rutgers University Bread and Puppet Theater Gutai group Busking

External links
Happenings in Belgium [19] Happenings by Orange Alternative in Poland [20] Allan Kaprow on [[Ubuweb [21]]] Interview with Kaprow [22] Report on a Happening, 1963 [23]

References
[1] Joan M. Marter and Simon Anderson, Off Limits: Rutgers University and the Avant-Garde, 1957-1963, Rutgers University Press, 1999, p10. ISBN 0813526108 [2] Wardrip-Fruin, Noah and Nick Montfort, ed (2003). The New Media Reader. p. 83. The MIT Press. ISBN 0-262-23227-8. [3] Stuart Dale Hobbs, The End of the American Avant Garde, NYU Press, 1997, p109. ISBN 0814735398 [4] Performance Descriptions (http:/ / www. comm. unt. edu/ histofperf/ BeckyWalker/ Becky_Descriptions. htm) Retrieved July 10, 2010 [5] Augusto Boal. "Theater of the Oppressed". The New Media Reader. ed Noah Wardrip-Fruin and Nick Montfort. London: The MIT Press, 2003. 341-352. Print [6] Yves Klein, Stich, Cantz 1995, p156 [7] Joseph Nechvatal, Immersive Ideals / Critical Distances. LAP Lambert Academic Publishing, 2009. p. 323 [8] B. J. Moore-Gilbert, Cultural Revolution?: The Challenge of the Arts in the 1960s, Routledge, 1992, p90. ISBN 0415078245 [9] Gnter Berghaus, Happenings in Europe: Trends, Events and Leading Figures, in Mariellen R. Sandford, Happenings and Other Acts, Routldge, 1995, p368. ISBN 0415099366 [10] Concannon, Kevin (2008). "PAJ A Journal of Performance and Art". Yoko Ono's Cut Piece: From Text to Performance and Back Again. Performing Art's Journal, Inc.. doi:0.1162. Retrieved October 27, 2009. [11] ikatun.com [12] http:/ / www. ikatun. org/ institute/ infinitelysmallthings/ corporatecommands/ about. php [13] http:/ / www. oregoncountryfair. org/ faqs. php [14] http:/ / www. burningman. com/ whatisburningman/ about_burningman/ faq_what_is. html#Tickets [15] http:/ / www. khtt. net/ page/ 13520/ en [16] http:/ / en. wikipedia. org/ wiki/ Burning_Man [17] http:/ / www. jambase. com/ Articles/ 4088/ OREGON-COUNTRY-FAIR-ART-MUSIC-COMMUNITY [18] http:/ / www. dexigner. com/ design_events/ allan-kaprow-art-as-life. html [19] http:/ / www. doctorhugo. org/ happenings. html [20] http:/ / pomaranczowa-alternatywa. republika. pl [21] http:/ / www. ubu. com/ historical/ kaprow/ index. html

Happening
[22] http:/ / www. mailartist. com/ johnheldjr/ InterviewWithAlanKaprow. html [23] http:/ / www. sfu. ca/ ~andrewf/ happening. htm

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Hysterical realism
Hysterical realism, also called recherch postmodernism or maximalism, is a literary genre typified by a strong contrast between elaborately absurd prose, plotting, or characterization and careful detailed investigations of real specific social phenomena.

History
The term was coined by the English critic James Wood in an essay on Zadie Smith's White Teeth, titled "Human, All Too Inhuman: The Smallness of the 'Big' Novel", which appeared in the July 24, 2000 issue of The New Republic and was later reprinted in Wood's 2004 book, The Irresponsible Self: On Laughter and the Novel.[1] Wood uses the term to denote the contemporary conception of the "big, ambitious novel" that pursues "vitality at all costs" and consequently "knows a thousand things but does not know a single human being." He decried the genre as an attempt to "turn fiction into social theory," and an attempt to tell us "how the world works rather than how somebody felt about something." Wood points to Don DeLillo and Thomas Pynchon as the forefathers of the genre, which continues in writers like David Foster Wallace and Salman Rushdie. In response, Zadie Smith described hysterical realism as a "painfully accurate term for the sort of overblown, manic prose to be found in novels like my own White Teeth and a few others he was sweet enough to mention."[2] Smith qualified the term, though, explaining that "any collective term for a supposed literary movement is always too large a net, catching significant dolphins among so much cannable tuna." Wood's line of argument echoes many common criticisms of postmodernist art as a whole. In particular Wood's attacks on DeLillo and Pynchon clearly echo the similar criticisms that Gore Vidal and other critics lodged against them a generation earlier. The "hysterical" prose style is often mated to "realistic", almost journalistic, effects, such as Pynchon's depiction of 18th century land surveys in Mason & Dixon, Don DeLillo's treatment of Lee Harvey Oswald in Libra, or Robert Clark Young's treatment of the arcana of U.S. Navy life in One of the Guys. This extravagant treatment of everyday events can be found in the work of earlier authors, such as Mikhail Bulgakov's The Master and Margarita, Harry Stephen Keeler's meganovels such as The Box from Japan, and Mervyn Peake's Gormenghast novels. Earlier precursors include Tristram Shandy by Laurence Sterne, often cited as the first postmodernist novel,[3] and The Anatomy of Melancholy by Robert Burton. A less "hysterical" version of such a juxtaposition of essay and narrative passages can be found in the work of Milan Kundera.

Authors described as hysterical realists

Nicholson Baker Don DeLillo Dave Eggers Jonathan Safran Foer Jonathan Franzen David Mitchell Thomas Pynchon Salman Rushdie George Saunders

Zadie Smith Laurence Sterne

Hysterical realism David Foster Wallace Tom Wolfe

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See also
Literary theory Magical realism Literary realism Genre studies Postmodernism Neosurrealism Realism (arts)

External links
US novelists must now abandon social and theoretical glitter, says James Wood, The Guardian [4] Salon.com article in response to Wood's criticism. [5] Believer Mag article that discusses Wood's coined term. [6]

References
[1] James Wood, "Human, All Too Inhuman," The New Republic Online (August 30, 2001), online (http:/ / www. powells. com/ review/ 2001_08_30. html) at Powell's Books and archived. (http:/ / www. webcitation. org/ 5cltaLmrW) [2] Smith, Zadie (2001-10-13). "This is how it feels to me" (http:/ / books. guardian. co. uk/ departments/ generalfiction/ story/ 0,6000,568381,00. html). The Guardian. . Retrieved 2007-03-21. and archived. (http:/ / www. webcitation. org/ 5clsv4qWf) [3] Margaret Markwick, Trollope and Women (London: Hambledon Press, 1997), 3. ISBN 185285152X. [4] http:/ / books. guardian. co. uk/ departments/ generalfiction/ story/ 0,6000,563868,00. html [5] http:/ / www. salon. com/ books/ feature/ 2004/ 07/ 15/ peck_wood/ print. html [6] http:/ / www. believermag. com/ issues/ 200303/ ?read=article_julavits

Institutional Critique

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Institutional Critique
Institutional Critique is an art term that describes the systematic inquiry into the workings of art institutions, for instance galleries and museums, and is most associated with the work of artists such as Michael Asher, Marcel Broodthaers, Daniel Buren, Andrea Fraser, Fred Wilson and Hans Haacke. In more technical terms, Institutional Critique is an artistic term meant as a commentary of the various institutions and assumed normalities of art and/or a radical disarticulation of the institution of art (radical is linguistically understood in its relation to radix which means to get to the root of something). For instance, assumptions about the supposed aesthetic autonomy or neutrality of painting and sculpture are often explored as a subject in the field of art, and are then historically and socially mapped out (i.e., ethnographically and or archaeologically) as discursive formations, then (re)framed within the context of the museum itself. As such, it seeks to make visible the historically and socially constructed boundaries between inside and outside, public and private. Institutional critique is often critical of how of the distinctions of taste are not separate from aesthetic judgement, and that taste is an institutionally cultivated sensibility.

Origin
Institutional critique is a practice that emerged out of the developments of Minimalism and its concerns with the phenomenology of the viewer, as well as formalist art criticism and art history (i.e., Clement Greenberg and Michael Fried), conceptual art and its concerns with language, processes, and administrative society, and appropriation art and its concerns with consumption and identity. Institutional critique is often site-specific, and perhaps could be linked to the advent of the "earthwork" by minimalist artists such as Robert Smithson and Walter De Maria. Institutional critique is also often associated with the developments of structuralist and post-structuralist philosophy, critical theory and literary theory.

Artists
Artists associated with institutional critique include Marcel Broodthaers, Daniel Buren, Hans Haacke, Mark Lombardi, Michael Asher, and Mierle Laderman Ukeles, since the 60's, Antonio Muntadas, Fred Wilson, Rene Green, Andrea Fraser among others since the late 80's or more recently Matthieu Laurette, Graham Harwood, Carey Young, all of whom have typically taken a critical eye to the modern art museum and its role as a public and private institution. The Artout project, started in 2006 by Anton Koslov Mayr, critically investigates the relationship between artists and collectors. Haake's exhibition at the Wallraf-Richartz Museum in Cologne was cancelled due to the inclusion by Haacke of the work "Manet '74" that connected the funding of the museum to the cultural politics of the Cold War. In 1993 Haacke shared, with Nam June Paik, the Golden Lion for the German Pavilion at the Venice Biennale. Haacke's installation "Germania" made explicit reference to the Biennale's roots in the politics of fascist Italy.

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Criticisms
One of the criticisms of institutional critique is its complexity. As many have noted, it is a practice that often only advanced artists, theorists, historians, and critics can participate in. Due to its highly sophisticated understanding of modern art and society, as part of a privileged discourse like that of any other specialized form of knowledge, it can often leave layman viewers alienated and/or marginalized. Another criticism is that it can be a misnomer, since it could be argued that institutional critique artists often work within the context of the very same institutions. Most institutional critique art, for instance, is displayed in museums and galleries, despite its critical stance towards them.

Further reading
Meyer, James (1993), What Happened to the Institutional Critique? New York: American Fine Arts, Co. and Paula Cooper Gallery. Reprinted in Peter Weibel, ed., Kontext Kunst (Cologne: Dumont, 1993), 239-256. Buchloh, Benjamin (1999), Conceptual Art 19621969: From the Aesthetics of Administration to the Critique of Institutions," October 55: 105143. Fraser, Andrea (September 2005), "From the Critique of Institutions to an Institution of Critique," Artforum 44, no. 1: 278283. Bryan-Wilson, Julia (2003), A Curriculum of Institutional Critique, in: Jonas Ekeberg, ed., New Institutionalism (Oslo: OCA/verksted), 89109. Welchman, John C. (ed.) (2006), Institutional Critique and After (SoCCAS Symposium Vol. II), JRP|Ringier Alberro, Alexander and Stimson, Blake (eds.) (2009), Institutional Critique: An Anthology of Artists' Writings [1] (Cambridge, MA: MIT Press)

References
[1] http:/ / mitpress. mit. edu/ catalog/ item/ default. asp?ttype=2& tid=11854& mode=toc

Interactive art

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Interactive art
Interactive art is a form of installation-based art that involves the spectator in a way that allows the art to achieve its purpose. Some installations achieve this by letting the observer walk in, on, and around them. Works of art frequently feature computers and sensors to respond to motion, heat, meteorological changes or other types of input their makers programmed them to respond to. Most examples of virtual Internet art and electronic art are highly interactive. Sometimes, visitors are able to navigate through a hypertext environment; some works accept textual or visual input from outside; sometimes an audience can influence the course of a performance or can even participate in it.

The Tunnel under the Atlantic (1995), Maurice Benayoun, Virtual Reality Interactive Installation : a link between Paris and Montral

Interactive art can be distinguished from Generative art in that it constitutes a dialogue between the artwork and the participant; specifically, the participant has agency, or the ability, even in an unintentional manner, to act upon the artwork and is furthermore invited to do so within the context of the piece, i.e. the work affords the interaction. More often, we can consider that the work takes its visitor into account. In an increasing number of cases an installation can be defined as a responsive environment, especially those created by architects and designers. By contrast, Generative Art, which may be interactive, but not responsive per se, tends to be a monologue - the artwork may change or evolve in the presence of the viewer, but the viewer may not be invited to engage in the reaction but merely enjoy it. The aesthetic impact of interactive art is more profound than expected. Supporters of more traditional contemporary art saw, in the use of computers, a way to balance artistic deficiencies, some other consider that the art is not anymore in the achievement of the formal shape of the work but in the design of the rules that determine the evolution of the shape according to the quality of the dialogue. A hybrid emerging discipline drawing on the combined interests of specific artists and architects has been created in the last 1015 years. Disciplinary boundaries have blurred, and significant number of architects and interactive designers have joined electronic artists in the creation of new, custom-designed interfaces and evolutions in techniques for obtaining user input (such as dog vision, alternative sensors, voice analysis, etc.); forms and tools for information display (such as video projection, lasers, robotic and mechatronic actuators, led lighting etc.); modes for human-human and human-machine communication (through the Internet and other telecommunications networks); and to the development of social contexts for interactive systems (such as utilitarian tools, formal experiments, games and entertainment, social critique, and political liberation). Interactive architecture has now been installed on and as part of building facades, in foyers, museums and large scale public spaces, including airports, in a number of global cities. A number of leading museums, for example, the National Gallery, Tate, Victoria & Albert Museum and Science Museum in London (to cite the leading UK museums active in this field) were early adoptors in the field of interactive technologies, investing in educational resources, and more latterly, in the creative use of MP3 players for visitors. In 2004 the Victoria & Albert Museum commissioned curator and author Lucy Bullivant to write Responsive Environments (2006), the first such publication of its kind. Interactive designers are frequently commissioned for museum displays; a number specialize in wearable computing. There are number of globally significant festivals and exhibitions of interactive and media arts. Prix Ars Electronica is a major yearly competition and exhibition that gives awards to outstanding examples of (technology-driven)

Interactive art interactive art. Association of Computing Machinery's Special Interest Group in Graphics (SIGGRAPH), DEAF Dutch Electronic Arts Festival, Transmediale Germany, FILE - Electronic Language International Festival Brazil, and AV Festival England, are among the others. CAiiA, Centre for Advanced Inquiry in the Interactive Arts, first established in 1994 at the University of Wales, Newport, and later in 2003 as the Planetary Collegium, was the first doctoral and post doc research center to be established specifically for research in the interactive art field.

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Interactive art
Interactive art is a genre of art in which the viewers participate in some way by providing an input. Unlike traditional art forms wherein the interaction of the spectator is merely a mental event, interactivity allows for various types of navigation, assembly, and/or contribution to an artwork, which goes far beyond purely psychological activity.[1] Interactive art installations are generally computer-based and frequently rely on sensors, which gauge things such as temperature, motion, proximity, and other meteorological phenomena that the maker has programmed in order to elicit responses based on participant action. In interactive artworks, both the audience and the machine work together in dialogue in order to produce a completely unique artwork for each audience to observe. However, not all observers visualize the same picture. Because it is interactive art, each observer makes their own interpretation of the artwork and it may be completely different than another observer's views.[2] Though some of the earliest examples of interactive art have been dated back to the 1920s, most digital art didnt make its official entry into the world of art until the late 1990s.[3] Since this debut, countless museums and venues have been increasingly accommodating digital and interactive art into their productions. This budding genre of art is continuing to grow and evolve in a somewhat rapid manner through internet social sub-culture in one hand, and large scale urban installations in the other hand. According to the new media artist Maurice Benayoun, the first piece of interactive art should be the work done by Parrhasius during his art contest with Zeuxis described by Pliny, in the fifth century B.C. when Zeuxis tried to unveil the painted curtain. The work takes its meaning from Zeuxis gesture and wouldnt exist without it. Zeuxis, by its gesture, became part of Parrhasius work. This shows that the specificity of interactive art resides often less in the use of computers than in the quality of proposed situations and the Others involvement in the process of sensemaking. Nevertheless computers and real time computing made the task easier and opened the field of virtuality- the potential emergence of unexpected (although possibly pre-written) futures- to contemporary arts.

History
Some of the earliest examples of interactive art were created as early as the 1920s. An example is Marcel Duchamps piece named Rotary Glass Plates. The artwork required the viewer to turn on the machine and stand at a distance of one meter.[4] The present idea of interactive art began to flourish more in the 1960s for partly political reasons. At the time, many people found it inappropriate for artists to carry the only creative power within their works. Those artists who held this view wanted to give the audience their own part of this creative process. Aside from this political view, it was also current wisdom that interaction and engagement had a positive part to play within the creative process.[5] In the 1970s artists began to use new technology such as video and satellites to experiment with live performances and interactions through the direct broadcast of video and audio.[6] Interactive art became a large phenomenon due to the advent of computer based interactivity in the 1990s . Along with this came a new kind of art-experience. Audience and machine were now able to more easily work together in dialogue in order to produce a unique artwork for each audience.[7] In the late 1990s, museums and galleries began increasingly incorporating the art form in their shows, some even dedicating entire exhibitions to it.[8] This continues today and is only expanding due to increased communications through digital media.

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Features
Interactive art involves the viewers in some way in order to determine the outcome. Interactivity as a medium produces meaning.[9] There are many different forms of interactive art. Such forms range from interactive dance, music, and even drama.[10] New technology, primarily computer systems and computer technology, have enabled a new class of interactive art.[11] Examples of such interactive art are installation art and interactive architecture.

Tools
Arduino physical computing/electronics toolkit for interactive objects and installations I-CubeX sensors, actuators and interfaces for interactive media Max/MSP programming language for interactive media Processing (programming language) used for many interactive art projects Pure Data - open source programming language for interactive computer music and multimedia works

Venues
National Gallery Tate Victoria & Albert Museum Science Museum in London Prix Ars Electronica FILE - Electronic Language International Festival (Brazil) AV Festival England

See also
List of interactive artists Art game Burning Man Coachella Valley Music and Arts Festival Computer-generated art Contextual Theatre Electronic art Installation art Interactive film Internet art Kinetic sculpture New media art Performance art Video game art

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Further reading
Frank Popper, ArtAction and Participation, New York University Press, 1975 Ascott, R.2003. Telematic Embrace: visionary theories of art, technology and consciousness. (Edward A. Shanken, ed.) Berkeley: University of California Press. Roy Ascott. 2002. Technoetic Arts (Editor and Korean translation: YI, Won-Kon), (Media & Art Series no. 6, Institute of Media Art, Yonsei University). Yonsei: Yonsei University Press Ascott, R. 1998. Art & Telematics: toward the Construction of New Aesthetics. (Japanese trans. E. Fujihara). A. Takada & Y. Yamashita eds. Tokyo: NTT Publishing Co.,Ltd. Barreto, Ricardo and Perissinotto, Paula the_culture_of_immanence [5], in Internet Art. Ricardo Barreto e Paula Perissinotto (orgs.). So Paulo, IMESP, 2002. ISBN 85-7060-038-0. Bullivant, Lucy, Responsive Environments: architecture, art and design: V&A Contemporary, 2006. London:Victoria and Albert Museum. ISBN 1-85177-481-5 Bullivant, Lucy, 4dsocial: Interactive Design Environments. London: AD/John Wiley & Sons, 2007. ISBN 978-0470 319116 Bullivant, Lucy, 4dspace: Interactive Architecture. London: AD/John Wiley & Sons, 2005. ISBN 0-470-09092-8 Fleischmann, Monika and Reinhard, Ulrike (eds.). Digital Transformations - Media Art as at the Interface between Art, Science, Economy and Society [14] online at netzspannung.org [15], 2004, ISBN 3-934013-38-4 Ernest Edmonds, Linda Candy, Mark Fell, Roger Knott, Sandra Pauletto, Alastair Weakley. 2003. Developing Interactive Art Using Visual Programming. In: Constantine Stephanidis & Julie Jacko (Editors), Human-Computer Interaction: Theory and Practice, (Part II). Volume 2. (Proceedings of the 10th International Conference on Human-Computer Interaction, Crete, June 2327), Published by Lawrence Erlbaum Associates, London, June 2003, pp.11831187, ISBN 0-805-849319 Ernest Edmonds, Greg Turner, Linda Candy. 2004. Approaches to interactive art systems, Proceedings of the 2nd international conference on Computer graphics and interactive techniques in Australasia and South East Asia [12], June 1518, 2004, Singapore Fleischmann, Monika; Strauss, Wolfgang (eds.) (2001). Proceedings [13] of CAST01//Living in Mixed Realities [16] Intl. Conf. On Communication of Art, Science and Technology, Fraunhofer IMK 2001, 401. ISSN 16181379 (Print), ISSN 16181387 (Internet). Oliver Grau Virtual Art, from Illusion to Immersion, MIT Press 2004, pp.237240, ISBN 0262572230 Christiane Paul (2003). Digital Art' (World of Art series). London: Thames & Hudson. ISBN 0-500-20367-9 Peter Weibel and Shaw, Jeffrey, Future Cinema, MIT Press 2003, pp.472,572-581, ISBN 0262692864 Wilson, Steve, Information Arts: Intersections of Art, Science, and Technology ISBN 0-262-23209-X Edward A. Shanken, Art and Electronic Media. London: Phaidon, 2009. ISBN 978-0-7148-4782-5

External links
File electronic language international festival, Sao Paulo, Brazil [10] Ars Electronica Festival, Linz, Austria [14] V2 organisation and DEAF festival Rotterdam, The Netherlands [15] InterCommunication Center Tokyo, Japan [16] CITU New Media Art Research Center, Paris, France [17] STRP art & technology festival, Eindhoven, The Netherlands [18]

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References
[1] Paul, C: Digital Art, page 67. Thames & Hudson Inc, 2003. [2] Muller, L, Edmonds, E, Connel, M: "Living laboratories for interactive art", CoDesign, 2(4):3 [3] Paul, C: Digital Art, page 67. Thames & Hudson Inc, 2003. [4] Paul, C: Digital Art, page 11. Thames & Hudson Inc, 2003. [5] Edmonds, E, Muller, L, Connel, M: "On creative engagement", Visual Communication, 5(307):3 [6] Paul, C: Digital Art, page 18. Thames & Hudson Inc, 2003. [7] Muller, L, Edmonds, E, Connel, M: "Living laboratories for interactive art", CoDesign, 2(4):3 [8] Paul, C: Digital Art, page 23. Thames & Hudson Inc, 2003. [9] Muller, L, Edmonds, E, Connel, M: "Living laboratories for interactive art", CoDesign, 2(4):3 [10] Dannenberg, R, Bates, J: "A model for interactive art", Proceedings of the Fifth Biennial Symposium for Arts and Technology, 51(78):2 [11] Dannenberg, R, Bates, J: "A model for interactive art", Proceedings of the Fifth Biennial Symposium for Arts and Technology, 51(78):1 [12] http:/ / portal. acm. org/ citation. cfm?id=988854& dl=GUIDE& coll=GUIDE& CFID=84286144& CFTOKEN=17758450 [13] http:/ / netzspannung. org/ version1/ cast01/ proceedings/ index. html [14] http:/ / www. aec. at [15] http:/ / www. V2. nl [16] http:/ / www. ntticc. or. jp [17] http:/ / www. citu. info [18] http:/ / www. strp. nl

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Invisible 5
invisible5 Artist Amy Balkin Kim Stringfellow Year Type 2006 Audio Art

invisible-5 is an art project created by Amy Balkin and Kim Stringfellow[1] which uses the methods employed by a self-guided art gallery tour to provide a self-guided tour of the portion of Interstate 5 between San Francisco and Los Angeles. [2] It was initially distributed on two compact discs, but is now available for download. It has been featured in Metropolis Magazine and the Southern Exposure gallery.

History
Balkin and Stringfellow launched invisible-5 in 2006.[3] On October 13th of that year, NPR's Bay Area affiliate KQED featured invisible-5 on its show The California Report.[4] The next year, invisible-5 was featured as part of Los Angeles Contemporary Exhibitions' Just Space(s).

Goal
The goal of invisible5 is make people who "create a romantic California" by "mentally blotting out" the parts which don't conform to that ideal take the time to see the places they usually ignore.[5] Specifically, it is supposed to call attention to the pollution found along the highway and tell the stories of communities along the interstate such as Kettleman City. It focuses primarily on their fight for what the artists refer to as 'environmental justice.'

References
[1] [2] [3] [4] Southern Exposure (http:/ / soex. org/ exhibit/ 12. html) invisible5 (http:/ / www. invisible5. org/ / ) Stringfellow's page on invisible-5 (http:/ / www. kimstringfellow. com/ ?page_id=34) "Invisible 5": An Audio Tour of I-5' The California Report October 13th, 2006 (http:/ / www. californiareport. org/ archive/ R610131630/ b/ ') [5] 'Not Just Another Roadside Attraction' Metropolis Magazine June 19, 2006 (http:/ / www. metropolismag. com/ story/ 20060619/ not-just-another-roadside-attraction)

List of contemporary art museums

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List of contemporary art museums

Contemporary art museums around the world specialize in collecting and exhibiting contemporary art. The following is an alphabetical listing of major contemporary art museums, divided by country. A number of such museums are called the Museum of Contemporary Art. For smaller galleries, such as private and artist-run galleries, see International Contemporary Art Scenes.

Australia
Museum of Contemporary Art, Sydney Australian Centre for Contemporary Art

Brazil
Museum of Contemporary Art, University of So Paulo Niteri Contemporary Art Museum

Canada
Art Gallery of Ontario Contemporary Art Gallery (Vancouver) Museum of Contemporary Canadian Art (MOCCA) Vancouver Art Gallery

Croatia
Museum of Contemporary Art, Zagreb

France
Centre Georges Pompidou, Paris Centre Pompidou-Metz, Metz

Germany
NBK Berlin Deichtorhallen, Hamburg

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Greece
State Museum of Contemporary Arts Deste foundation

Italy
MAXXI - National Museum of the 21st Century Arts, Rome

Japan
Museum of Contemporary Art, Tokyo

Liechtenstein
Kunstmuseum Liechtenstein, Vaduz

The Middle East

Tehran Museum of Contemporary Art

Poland
Museum of Art, d, d, Poland Museum of Modern Art, Warsaw, Warsaw, Poland

Portugal
Serralves Foundation Museu Berardo Museu do Chiado

Romania
National Museum of Contemporary Art, Bucharest

Serbia
Museum of Contemporary Art, Belgrade

Spain
Museo Nacional Centro de Arte Reina Sofa, Madrid Guggenheim Museum Bilbao, Bilbao

Singapore
8Q SAM

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Switzerland
Kunstmuseum Basel

Turkey
Proje 4L Elgiz Museum of Contemporary Art

United Kingdom
Institute of Contemporary Arts Saatchi Gallery Tate (formerly known as the Tate Gallery) The Baltic (Also known as the Baltic Flour Mill)

United States
Tamarind Art Gallery The Aldrich Contemporary Art Museum Artspace Contemporary Art Center of Virginia Contemporary Art Museum St. Louis Contemporary Arts Center, Cincinnati, Ohio Contemporary Arts Museum Houston Delaware Center for the Contemporary Arts Institute of Contemporary Art, Boston Boston, Massachusetts Kemper Museum of Contemporary Art, Missouri Massachusetts Museum of Contemporary Art Museum of Contemporary Art, Chicago Museum of Contemporary Art, Cleveland Museum of Contemporary Art, Denver Museum of Contemporary Art Detroit Museum of Contemporary Art, Los Angeles Museum of Contemporary Art, North Miami Museum of Contemporary Art, San Diego New Museum of Contemporary Art, New York City P.S. 1 Contemporary Art Center Rochester Art Center The Renaissance Society, Chicago San Francisco Museum of Modern Art Site Santa Fe, New Mexico Walker Art Center, Minneapolis Whitney Museum of American Art, New York

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Lord Jim Lodge

The Lord Jim Lodge is an art group (or self-proclaimed "secret society"), founded by Austrian contemporary artist Jrg Schlick, together with Martin Kippenberger, Albert Oehlen, and Wolfgang Bauer. An anecdotal story regarding the Lodge's formation involves a cardboard box that was passed around Berlin's Paris Bar one night. Anyone who deposited a small fee into the box was made a lifetime member.

Logo
The logo consists of a sun (Sonne), a pair of breasts (Busen), and a hammer. It was incorporated into some of the works of various member artists, including Schlick and Kippenberger. The group's declared goal was to make the logo "more well known than that of Coca-Cola". The logo featured prominently in Kippenberger's self portraits and the METRO-Net project, a series of subway entrances for a fictitious worldwide transport system.

Slogan
The official slogan of the group is "Keiner Hilft Keinem" ("Nobody Helps Nobody"), sometimes in the form of the acronym 'K.H.K.' (or 'N.H.N.').

Magazine
The official magazine of the Lord Jim Lodge, Sonne Busen Hammer, was first published in May 1991. There were 14 issues published until 1996 (#1 - #15; issue #8 was never released). The #2 issue is entitled Die Jubilumsnummer ("Jubilee Issue").

Takeover
In December 2005, Jrg Schlick sold the trademark rights for the name and logo to the Austrian group monochrom. The group investigated possible infringements of the trademark and is interested in "starting franchises".[1] monochrom released a new issue of Sonne Busen Hammer in April 2006.

Lord Jim Lodge, monochrom and Coca-Cola

monochrom took part in a contest by 'Coca Cola Light' ('Coca Cola Light Art Edition 2006'). Quote monochrom: "This puts us in a position to set in motion long overdue synergy effects between Coca-Cola and the Lord Jim Lodge. The only possibility for realizing the challenge formulated in the lodge logo is to use a habitat in the merchandise world as a vehicle of transmission for guiding the message through that worlds channels of distribution and into public consciousness. [...] Thus we would like to use the prize as a trial run for such a form of cooperation/competition. Coca-Cola and Lord Jim Lodge together at last! The symbolic-economic capital of the Lord Jim Lodge and the economic-symbolic capital of Coca-Cola will be brought together, paving the way for a better future. For a world of radical beauty and exclusive bottles in small editions! In the end we are all individuals at least as long as nobody comes along and proves the contrary." monochrom won the prize [2]. The logo of "Lord Jim Lodge powered by monochrom" was printed to 50.000 Coca Cola Light bottles.

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External links
Lord Jim Lodge official website [3] monochrom website [4] (English)

References
[1] [2] [3] [4] Quote: Austrian Press Agency (APA), March 2006 http:/ / www. monochrom. at/ coke-light-art-bottles/ http:/ / www. lordjimloge. com/ http:/ / www. monochrom. at/ english/

Magic realism
Magic realism is an aesthetic style or genre in literature [1] in which magical elements are blended into a realistic atmosphere in order to access a deeper understanding of reality. These magical elements are explained like normal occurrences that are presented in a straightforward manner which allows the "real" and the "fantastic" to be accepted in the same stream of thought. It has been widely considered a literary and visual art genre; creative fields that exhibit less significant signs of magic realism include film and music. As used today, the term is broadly descriptive rather than critically rigorous: Matthew Strecher has defined magic realism as "what happens when a highly detailed, realistic setting is invaded by something 'too strange to believe'".[2] However, it may be that this critical perspective towards magical realism stems from the Western reader's disassociation with mythology, a root of magical realism more easily understood by non-Western cultures.[3] Westerners' confusion regarding the style of magical realism is due to the "'conception of the real'" created in a magical realist text; rather than explaining reality using natural or physical laws as in typical Western texts, magical realist texts create a reality "'in which the relation between incidents, characters, and setting could not be based upon or justified by their status within the physical world or their normal acceptance by bourgeois mentality.'"[4] Today, there are many varieties of writers whose work is categorized as "magical realist", to such an extent that critics and readers alike are confused as to what the term really means and how wide its borders are.[5]

Etymology
While the term magical realism wasn't introduced until 1955, magic realism was first used in 1925 by the German art critic Franz Roh to refer to a painterly style also known as Neue Sachlichkeit (the New Objectivity)[6] , an alternative championed by fellow German, museum director Gustav Hartlaub.[7] Roh considered magic realism to be related to, but distinctive from, surrealism due to magic realism's focus on the material object and the actual existence of things in the world, as opposed to the more cerebral, psychological and subconscious reality explored by the surrealists.[8] Magic realism was later used to describe the uncanny realism by American painters such as Ivan Albright, Paul Cadmus, George Tooker and other artists during the 1940s and 1950s. However, in contrast with its use in literature, magical realist art does not often include overtly fantastic or magical content, but rather looks at the mundane, the every day, through a hyper-realistic and often mysterious lens;[9] the extent to which magical elements enter in visual art depend on the subcategory, discussed in detail below. The theoretical implications of Roh's magic realism had a great influence on European and Latin American literature, for instance, on Italian Massimo Bontempelli. Argued by some to be the first magic realist creative writer, Bontempelli sought to present the "mysterious and fantastic quality of reality". He claimed that literature could function as a means to create a collective consciousness by "opening new mythical and magical perspectives on reality", and used his writings as a means to inspire an Italian nation governed by Fascism.[10] Venezuelan Arturo Uslar-Pietri was closely associated with Roh's form of magic realism and knew Bontempelli in Paris. Rather than

Magic realism following Cuban writer Alejo Carpentier's developing versions of "the (Latin) American marvelous real", Uslar-Pietri's writings emphasize "the mystery of human living amongst the reality of life". He considered magic realism to "be a continuation of the ' vanguardia ' [or Avant-garde] modernist experimental writings of Latin America."[11] Literary magic realism is commonly understood to have originated from Latin America. Writers would often travel back and forth between their home country and European cultural hubs, such as Paris or Berlin, and were in turn influenced by the art movement of that time. [12] [13] Carpentier and Uslar-Pietri, for example, were strongly influenced by European artistic movements, such as Surrealism, during their stays in Paris in the 1920s and 1930s. [14] Nevertheless, one major event is considered irrefutably as the link between painterly and literary magic realisms: the translation and publication of Roh's book into Spanish by Spain's Revista de Occidente in 1927, headed by major literary figure Jos Ortega y Gasset. "Within a year, Magic Realism was being applied to the prose of European authors in the literary circles of Buenos Aires".[15] Particularly, with his first magical realist publication of Historia universal de la infamia in 1935, Jorge Luis Borges inspired and encouraged other Latin American writers in the development of magical realism[16] . Between 1940 and 1950, magical realism in Latin America reached its peak with prominent writers appearing mainly in South America, more specifically in Argentina[17] .

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Literature
Characteristics
The extent to which the characteristics listed below apply to any given magic realist text varies; every text is different and will employ a smattering of those listed here. However, they do serve as a good judge of what one might expect from a magic realist text. Fantastical elements As recently as 2008, magical realism in literature has been defined as "a kind of modern fiction in which fabulous and fantastical events are included in a narrative that otherwise maintains the 'reliable' tone of objective realistic report, designating a tendency of the modern novel to reach beyond the confines of realism and draw upon the energies of fable, folk tale, and myth while maintaining a strong contemporary social relevance. The fantastic attributes given to characters in such novels levitation, flight, telepathy, telekinesis are among the means that magic realism adopts in order to encompass the often phantasmagorical political realities of the 20th century."[18] Plenitude An idea championed by Alejo Carpentier in an essay entitled "The Baroque and the Marvelous Real", the baroque is defined by a lack of emptiness, a departure from structure or rules, and an "extraordinary" plenitude of disorienting detail (citing Mondrian as its polar opposite). From this angle, we can say that Carpentier views the baroque as a layering of elements, which translates easily into the post-colonial or transcultural Latin American atmosphere that Carpentier emphasizes in The Kingdom of this World.[19] "America, a continent of symbiosis, mutations...mestizaje, engenders the baroque",[20] made explicit by elaborate Aztec temples and associative Nahuatl poetry. These mixing ethnicities grow together with the American baroque; the space in between is where the "marvelous real" can be seen. Marvelous: not meaning beautiful and pleasant, but extraordinary, strange, excellent. Such a complex system of layering encompassed in the Latin American "boom" novel, such as One Hundred Years of Solitude - has as its aim, "translating the scope of America".[21]

Magic realism Hybridity It is characteristic of magical realism for plot lines to utilize multiple planes of reality taking place in "inharmonious arenas of such opposites as urban and rural, and Western and indigenous"[22] [23] . For example, as seen in Julio Cortzar's "La noche boca arriba," an individual experiences two realistic situations simultaneously in the same place but during two different time periods, centuries apart[24] . These two realities are connected by his dreamlike state; it is this small bit of magic that allows these multiple planes of reality to be possible that would not exist otherwise [25] . Overall, they serve to establish "a more deep and true reality than conventional realist techniques would illustrate"[26] [27] . Metafiction This trait centers on the reader's role in literature. With its multiple realities and specific reference to the readers world, it explores the impact fiction has on reality, reality on fiction and the readers role in between; as such, it is very well suited for drawing attention to social and/or political criticism. Furthermore, it is the tool paramount in the execution of a related and major magic realist phenomenon: textualization. This term can be defined twofold. First of all, where a fictitious reader enters into the story within a story while reading it, making us, the reader, self-conscious of our readerly status, and secondly, where the textual world enters into the reader's (our) world. Good sense would negate this process but magic is the flexible topos which allows it.[28] Authorial reticence Authorial reticence is the "deliberate withholding of information and explanations about the disconcerting fictitious world".[29] The narrator does not provide explanations about the accuracy or credibility of events described or views expressed by characters in the text. Further, the narrator is indifferent, a characteristic enhanced by this absence of explanation of fantastic events; the story proceeds with "logical precision" as if nothing extraordinary took place.[30] [31] Note that the act of explaining the supernatural would immediately reduce the legitimacy of this world in comparison to the natural world; the reader would consequently disregard the supernatural as false testimony. Sense of mystery Something that most, if not all, critics agree on is this major theme. Magic realist literature tends to read at a very intensified level. Taking the seminal work of the style, One Hundred Years of Solitude by Gabriel Garca Mrquez, the reader must let go of preexisting ties to conventional exposition, plot advancement, linear time structure, scientific reason, etc., in an attempt to disregard natural assumptions in order to reach a state of heightened awareness about all life's connectedness or life's 'hidden meaning'. Carpentier articulates this feeling as "to seize the mystery that breathes behind things"[32] and further supports the claim by stating that a writer must heighten his senses to the point of "estado limite" [translated as "limit state" or "extreme" [33] ] in order to realize all levels of reality, most importantly that of mystery.[34] Collective consciousness The Mexican critic Luis Leal has said, "without thinking of the concept of magical realism, each writer gives expression to a reality he observes in the people. To me, magical realism is an attitude on the part of the characters in the novel toward the world," or toward nature. He adds, "If you can explain it, then it's not magical realism."[35] Political critique Magic realism contains an "implicit criticism of society, particularly the elite".[36] Especially with regard to Latin America, the style breaks from the inarguable discourse of "privileged centers of literature".[37] This is a mode primarily about and for "ex-centrics": the geographically, socially and economically marginalized. Therefore, magic realism's alternative world works to correct the reality of established viewpoints (like realism, naturalism, modernism). Magic realist texts, under this logic, are subversive texts, revolutionary against socially dominant

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Magic realism forces. Alternatively, the socially dominant may implement magical realism to disassociate themselves from their "power discourse".[38] Theo Dhaen titles this change in perspective, "decentering". Upon consideration, Latin America is the ideal locale and starting place for such literary subversions to a dominant power, from the colonizers to the dictators. It is interesting to note the United States reluctance at openly using the term, as they are one of the worlds most "privileged centers".[39]

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Major topics in criticism

Ambiguities in definition Determining who coined the term magical realism (as opposed to magic realism) is a controversial topic among literary critics. Maggie Ann Bowers argues that it first emerged in the 1955 essay "Magical Realism in Spanish American Fiction" by critic Angel Flores. She notes that while Flores names Jorge Luis Borges as the first magical realist (some critics would consider him to be a predecessor and not actually a magical realist), he fails to acknowledge either Alejo Carpentier or Arturo Uslar-Pietri for bringing Roh's magic realism to Latin America. [40] However, both Luis Leal and Irene Guenther, (referencing Pietri and Jean Weisgerber texts, respectively), attest to the fact that Pietri was one of the first, if not the first, to borrow the term and apply it to Latin American literature.[41] [42] Leal and Guenther both quote Pietri, who described "...man as a mystery surrounded by realistic facts. A poetic prediction or a poetic denial of reality. What for lack of another name could be called a magical realism." [43] It is worth noting that Pietri, in presenting his term for this literary tendency, always kept its definition open by means of a language more lyrical and evocative than strictly critical, as in this 1948 statement. When academic critics attempted to define magical realism with scholarly exactitude, they discovered that it was more powerful than precise. Critics, frustrated by their inability to pin down the term's meaning, have urged its complete abandonment. Yet in Arturo Uslar-Pietri's vague, ample usage, magical realism was wildly successful in summarizing for many readers their perception of much Latin American fiction; this fact suggests that the term has its uses, so long as it is not expected to function with the precision expected of technical, scholarly terminology." Lo real maravilloso The Cuban writer Alejo Carpentier originated the term lo real maravilloso (roughly the "marvelous reality") in the prologue to his novel The Kingdom of this World (1949); however it is debated whether he is truly a magical realist writer, or simply a precursor and source of inspiration. Maggie Bowers claims he is widely acknowledged as the originator of Latin American magical realism (as both a novelist and critic);[44] she describes Carpentier's conception to be of a kind of heightened reality in which elements of the miraculous could appear while seeming natural and unforced. She suggests that by disassociating himself and his writings from Roh's painterly magic realism, Carpentier aimed to show how, by virtue of Latin America's varied history, geography, demography, politics, myths and beliefs, improbable and marvelous things are made possible. [45] Furthermore, Carpentier's meaning is that Latin America is a land filled with marvels, and that "writing about this land automatically produces a literature of marvelous reality."[46]

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"The marvelous" may be easily confused with magical realism, as both modes introduce supernatural events without surprising the implied author. In both, these magical events are expected and accepted as everyday occurrences. However, the marvelous world is a unidimensional world. The implied author believes that anything can happen here as the entire world is filled with supernatural beings and situations to begin with; fairy tales are a good example of marvelous literature. The important idea in defining the marvelous is that the reader understands that this fictional world is different from the world in which he/she lives. The "marvelous" one-dimensional world differs from the bidimensional world of magical realism, as in the latter, the supernatural realm blends with the natural, familiar world (arriving at the combination of two layers of reality: bidimensional).[47] While the terms magical realism and lo real maravilloso are often used interchangeably, the key difference lies in the focus.[48] Critic Luis Leal attests that Carpentier was an originating pillar of the magical Alejo Carpentier realist style by implicitly referring to the latter's critical works, writing that "the existence of the marvelous real is what started magical realist literature, which some critics claim is the truly American literature."[49] It can consequently be drawn that Carpentier's "lo real maravilloso" is especially distinct from magical realism by the fact that the former applies specifically to America. [50] On that note, Lee A. Daniel categorizes critics of Carpentier into three groups: those that don't consider him to be a magical realist whatsoever (ngel Flores), those that call him "a mgicorealista writer with no mention of his "lo real maravilloso" (Gmez Gil, Jean Franco, Carlos Fuentes)" and those that use the two terms interchangeably (Fernando Alegria, Luis Leal, Emir Rodriguez Monegal).[51] Latin American exclusivity Criticism that Latin America is the birthplace and cornerstone of all things magic realist is quite common. Angel Flores does not deny that magical realism is an international commodity but articulates that it has a Hispanic birthplace, writing that "magical realism is a continuation of the romantic realist tradition of Spanish language literature and its European counterparts".[52] And Flores is not alone on this front; indeed, there seems to be somewhat of a battle between those who see magical realism as a Latin American invention and those who see it as the global product of a postmodern world.[53] Irene Guenther concludes, "conjecture aside, it is in Latin America that [magical realism] was primarily seized by literary criticism and was, through translation and literary appropriation, transformed".[54] Nevertheless, magic realism has taken on an internationalization: dozens of non-Hispanic writers are categorized as such, and many believe that it truly is an international commodity.[55] Postmodernism Taking into account that theoretically, magical realism was born in the 20th century, connecting it to postmodernism is a logical next step. To further connect the two concepts, there are descriptive commonalities between the two which Belgian critic Theo D'haen addresses in his essay on the subject, "Magical Realism and Postmodernism". Authors Gnter Grass, Thomas Bernhard, Peter Handke, Italo Calvino, John Fowles, Angela Carter, John Banville, Michel Tournier, Willem Brakman and Louis Ferron are widely considered postmodernist, but might "just as easily be categorized...magic realist".[56] A list has been compiled of characteristics one might typically attribute to postmodernism, but which also could describe literary magic realism: "self-reflexiveness, metafiction, eclecticism, redundancy, multiplicity, discontinuity, intertextuality, parody, the dissolution of character and narrative instance, the erasure of boundaries, and the destabilization of the reader".[57] To further connect the two, magical realism and postmodernism share the themes of post-colonial discourse, in which jumps in time and focus cannot really be

Magic realism explained with scientific but rather with magical reasoning; textualization (of the reader); and metafiction [more detail: under Themes and Qualities]. Concerning attitude toward audience, the two have a lot in common. Magical realist works do not seek to primarily satisfy a popular audience, but instead, a sophisticated audience that must be attuned to noticing textual "subtleties".[58] While the postmodern writer condemns escapist literature (like fantasy, crime, ghost fiction), he/she is inextricably related to it concerning readership. There are two modes in postmodern literature: one, commercially successful pop fiction, and the other, philosophy, better suited to intellectuals. A singular reading of the first mode will render a distorted or reductive understanding of the text. The fictitious reader - such as Aureliano from 100 Years of Solitude - is the hostage used to express the writers anxiety on this issue of who is reading the work and to what ends, and of how the writer is forever reliant upon the needs and desires of readers (the market).[59] The magic realist writer with difficulty must reach a balance between saleability and intellectual integrity. Talking about magic realism as a contemporary phenomenon which departs from modernism and enters into postmodernism, "magic realist fictions do seem more youthful and popular than their modernist predecessors, in that they often (though not always) cater with unidirectional story lines to our basic desire to hear what happens next. Thus they may be more clearly designed for the entertainment of readers".[60]

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Comparison with related genres

When attempting to define what something is, it is often helpful to define what something is not. It is also important to note that many literary critics attempt to classify novels and literary works in only one genre, such as "romantic" or "naturalist," not always taking into account that many works fall into multiple categories. [61] Much discussion is cited from Maggie Ann Bowers' book Magic(al) Realism, wherein she attempts to delimit the terms magic and magical realism by examining the relationships with other genres such as realism, surrealism, fantastic literature and science fiction. Realism Realism is an attempt to create a depiction of actual life; a novel does not simply rely on what it presents but how it presents it. In this way, a realist narrative acts as framework by which the reader constructs a world using the raw materials of life. Understanding both realism and magical realism within the realm of a narrative mode is key to understanding both terms. Magical realism "relies upon the presentation of real, imagined or magical elements as if they were real. [It furthermore] relies upon realism but only so that it can stretch what is acceptable as real to its limits."[62] As a simple point of comparison, Roh's differentiation between expressionism and post-expressionism as described in German Art in the 20th Century, may be applied to magic realism and realism. Realism pertains to the terms "history," "mimetic," "familiarization," "empiricism/logic," "narration," "closure-ridden/reductive naturalism," and "rationalization/cause and effect."[63] On the other hand, magic realism encompasses the terms "myth/legend," "fantastic/supplementation," "defamiliarization," "mysticism/magic," "meta-narration," "open-ended/expansive romanticism," and "imagination/negative capability."[64] Surrealism Surrealism is often confused with magical realism as they both explore illogical or non-realist aspects of humanity and existence. There is a strong historical connection between Franz Roh's concept of magic realism and surrealism, as well as the resulting influence on Carpentier's marvelous reality; however, important differences remain. Surrealism "is most distanced from magical realism [in that] the aspects that it explores are associated not with material reality but with the imagination and the mind, and in particular it attempts to express the 'inner life' and psychology of humans through art." It seeks to express the sub-conscious, unconscious, the repressed and inexpressible. Magical realism, on the other hand, rarely presents the extraordinary, in the form of a dream or a psychological experience. "To do so," Bowers writes, "takes the magic of recognizable material reality and places it into the little understood world of the imagination. The ordinariness of magical realism's magic relies on its accepted

Magic realism and unquestioned position in tangible and material reality."[65] Fantasy Prominent English-language fantasy writers have stated that "magic realism" is only another name for fantasy fiction. Gene Wolfe said, "magic realism is fantasy written by people who speak Spanish,"[66] , and Terry Pratchett said magic realism "is like a polite way of saying you write fantasy".[67] However, Amaryll Beatrice Chanady distinguishes magical realist literature from fantasy literature ("the fantastic") based on differences between three shared dimensions: the use of antinomy (the simultaneous presence of two conflicting codes), the inclusion of events that cannot be integrated into a logical framework, and the use of authorial reticence. In fantasy, the presence of the supernatural code is perceived as problematic, something to which special attention is drawn, whereas in magical realism the presence of the supernatural is accepted. While in fantasy, authorial reticence creates a disturbing effect on the reader, it works to integrate the supernatural into the natural framework in magical realism. This integration is made possible in magical realism as the author presents the supernatural as being equally valid to the natural. There is no hierarchy expressed between the two codes.[68] The ghost of Melquades in Mrquez's One Hundred Years of Solitude or the baby ghost in Toni Morrison's Beloved who visit or haunt the inhabitants of their previous residence are both presented by the narrator as ordinary occurrences; the reader, therefore, accepts the marvelous as normal and common.[69] To Dr. Clark Zlotchew, the differentiating factor between the fantastic and magical realism is that in fantastic literature, such as Kafka's short story "Metamorphosis", there is a hesitation experienced by the protagonist, implied author or reader in deciding whether to attribute natural or supernatural causes to an unsettling event, or between rational or irrational explanations.[70] Fantastic literature has also been defined as a piece of narrative in which there is a constant faltering between belief and non-belief in the supernatural or extraordinary event. In Leal's view, magical realism has a tropical (or llano [plains] or desert) context,[71] but he says that the fiction of Julio Cortzar contains only "the fantastic", not magical realism.[72] He distinguished as follows: "in fantastic literature in Borges, for example the writer creates new worlds, perhaps new planets. By contrast, writers like Garca Mrquez, who use magical realism, don't create new worlds, but suggest the magical in our world."[73] Even Cortzar's short story "Casa Tomada", about a brother and sister whose house is taken over by someone or something mysterious, for Leal is an example of the fantastic and not magical realism.[72] Science fiction While science fiction and magical realism both bend the notion of what is real, toy with human imagination, and are forms of (often fantastical) fiction, they differ greatly. Bower's cites Aldous Huxley's Brave New World as a novel which exemplifies the science fiction novel's requirement of a "rational, physical explanation for any unusual occurrences." Huxley portrays a world in which the population is highly controlled with mood enhancing drugs, which are controlled by the government; in this world, there is no link between copulation and reproduction. Humans are produced in giant test tubes, where their fates are determined by chemical alterations during "gestation." Bowers argues that "the science fiction narrative's distinct difference from magical realism is that it is set in a world different from any known reality and its realism resides in the fact that we can recognize it as a possibility for our future. Unlike magical realism, it does not have a realistic setting that is recognizable in relation to any past or present reality."[74]

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Major authors and works

Although there is much debate among critics and writers regarding who and/or which works fall within the genre of magical realism, the following authors tend to be regarded as most representative of the narrative mode. Franz Kafka, writing in the 1920s, is arguably the founder of the genre. Within the Latin American world, perhaps the most iconic of magical realist novelist is Nobel Laureate Gabriel Garca Mrquez, whose novel One Hundred Years of Solitude was an instant worldwide success. Garca Mrquez confessed: "my most important problem was destroying the line of demarcation that separates what seems real from what seems fantastic".[75] The first woman writer from Latin America to be recognized outside the continent was Isabel Allende. Her most well-known novel The House of the Spirits is arguably quite similar to Marquez's style of magical realist writing. Another notable novelist is Laura Esquivel, whose Like Water for Chocolate tells the story of the domestic life of women living on the margins of their families and society. The novel's protagonist, Tita, is kept from happiness and marriage by her mother. "Her unrequited love and ostracism from the family lead her to harness her extraordinary powers of imbuing her emotions to the food she makes. In turn, people who eat her food enact her emotions for her. For example, after eating a wedding cake which Tita made while suffering from a forbidden love, the guests all suffer from a wave of longing. Among Latin American writers, Jorge Borges is also regarded as a major exponent of magical realism.

Plaque of Gabriel Garcia Marquez, Paris

In the English speaking world, major authors include British Indian writer Salman Rushdie, African American novelist Toni Morrison, English author Louis de Bernires and English feminist writer Angela Carter. Perhaps the best known is Rushdie, whose "language form of magical realism straddles both the surrealist tradition of magic realism as it developed in Europe and the mythic tradition of magical realism as it developed in Latin America." Morrison's most notable work, Beloved, tells the story of a mother who, haunted by the ghost of her child, learns to cope with memories of her traumatic childhood as an abused slave and the burden of nurturing children into a harsh and brutal society.[76] For a detailed list of authors and works considered magical realist please see Category:Magic realism novels

Visual art
Historical development
The painterly style can be said to have begun evolving as early as the 1900s,[77] but the year in which magischer realismus and neue sachlichkeit were officially recognized as major trends was 1925. This was the year that Franz Roh published his book on the subject, Nach Expressionismus: Magischer Realismus: Probleme der neuesten europischen Malerei (translated as After Expressionism: Magical Realism: Problems of the Newest European Painting) and Gustav Hartlaub curated the seminal exhibition on the theme, entitled simply Neue Sachlichkeit (translated as New Objectivity), at the Kunsthalle Mannheim in Mannheim, Germany.[78] In her article on the subject, Irene Guenther refers most frequently to the New Objectivity, rather than magical realism; perhaps this can be attributed to the fact that the former was initially the more practical based, referential (to real practicing artists) term, while the latter was used more in theoretical or critic's rhetoric. However, with time, the term magic realism was fully embraced by the practicing community, in Germany as well as in Italy, under the guidance of Massimo Bontempelli (organizer of journal 900).[79]

Magic realism New Objectivity saw an utter rejection of the preceding impressionist and expressionist movements, and Hartlaub curated his exhibition under that guideline: only those "'who have remained true or have returned to a positive, palpable reality'[80] in order to reveal the truth of the times"[81] would be included. The style can then be roughly divided into two subcategories - conservative, (neo-)Classicist painting and generally left-wing, politically motivated Verists.[82] The following quote by Hartlaub distinguishes the two, though mostly with reference to Germany; however, one might apply the logic to all relevant European countries. "In the new art, he saw"[83] a right, a left wing. One, conservative towards Classicism, taking roots in timelessness, wanting to sanctify again the healthy, physically plastic in pure drawing after nature...after so much eccentricity and chaos [a reference to the repercussions of WWI]... The other, the left, glaringly contemporary, far less artistically faithful, rather born of the negation of art, seeking to expose the chaos, the true face of our time, with an addiction to primitive fact-finding and nervous baring of the self... There is nothing left but to affirm it [the new art], especially since it seems strong enough to raise new artistic willpower.[84] Both sides were seen all over Europe during the 1920s and 1930s, ranging from the Netherlands to Austria, France to Russia, with Germany and Italy as centers of growth.[85] Indeed, Italian Giorgio de Chirico, producing works in the late 1910s under the style arte metafisica (translated as Metaphysical art), is seen as a precursor and as having an "influence...greater than any other painter on the artists of New Objectivity".[86] [87] Further afield, American painters were later (in the 1940s and 1950s, mostly) coined magical realists; a link between these artists and the Neue Sachlichkeit of the 1920s was explicitly made in the New York Museum of Modern Art exhibition, tellingly titled "American Realists and Magic Realists".[88] French magical realist Pierre Roy, who worked and showed successfully in the US, is cited as having "helped spread Franz Roh's formulations" to the United States.[89]

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Magic realism which excludes the overtly fantastic

When art critic Franz Roh introduced the term magic realism with reference to visual art in 1925, he was designating a style of visual art which brings extreme realism to the depiction of mundane subject matter, revealing an "interior" mystery, rather than imposing external, overtly magical features onto this everyday reality. Roh explains, We are offered a new style that is thoroughly of this world that celebrates the mundane. This new world of objects is still alien to the current idea of Realism. It employs various techniques that endow all things with a deeper meaning and reveal mysteries that always threaten the secure tranquility of simple and ingenuous things.... it is a question of representing before our eyes, in an intuitive way, the fact, the interior figure, of the exterior world.[90] In painting, magical realism (in this sense) is a term often used interchangeably with post-expressionism, as Ros also shows, for the very title of Roh's 1925 essay was "Magical Realism:Post-Expressionism".[90] Indeed, as Dr. Lois Parkinson Zamora of the University of Houston writes, "Roh, in his 1925 essay, described a group of painters whom we now categorize generally as Post-Expressionists." [91]

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Roh used this term to describe painting which signaled a return to realism after expressionism's extravagances which sought to redesign objects to reveal the spirits of those objects. Magical realism, according to Roh, instead faithfully portrays the exterior of an object, and in doing so the spirit, or magic, of the object reveals itself. One could relate this exterior magic all the way back to the 15th century. Flemish painter Van Eyck (1395-1441) highlights the complexity of a natural landscape by creating illusions of continuous and unseen areas that recede into the background, leaving it to the viewer's imagination to fill in those gaps in the image: for instance, in a rolling landscape with river and hills. The magic is contained in the viewer's interpretation of those mysterious unseen or hidden parts of the image.[92] Other important aspects of magical realist painting, according to Roh, include: A return to ordinary subjects as opposed to fantastical ones. Alexander Kanoldt, Still Life II 1922 A juxtaposition of forward movement with a sense of distance, as opposed to Expressionism's tendency to foreshorten the subject. A use of miniature details even in expansive paintings, such as large landscapes. The pictorial ideals of Roh's original magic realism continued to attract new generations of artists through the latter years of the 20th century and beyond. In a 1991 New York Times review, critic Vivien Raynor remarked that "John Stuart Ingle proves that Magic Realism lives" in his "virtuoso" still life watercolors.[93] Ingle's approach, as described in his own words, reflects very much the early inspiration of the magic realism movement as described by Roh; that is, the aim is not to add magical elements to a realistic painting, but to pursue a radically faithful rendering of reality; the "magic" effect on the viewer comes from the intensity of that effort: "I don't want to make arbitrary changes in what I see to paint the picture, I want to paint what is given. The whole idea is to take something that's given and explore that reality as intensely as I can." [94] [95]

Later development: magic realism which incorporates the fantastic

While Ingle represents a "magic realism" that harks back to Roh's ideas, the term "magic realism" in mid-20th century visual art tends to refer to work which incorporates overtly fantastic elements, somewhat in the manner of its literary counterpart. Occupying a somewhat intermediate place in this line of development, the work of several European and American painters whose most Paul Cadmus, The Fleet's In! 1934 important work dates from the 1930s through to the 1950s, including Bettina Shaw-Lawrence, Paul Cadmus, Ivan Albright, Philip Evergood, George Tooker, even Andrew Wyeth, is often designated as "magic realist". Some of this work departs sharply from Roh's definition, in that it (according to artcyclopedia.com) "is anchored in everyday reality, but has overtones of fantasy or wonder." [96] In the work of

Magic realism Cadmus, for example, the surreal atmosphere is sometimes achieved via stylized distortions or exaggerations which are not, strictly speaking, realistic. More recent "magic realism" has gone beyond mere "overtones" of the fantastic or surreal to depict a more frankly magical reality, with an increasingly tenuous anchoring in "everyday reality". Artists associated with this kind of magic realism include Marcela Donoso[97] [98] [99] [100] [101] and Gregory Gillespie.[102] [103] [104] Artists such as Peter Doig and Will Teather have become associated with the term in the early 21st century.

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See also
With reference to literature Category:Magic realism novels Latin American Boom Hysterical realism McOndo - a distinct genre of literature which follows magical realism in Latin and South America Southern Gothic

With reference to visual art Fantastic realism Neosurrealism Romantic conceptualism New Objectivity Metaphysical art

With reference to both Surrealism Metarealism Postmodernism

External links
Ten Dreams Galleries - A comprehensive discussion of the historical development of Magic Realism in painting
[105]

The Magic Realism Time Capsule [106] Video montage of George Tooker's "The Subway", which recreates the mood via pictorial editing and sound [107] at YouTube

References
[1] Faris, Wendy B. and Lois Parkinson Zamora, Introduction to Magical Realism: Theory, History, Community, pp. 5 [2] Matthew C. Strecher, Magical Realism and the Search for Identity in the Fiction of Murakami Haruki, Journal of Japanese Studies, Volume 25, Number 2 (Summer 1999), pp. 263-298, at 267. [3] Faris, Wendy B. and Lois Parkinson Zamora, Introduction to Magical Realism: Theory, History, Community, pp. 3-4 [4] Simpkins, Scott. "Magical Strategies: The Supplement of Realism". Twentieth Century Literature 34.2 (1988): 140-154. Web. <http://www.jstor.org/stable/441074>. [5] Guenther, Irene, "Magic Realism in the Weimar Republic" tackles German roots of the term, and how art is related to literature [6] Franz Roh: Nach-Expressionismus. Magischer Realismus. Probleme der neuesten europischen Malerei. Klinkhardt & Biermann, Leipzig 1925. [7] Guenther, Irene, "Magic Realism in the Weimar Republic" from MR: Theory, History, Community, pp. 33 [8] Bowers, Maggie A. Magic(al) Realism. New York: Routledge, 2004. Print. [9] Guenther, Irene, "Magic Realism in the Weimar Republic" from MR: Theory, History, Community [10] Bowers, Maggie A. Magic(al) Realism. New York: Routledge, 2004. Print. [11] Bowers, Maggie A. Magic(al) Realism. New York: Routledge, 2004. Print.

Magic realism
[12] Faris, Wendy B. and Lois Parkinson Zamora, Introduction to Magical Realism: Theory, History, Community, pp. 3-4 [13] Carpentier, Alejo: "The Baroque and the Marvelous Real (1975)" from MR: Theory, History, Community [14] Bowers, Maggie A. Magic(al) Realism. New York: Routledge, 2004. Print. [15] Guenther, Irene, "Magic realism in the Weimar Republic" from MR: Theory, History, Community, pp. 61, wherein Guenther further backs up this statement [16] Flores, Angel. "Magical Realism in Spanish American Fiction". Hispania 38.2 (1955): 187-192. Web. <http://www.jstor.org/stable/335812>. [17] Flores, Angel. "Magical Realism in Spanish American Fiction". Hispania 38.2 (1955): 187-192. Web. <http://www.jstor.org/stable/335812>. [18] The Concise Oxford Dictionary of Literary Terms, 3rd ed., 2008 [19] Carpentier, Alejo, El Reino de este Mundo [20] Carpentier, Alejo, "The baroque and the marvelous real" from MR: Theory History, Community [21] Carpentier, Alejo, "The baroque and the marvelous real" from Magical Realism: Theory, History, Community, pp.107 [22] "Post Colonial Studies at Emory" (http:/ / www. english. emory. edu/ Bahri/ MagicalRealism. html). 1998. . Retrieved June 18, 2009. [23] Daniel, Lee A. "Realismo Magico: True Realism with a Pinch of Magic". The South Central Bulletin. 42.4 (1982): 129-130. Web. <http://www.jstor.org/ stable/3188273>. [24] Daniel, Lee A. "Realismo Magico: True Realism with a Pinch of Magic". The South Central Bulletin. 42.4 (1982): 129-130. Web. <http://www.jstor.org/ stable/3188273>. [25] Daniel, Lee A. "Realismo Magico: True Realism with a Pinch of Magic". The South Central Bulletin. 42.4 (1982): 129-130. Web. <http://www.jstor.org/ stable/3188273>. [26] "Post Colonial Studies at Emory" (http:/ / www. english. emory. edu/ Bahri/ MagicalRealism. html). 1998. . Retrieved June 18, 2009. [27] Daniel, Lee A. "Realismo Magico: True Realism with a Pinch of Magic". The South Central Bulletin. 42.4 (1982): 129-130. Web. <http://www.jstor.org/ stable/3188273>. [28] Thiem, Jon, "The Textualization of the Reader in Magical Realist Fiction" from MR: Theory, History, Community [29] Chanady, Amaryll Beatrice. Magical Realism and the Fantastic: Resolved versus Unresolved Antinomy. New York: Garland Publishing Inc., 1985. pg. 16 [30] Flores, Angel. "Magical Realism in Spanish American Fiction". Hispania 38.2 (1955): 187-192. Web. <http://www.jstor.org/stable/335812>. [31] Chanady, Amaryll Beatrice. Magical Realism and the Fantastic: Resolved versus Unresolved Antinomy. New York: Garland Publishing Inc., 1985. pg. 30 [32] Carpentier, Alejo, "The baroque and the marvelous real" from MR: Theory, History, Community [33] http:/ / en. wikipedia. org/ w/ index. php?title=Magic_realism& action=editstate [34] Carpentier, Alejo, "On the Marvelous Real in America", the Introduction to his novel, The Kingdom of this World [35] Garca, Leal, p. 127128 [36] "Twentieth-Century Spanish American Literature" (http:/ / www-english. tamu. edu/ pers/ fac/ andreadis/ 474H_ahapw/ Definition_Magic. Realism. html). University of Texas Press. 194. . Retrieved June 18, 2009. [37] D'haen, Theo, "Magical realism and postmodernism: decentering privileged centers" from MR: Theory, History, Community [38] D'haen, Theo, "Magical realism and postmodernism: decentering privileged centers" from MR: Theory, History, Community, pp. 195 [39] D'Haen, Theo, "Magical realism and postmodernism: decentering privileged centers" from MR: Theory, History, Community, pp. 201 [40] Bowers, Maggie A. Magic(al) Realism. New York: Routledge, 2004. Print. [41] Leal, Luis, "Magical Realism in Spanish America" from MR: Theory, History, Community, pp. 120 [42] Guenther, Irene, "Magic Realism in the Weimar Republic" from MR: Theory, History, Community, pp. 61 [43] Pietri, Arturo Uslar, Letras y hombres de Venezuela. Mexico City, Fondo de Cultura Economica: 1949. pp. 161-61 [44] Bowers, Maggie A. Magic(al) Realism. New York: Routledge, 2004. Print. [45] Bowers, Maggie A. Magic(al) Realism. New York: Routledge, 2004. Print. [46] Zlotchew, Dr. Clark. Varieties of Magical Realism. New Jersey: Academic Press ENE, 2007. [47] Zlotchew, Dr. Clark. Varieties of Magical Realism. New Jersey: Academic Press ENE, 2007. p. 15 [48] Zlotchew, Dr. Clark. Varieties of Magical Realism. New Jersey: Academic Press ENE, 2007. p. 11 [49] Leal, Luis, "Magical Realism in Spanish America" from MR: Theory, History, Community, pp. 122 [50] Juan Barroso VIII, Daniel, Lee A. "Realismo Magico: True Realism with a Pinch of Magic". The South Central Bulletin. 42.4 (1982): 129-130. Web. <http://www.jstor.org/stable/3188273>. [51] Daniel, Lee A. "Realismo Magico: True Realism with a Pinch of Magic". The South Central Bulletin. 42.4 (1982): 129-130. Web. <http://www.jstor.org/stable/3188273>. [52] Flores, Angel, "Magical Realism in Spanish America" from MR: Theory, History, Community [53] Faris, Wendy B. and Lois Parkinson Zamora, Introduction to MR: Theory, History, Community [54] Guenther, Irene, "Magic Realism in the Weimar Republic" from MR: Theory, History, Community, pp. 61 [55] Faris, Wendy B. and Lois Parkinson Zamora, Introduction to MR: Theory, History, Community, pp. 4 and 8 [56] D'haen, Theo L., "Magical realism and postmodernism" from MR: Theory, History, Community, pp. 193 [57] D'haen, Theo L., "Magical realism and postmodernism" from MR: Theory, History, Community, pp. 192-3 [D'haen references many texts which attest to these qualities] [58] Flores, Angel. "Magical Realism in Spanish American Fiction". Hispania 38.2 (1955): 187-192. Web. <http://www.jstor.org/stable/335812>. [59] Thiem, Jon, "The textualization of the reader in magical realist fiction" from MR: Theory, History, Community

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[60] Wendy Faris, "Scheherezade's Children: Magical Realism and Postmodern Fiction", from MR: Theory, History, Community, pp. 163 [61] Flores, Angel. "Magical Realism in Spanish American Fiction". Hispania 38.2 (1955): 187-192. Web. <http://www.jstor.org/stable/335812>. [62] Bowers, Maggie A. Magic(al) Realism, pp. 22. New York: Routledge, 2004. Print. [63] Simpkins, Scott. "Magical Strategies: The Supplement of Realism". Twentieth Century Literature 34.2 (1988): 140-154. Web. <http://www.jstor.org/stable/441074>. [64] Simpkins, Scott. "Magical Strategies: The Supplement of Realism". Twentieth Century Literature 34.2 (1988): 140-154. Web. <http://www.jstor.org/stable/441074>. [65] Bowers, Maggie A. Magic(al) Realism, pp. 22-24. New York: Routledge, 2004. Print. [66] Wolfe, Gene; Baber, Brendan. "Gene Wolfe Interview" (http:/ / books. google. com/ books?id=MkPfjCVo3g4C& pg=PA132). in Wright, Peter. Shadows of the New Sun: Wolfe on Writing/Writers on Wolfe. . Retrieved 2009-01-20. [67] "Terry Pratchett by Linda Richards" (http:/ / januarymagazine. com/ profiles/ tpratchett2002. html). januarymagazine.com. 2002. . Retrieved February 17, 2008. [68] Chanady, Amaryll Beatrice, Magical realism and the fantastic: Resolved versus unresolved antinomy. New York: Garland Publishing Inc., 1985. pp. 30-31 [69] Bowers, Maggie A. Magic(al) Realism, pp. 25-27. New York: Routledge, 2004. Print. [70] Zlotchew, Dr. Clark. Varieties of Magical Realism. New Jersey: Academic Press ENE, 2007. p. 14 [71] Garca, Leal, p. 90 [72] Garca, Leal, p. 93. [73] Garca, Leal, p. 89. [74] Bowers, Maggie A. Magic(al) Realism, pp. 29-30. New York: Routledge, 2004. Print. [75] Interview in Revista Primera Plana - Ao V Buenos Aires, 20-26 June 1967 N 234, pages 52-55. I have not been able to get my hands on the original material but it is quoted in (http:/ / www. illapel. net/ nzr_soledad. doc) as "Mi problema ms importante era destruir la lnea de demarcacin que separa lo que parece real de lo que parece fantstico. Porque en el mundo que trataba de evocar esa barrera no exista. Pero necesitaba un tono convincente, que por su propio prestigio volviera verosmiles las cosas que menos lo parecan, y que lo hicieran sin perturbar la unidad del relato" and this agrees well (minor textual variants) with the other quotations I have found in (http:/ / www. territoriodigital. com/ nota. aspx?c=1048856235940364): "El problema ms importante era destruir la lnea de demarcacin que separa lo que parece real de lo que parece fantstico porque en el mundo que trataba de evocar, esa barrera no exista. Pero necesitaba un tono inocente, que por su prestigio volviera verosmiles las cosas que menos lo parecan, y que lo hiciera sin perturbar la unidad del relato. Tambin el lenguaje era una dificultad de fondo, pues la verdad no parece verdad simplemente porque lo sea, sino por la forma en que se diga." Other quotations on the Internet can be found in (http:/ / weblog. maimonides. edu/ gerontologia2007/ 2007/ 03/ los_80_anos_de_un_mago_de_las. html) and (http:/ / jardinkiryesco. blogspot. com/ 2009/ 01/ el-coronel-no-tiene-quien-le-escriba. html). All of these quotations reinforce the rough English translation of the first sentence given in the main text of this article. For those who wish to seek the original interview, the front cover and table of contents are reproduced at (http:/ / www. magicasruinas. com. ar/ tapas/ piehist634. htm) [76] Bowers, Maggie A. Magic(al) Realism. New York: Routledge, 2004. Print. [77] "Austrian Alfred Kubin spent a lifetime wrestling with the uncanny,...[and] in 1909 [he] published Die andere Seite (The Other Side), a novel illustrated with fifty-two drawings. In it, Kubin set out to explore the "other side" of the visible world - the corruption, the evil, the rot, as wella s the poewr and mystery. The border between reality and dream remains consistently nebulous... in certain ways an important precursor [to Magic Realism],...[he] exerted significant influence on subsequent German and Austrian literature." Guenther, Irene, "Magic realism in the Weimar Republic" from MR: Theory, History, Community, pp. 57. [78] Guenther, Irene, "Magic Realism in the Weimar Republic" from MR: Theory, History, Community, pp. 41 [79] Guenther, Irene, "Magic Realism in the Weimar Republic" from MR: Theory, History, Community, pp. 60 [80] Hartlaub, Gustav, "Werbendes Rundschreiben" [81] Guenther, Irene, "Magic realism in the Weimar Republic" from MR: Theory, History, Community, pp. 41 [82] Guenther, Irene, "Magic realism in the Weimar Republic" from MR: Theory, History, Community, pp. 41 [83] Guenther, Irene, "Magic realism in the Weimar Republic" from MR: Theory, History, Community, pp. 41 [84] Westheim, Paul, "Ein neuer Naturalismus?? Eine Rundfrage des Kunstblatts" in Das Kunstblatt 9 (1922) [85] Guenther, Irene, "Magic realism in the Weimar Republic" from MR: Theory, History, Community, pp. 41-45 [86] Guenther, Irene, "Magic realism in the Weimar Republic" from MR: Theory, History, Community, pp. 38 [87] Further, see Wieland Schmied, "Neue Sachlichkeit and German Realism of the Twenties" in Louise Lincoln, ed., German Realism of the Twenties: The Artist as Social Critic. Minneapolis: Minneapolis Institute of Arts, 1980, pp.42 [88] Dorothy C. Miller and Alfred Barr, eds., American Realists and Magic Realists. New York: Museum of Modern Art, 1943 [89] Guenther, Irene, "Magic realism in the Weimar Republic" from MR: Theory, History, Community, pp. 45 [90] (http:/ / www. public. asu. edu/ ~aarios/ resourcebank/ definitions/ ) [91] http:/ / www. uh. edu/ ~englmi/ ObjectsAndSeeing_intro. html [92] Crawford, Katherine. "Recognizing Van Eyck: Magical Realism in Landscape Painting". Philadelphia Museum of Art Bulletin. 91. 386/387 (1998): 7-23. Web. http:/ / www. jstor. org/ stable/ 3795460 [93] Raynor, Vivien (1991-05-19). "ART; The Skill of the Watercolorist" (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9D0CEFD91031F93AA25756C0A967958260). The New York Times. . Retrieved 2010-05-12. [94] (http:/ / www. askart. com/ AskART/ artists/ biography. aspx?searchtype=BIO& artist=71244)

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[95] (http:/ / www. johnsandford. org/ other1. html) [96] (http:/ / www. artcyclopedia. com/ history/ magic-realism. html) [97] Elga Perez-Laborde:"Marcela Donoso", jornal do Brasilia, 10/10/1999 [98] Elga Perez-Laborde:"Prologo",Iconografa de Mitos y Leyendas, Marcela Donoso, ISBN 956-291-592-1 12/2002 [99] "with an impressive chromatic delivery, images come immersed in such a magic realism full of symbols", El Mercurio - Chile, 06/22/1998 [100] Dr. Antonio Fernandez, Director of the Art Museum of Universidad de Concepcin:"I was impressed by her original iconographic creativity, that in a way very close to magic realism, achieves to emphasize with precision the subjects specific to each folkloric tradition, local or regional", Chile, 29/12/1997 [101] http:/ / www. marceladonoso. cl [102] Johnson, Ken (2000-09-22). "ART IN REVIEW; Gregory Gillespie" (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9B03EFDE1E3BF931A1575AC0A9669C8B63). The New York Times. . Retrieved 2010-05-12. [103] (http:/ / www. artcyclopedia. com/ artists/ gillespie_gregory. html) [104] Johnson, Ken (2003-05-23). "ART IN REVIEW; James Valerio" (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9801E3DF1731F930A15756C0A9659C8B63). The New York Times. . Retrieved 2010-05-12. [105] http:/ / www. tendreams. org/ magic-art. htm [106] http:/ / www. monograffi. com/ magic. htm [107] http:/ / www. youtube. com/ watch?v=hM-3jVYVecg

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Maximalism
For the Marxist concept, see maximum programme. For the theological/archeological concept, see Biblical maximalism. For the political ideology, see Revisionist Maximalism. Maximalism is a term used in the arts, including literature, visual art, music, and multimedia. It is used to explain a movement or trend by encompassing all factors under a multi-purpose umbrella term like expressionism. The term maximalism is sometimes associated with post-modern novels, such as by David Foster Wallace and Thomas Pynchon, where digression, reference, and elaboration of detail occupy a great fraction of the text. This sort of literature is also frequently described as hysterical realism, a term coined by James Wood, who argues that it is a genre similar to magical realism. Novelist John Barth defines literary maximalism through the medieval Roman Catholic Church's opposition between, "two...roads to grace:" the via negativa of the monks cell and the hermits cave, and the via affirmativa of immersion in human affairs, of being in the world whether or not one is of it. Critics have aptly borrowed those terms to characterize the difference between Mr. Beckett, for example, and his erstwhile master James Joyce, himself a maximalist except in his early works. [1] Takayoshi Ishiwari elaborates on Barth's definition by including a postmodern approach to the notion authenticity. Thus: Under this label come such writers as, among others, Thomas Pynchon and Barth himself, whose bulky books are in marked contrast with Barthelmes relatively thin novels and collections of short stories. These maximalists are called by such an epithet because they, situated in the age of epistemological uncertainty and therefore knowing that they can never know what is authentic and inauthentic, attempt to include in their fiction everything belonging to that age, to take these authentic and inauthentic things as they are with all their uncertainty and inauthenticity included; their work intends to contain the maximum of the age, in other words, to be the age itself, and because of this their novels are often encyclopedic. As Tom LeClair argues in The Art of Excess, the authors of these masterworks even gather, represent, and reform the times excesses into fictions that exceed the times literary conventions and thereby master the time, the methods of fiction, and the reader.[2]

Maximalism Contemporary maximalist music is defined by composer David A. Jaffe as that which, "embraces heterogeneity and allows for complex systems of juxtapositions and collisions, in which all outside influences are viewed as potential raw material."[3] Examples include the music of Edgard Varse, Charles Ives, and Frank Zappa[4] . Maximalism as a genre in the plastic arts is said to emphasise work-intensive practices and concentrate on the process of creation itself. Works from this genre are generally bright, sensual, and visually rich. Charlotte Rivers describes how, "maximalism celebrates richness and excess in graphic design," characterized by decoration, sensuality, luxury and fantasy, with examples including the work of illustrator Kam Tang and artist Julie Verhoeven[5] . Iranian-born German-based artist Daryush Shokof claims to have popularized the term and concept in the visual art world[6] . As described in his "Maximalist Manifesto" (1991) maximalist art works are: 1. 2. 3. 4. 5. 6. Figurative. Politically aware, with socially critical points of view. Erotic. Mostly include ironic and humorous perspectives in concept or in form. Not made to simply oppose minimalist works of art. Open to wide views and visionary dimensions that can be fantastic, but not deformed.

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Assistant art history professor Gao Minglu connects maximalism in Chinese visual art to the literary definition by describing the emphasis on, "the spiritual experience of the artist in the process of creation as a self-contemplation outside and beyond the artwork itself...These artists pay more attention to the process of creation and the uncertainty of meaning and instability in a work. Meaning is not reflected directly in a work because they believe that what is in the artist's mind at the moment of creation may not necessarily appear in his work." Examples include in the work of artists Cao Kai, Ding Yi, and Gu Dexin.[7]

See also
New Complexity

Further reading
Delville, Michel and Norris, Andrew (2005). Frank Zappa, Captain Beefheart and the Secret History of Maximalism. ISBN 1844710599.

References
[1] Barth, John. A Few Words About Minimalism, New York Times Book Review, p.1. Dec. 28, 1986. [2] Ishiwari, Takayoshi. The Body That Speaks: Donald Barthelmes The Dead Father as Installation, Unpublished Masters thesis, p.1. Osaka University, 1996. link (http:/ / www. asahi-net. or. jp/ ~KP7T-ISWR/ ) [3] Jaffe, David. Orchestrating the ChimeraMusical Hybrids, Technology, and the Development of a 'Maximalist' Musical Style, Leonardo Music Journal. Vol. 5, 1995. [4] Delville, Michel and Norris, Andrew. "Disciplined Excess: The Minimalist / Maximalist Interface in Frank Zappa and Captain Beefheart", Interval(le)s, p.4. Vol. I, 1 (Automne 2004). [5] Rivers, Charlotte (2008). Maximalism: The Graphic Design of Decadence& Excess, p.011. ISBN 2888930196. [6] http:/ / www. ifvc. com/ shokof_bio. htm and http:/ / www. beyondpersia. org/ index. php/ artists/ details/ daryush_shokof/ [7] Kristin E.M. Riemer (October 9, 2003). "Chinese Maximalism debuts" (http:/ / www. buffalo. edu/ reporter/ vol35/ vol35n7/ articles/ ChineseMaximalism. html), UB Reporter.

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Neo-conceptual art
Neo-conceptual art describes art practices in the 1980s and particularly 1990s to date that derive from the conceptual art movement of the 1960s and 1970s. These subsequent initiatives have included the Moscow Conceptualists, United States neo-conceptualists such as Cindy Sherman and the Young British Artists, notably Damien Hirst and Tracey Emin in the United Kingdom, where there is also a Stuckism counter-movement and criticism from the 1970s conceptual art group Art and Language.

History
Many of the concerns of the "conceptual art" movement proper have been taken up by many contemporary artists since the initial wave of conceptual artists. While many of these artists may not term themselves "conceptual artists", ideas such as anti-commodification, social and/or political critique, digital art, and ideas/information as medium continue to be aspects of contemporary art, especially among artists working with computer art, installation art, performance art, net.art and electronic art. Many critics and artists may speak of conceptual aspects of a given artist or art work, reflecting the enduring influence that many of the original conceptual artists have had on the art world. The Moscow Conceptualists, in the 1970s and 80s, attempted to subvert socialist ideology using the strategies of conceptual art and appropriation art. The central figures were Ilya Kabakov and Komar and Melamid. The group also included Eric Bulatov and Viktor Pivovarov. Notable U.S neo-conceptual artists of the 1980s include Sherrie Levine, Jenny Holzer, Richard Prince, Louise Lawler, Cindy Sherman, Mark Lombardi, Barbara Kruger, and expatriate Briton, John LeKay who exhibited with Damien Hirst.[1] The Young British Artists (YBAs), led by Damien Hirst, came to prominence in the 1990s and their work was described at the time as neo-conceptual[2] , even though it relies very heavily on the art object Barbara Kruger, I Shop, Therefore I Am to make its impact. The term is used in relation to them on the basis that the object is not the artwork, or is often a found object, which has not needed artistic skill in its production. Tracey Emin is seen as a leading YBA and a neo-conceptualist, even though she has denied that she is and has emphasised personal emotional expression. Charles Harrison, a member of the conceptual art group Art and Language in the 1970s, criticizes the neo-conceptual art of the 1990s as conceptual art "without threat or awkwardness"[3] and a "vacant" prospect.[4] Other notable artists associated with neo-conceptualism in the UK include Martin Creed, Liam Gillick, Bethan Huws, Simon Patterson, Simon Starling and Douglas Gordon.

John LeKay. Untitled, 1991, ladder and wheelchair

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147

Notable events
1991: Charles Saatchi funds Damien Hirst and the next year in the Saatchi Gallery exhibits his The Physical Impossibility of Death in the Mind of Someone Living, a shark in formaldehyde in a vitrine. 1993: Vanessa Beecroft holds her first performance in Milan, Italy, using models to act as a second audience to the display of her diary of food. 1999: Tracey Emin is nominated for the Turner Prize. Part of her exhibit is My Bed, her dishevelled bed, surrounded by detritus such as condoms, blood-stained knickers, bottles and her bedroom slippers. 2001: Martin Creed wins the Turner Prize for The Lights Going On and Off, an empty room where the lights go on and off.[5] 2005: Simon Starling wins the Turner Prize for Shedboatshed, a wooden shed which he had turned into a boat, floated down the Rhine and turned back into a shed again.[6]

Controversy in the UK
In Britain, the rise to prominence of the Young British Artists (YBAs) after the 1988 Freeze show, curated by Damien Hirst, and subsequent promotion of the group by the Saatchi Gallery during the 1990s, generated a media backlash, where the phrases "conceptual art" and "neo-conceptual" came to be terms of derision applied to much contemporary art. This was amplified by the Turner Prize whose more extreme nominees (most notably Hirst and Emin) caused a controversy annually.[7] The Stuckist group of artists, founded in 1999, proclaimed themselves "pro-contemporary figurative painting with ideas and anti-conceptual art, mainly because of its lack of concepts." They also called it pretentious, "unremarkable and boring" and on July 25, 2002 deposited a coffin outside the White Cube gallery, marked "The Death of Conceptual Art".[8] [9] They staged yearly demonstrations outside the Turner Prize. In 2002, Ivan Massow, the Chairman of the Institute of Contemporary Stuckists' "Death of Conceptual Art" coffin Arts branded conceptual art "pretentious, self-indulgent, craftless tat" demonstration, 2002 and in "danger of disappearing up its own arse ... led by cultural tsars such as the Tate's Sir Nicholas Serota.[10] Massow was consequently forced to resign. At the end of the year, the Culture Minister, Kim Howells (an art school graduate) denounced the Turner Prize as "cold, mechanical, conceptual bullshit".[11] In October 2004 the Saatchi Gallery told the media that "painting continues to be the most relevant and vital way that artists choose to communicate."[12] Following this Charles Saatchi began to sell prominent works from his YBA collection.

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148

See also
Conceptual art Appropriation art Institutional Critique Postmodern art Art software Computer art Internet art Electronic art Systems art Cyberarts New Media Interactive film New Media Art Computer generated music Generative art Stuckist demonstrations

References
[1] Alberge, Dalya. "My old friend Damien stole my skull idea" (http:/ / entertainment. timesonline. co. uk/ tol/ arts_and_entertainment/ visual_arts/ article1991133. ece), The Times, 27 June 2007. Retrieved 10 December 2007. [2] Scott Lash and Celia Lury, Global Culture Industries: The Mediation of Things, Polity, 2007, p211. ISBN 0745624839 [3] Charles Harrison, Essays on Art & Language, MIT Press, 2001, p29. ISBN 0262582414 [4] Charles Harrison, Essays on Art & Language, MIT Press, 2001, p241. ISBN 0262582414 [5] BBC Online (http:/ / news. bbc. co. uk/ 1/ hi/ entertainment/ arts/ 1698032. stm) [6] The Times (http:/ / www. timesonline. co. uk/ article/ 0,,2-1905555,00. html) [7] Turner prize history: Conceptual art Tate gallery (http:/ / www. tate. org. uk/ britain/ turnerprize/ history/ issue_conceptual. htm) tate.org.uk. Accessed August 8, 2006 [8] "White Cube Demo 2002" (http:/ / www. stuckism. com/ Tate/ WhiteCube. html), stuckism.com. Retrieved 19 April 2008. [9] Cripps, Charlotte. "Visual arts: Saying knickers to Sir Nicholas (http:/ / findarticles. com/ p/ articles/ mi_qn4158/ is_20040907/ ai_n12797891), The Independent, 7 September 2004. Retrieved from findarticles.com, 7 April 2008. [10] The Guardian (http:/ / www. guardian. co. uk/ uk_news/ story/ 0,3604,634797,00. html) [11] The Daily Telegraph (http:/ / www. telegraph. co. uk/ news/ main. jhtml?xml=/ news/ 2002/ 11/ 01/ nart01. xml) [12] Reynolds, Nigel 2004 "Saatchi's latest shock for the art world is painting" (http:/ / www. telegraph. co. uk/ news/ main. jhtml?xml=/ news/ 2004/ 10/ 02/ nsaat02. xml) The Daily Telegraph 10 February 2004. Accessed April 15, 2006

New Wave music

149

New Wave music

New Wave
Stylistic origins Punk rock, garage rock, [3] [4] [5] disco
[1]

glam rock, power pop, pub rock, ska, funk, electronic music, bubblegum,

[1] [2]

Cultural origins Typical instruments Mainstream popularity Derivative forms

Mid to late 1970s, United Kingdom and United States Electric guitar - bass guitar drums synthesizers - vocals Late 1970s to mid 1980s
[6]

; revival in 2000s

[7] [8]

Neue Deutsche Welle New pop - New Romanticism - Synthpop Mod revival - Chillwave Fusion genres Synthpunk 2 Tone - Electroclash - Nu Rave Regional scenes Belgium France Germany Spain - United Kingdom United States - Yugoslavia Other topics Post-punk - Alternative rock

[9]

New Wave is a genre of music that emerged in the mid to late 1970s alongside punk rock. The term at first generally was synonymous with punk rock before being considered a genre in its own right that incorporated aspects of electronic and experimental music, mod subculture, and disco and 1960s pop music, as well as much of the original punk rock sound and ethos, such as an emphasis on short and punchy songs.[4] [10] The 1990s and 2000s have seen revivals, and a number of acts that have been influenced by a variety of New Wave styles[7] [8] , and they had become popular by 2004.[11]

Overview
The term "New Wave" itself has been a source of much confusion and controversy. It was used in 1976 in the UK by punk fanzines such as Sniffin' Glue, and then by the professional music press.[12] In a November 1976 article in Melody Maker, Caroline Coon used Malcolm McLaren's term "New Wave" to designate music by bands not exactly punk, but related and part of the same musical scene[13] ; the term was also used in that sense by music journalist Charles Shaar Murray, while writing about The Boomtown Rats.[14] For a period of time in 1976 and 1977 the two terms were interchangeable.[15] [6] By the end of 1977, "New Wave" had replaced "Punk" as the definition for new underground music in the UK.[12] In the United States, Sire Records needed a term by which it could market its newly signed bands, who had frequently played the club CBGB. Because radio consultants in the United States had advised their clients that punk rock was a fad, they settled on the term "New Wave". Like those film makers, its new artists, such as the Ramones and Talking Heads, were anti-corporate and experimental. At first most American writers exclusively used the term "New Wave" to describe British punk acts. Starting in December 1976, The New York Rocker, which was suspicious of the term "punk," became the first American journal to enthusiastically use the term starting with British acts, and later appropriating it to acts associated with the CBGB scene.[12]

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Music historian Vernon Joynson states that new wave emerged in the U.K. in late 1976, when many bands began disassociating themselves from punk.[16] Music that followed the anarchic garage band ethos of the Sex Pistols was distinguished as "punk", while music that tended toward experimentation, lyrical complexity, or more polished production, came to be categorized as "New Wave". This came to include musicians who had come to prominence in the British pub rock scene of the mid-1970s, such as Ian Dury, Nick Lowe, Eddie and the Talking Heads performing in Toronto in 1978. Hot Rods and Dr. Feelgood;[17] and according to allmusic "angry, intelligent" singer-songwriters who "approached pop music with the sardonic attitude and tense, aggressive energy of punk" such as Elvis Costello, Joe Jackson, and Graham Parker.[18] In the U.S., the first New Wavers were the not-so-punk acts associated with the New York club CBGB, such as Talking Heads, Mink DeVille and Blondie.[7] CBGB owner Hilly Kristal, referring to the first show of the band Television at his club in March 1974, said, "I think of that as the beginning of new wave."[19] Furthermore, many artists who would have originally been classified as punk were also termed New Wave. A 1977 Phonogram Records compilation album of the same name (New Wave) features US artists including the Dead Boys, Ramones, Talking Heads and The Runaways.[7] [20] Talking Heads set the template for the New Wave sound of this era. This sound represented a break from the smooth-oriented blues and rock & roll sounds of late 1960s to mid 1970s rock music. According to music journalist Simon Reynolds, the music had a twitchy, agitated feel to it. New Wave musicians often played choppy rhythm guitars with fast tempos. Keyboards were common as were stop-and-start song structures and melodies. Reynolds noted that New Wave vocalists sounded high-pitched, geeky and suburban.[10] Power Pop, a genre that started before punk at the very beginning of the 1970s, became associated with New Wave at the end of the decade because their brief catchy songs fit into the mood of the era. The Romantics, The Records, The Motors[7] , Cheap Trick, and 20/20 were groups that had success playing this style.[21] Helped by the success of power pop groups such as The Knack, skinny ties became fashionable among New Wave musicians.[6] A revival of ska music led by The Specials, Madness and the English Beat added humor and a strong dance beat to New Wave.[1] Later still, "New Wave" came to imply a less noisy, often synthesizer-based, pop sound. The term post-punk was coined to describe groups such as Gang of Four, Joy Division, The Cure, and Siouxsie and the Banshees that were initially considered part of the new wave but were more ambitious, serious and challenging, darker, and less pop oriented. Some of these groups would later adopt synths.[22] [23] Although distinct, punk, New Wave, and post-punk all shared common ground: an energetic reaction to the supposedly overproduced, uninspired popular music of the 1970s.[24]
The New York Dolls arrived and galvanised the entire scene. Real glam trash. Beautiful. They proved it was possible to be trashy and good at the same time. Kicked everyone into action at a desperate moment. They saved us all. At that moment, I was drawing lines into New York and the Velvets, European avant garde and electronic music, previous generation's Brit Psychedelia plus a ragged sort of insulting glam. I guess this was the start of the New Wave. By the way, whoever coined that New Wave byline is my hero. Because a New Wave is precisely what it was - and precisely what was needed at that moment. John Foxx
[25]

New Wave music Allmusic explained that New Wave's stylistic diversity occurred because New Wave "retained the fresh vigor and irreverence of punk music, as well as a fascination with electronics, style, and art". This diversity extended to the numerous one hit wonders that came out of the genre.[26] [27] The term fell out of favour in the United Kingdom during the early 1980s because its usage had become too general.[7] Conventional wisdom holds that the genre "died" in the middle of the 1980s. Theo Cateforis, Assistant Professor of Music History and Cultures at Syracuse University, contends New Wave "receded" during this period when advances in synthesizer technology caused New Wave groups and mainstream pop and rock groups to sound more alike.[6]

151

Reception in The United States

In the summer of 1977 both Time[28] and Newsweek magazines wrote favorable lead stories on the "punk/new wave"[26] movement. Rock critics had mixed opinions. Acts associated with the movement received little or no radio airplay or music industry support. Small scenes developed in major cities. Continuing into the next year, public support remained limited to select elements of the artistic, bohemian and intellectual population [12] as arena rock and disco dominated the charts.[27] Starting in late 1978 and continuing into 1979, acts associated with punk and acts that mixed punk with other genres began to make chart appearances and receive airplay on rock stations. Blondie, Talking Heads, and The Cars would chart during this period.[6] [27] My Sharona, a single from The Knack, was Billboard magazine's number one single of 1979. The success of "My Sharona" caused record companies to rush out and sign New Wave groups.[6] New Wave music scenes developed in Ohio[27] and Athens, Georgia.[29] 1980 saw brief Deborah Harry from the band Blondie, performing at Maple Leaf Gardens, forays into New Wave-styled music by non Toronto, in 1977. new wave artists Billy Joel and Linda Ronstadt.[6] The release during this period of Gary Numan's album The Pleasure Principle would be the pop chart breakthrough for gender-bending synthpop acts with a cool, detached stage presence.[27] In 1980 hostility existed among those who determined radio play lists. Early in the year highly influential radio consultant Lee Abrams wrote a memo saying with a few exceptions "we're not going to be seeing many of the New Wave circuit acts happening very big over here (in America). As a movement, we don't expect it to have much influence." Lee Ferguson consultant to KWST interviewed at the time, said Los Angeles radio stations were banning disc jockeys from using the term and noted that "Most of the people who call music New Wave are the are the ones looking for a way not to play it".[30] Second albums by artists who had successful debut albums, along with the newly signed artists, both failed to sell and radio did pull New Wave programming.[6] The arrival of MTV in 1981 would usher in New Wave's most successful era. British artists, unlike many of their American counterparts, had learned how to use the music video early on.[27] [31] Several British acts signed to independent labels were able to outmarket and outsell American artists that were signed with major labels. Journalists labeled this phenomenon a "Second British Invasion".[31] [32] MTV continued its heavy rotation of videos by New Wave-oriented acts until 1987, when it changed to a Heavy Metal and rock dominated format.[33]

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152

14% of teenagers answering a December 1982 Gallup Poll rated New Wave music as their favorite genre, making it the third most popular genre. New Wave had its greatest popularity on the West Coast. Unlike other genres, race was not a factor in the popularity of New Wave music [34] . Urban Contemporary radio stations were the first to play New Wave music.[35] By this period the definition of New Wave music in the United States had changed from the less rebellious, more commercial version of punk that it had been described as a few years earlier. For most of the remainder of the 1980s the term "New Wave" was used in America to describe nearly every new pop or pop rock artist that largely used synthesizers. New Wave is still used today to describe these acts, as well as late 1970s and 1980s post punk and alternative acts.[1]
[36] [37]

Fans, music journalists, and artists would rebel against this catch-all definition by inventing dozens of genre names.[6] [27] Martha Davis of The Motels performs at Hollywood Synthpop, which filled a void left by disco,[38] was a broad Park. subgenre that included groups such as The Human League, Depeche Mode, Soft Cell, a-ha, New Order, Orchestral Manoeuvres In The Dark, Ultravox and the Pet Shop Boys.[27] New Wave soundtracks were used in mainstream "Brat Pack" films such as Valley Girl, Sixteen Candles, Pretty In Pink, and The Breakfast Club.[27] [39] John Hughes a director of several of these films was enthralled with British New Wave Music and put music from acts such The Psychedelic Furs, Simple Minds, and Echo and The Bunnymen into his films helping put New Wave into the mainstram. Several of these songs remain standards of the era.[40] Critics would describe the MTV acts as shallow or vapid,[27] [31] but the danceable quality of the music and quirky fashion sense associated with New Wave artists appealed to audiences.[27] The use of synthesizers by New Wave acts influenced the development of House music in Chicago and Techno in Detroit. New Waves indie spirit would be crucial to the development of college rock and grunge/alternative rock in the latter half of the 1980s and beyond.[27] New Wave is considered part of Alternative Rock today.[1]

Post 1980s Revivals and Influence

In 1991 Retro futurist acts such as Stereolab and Saint Etienne mixed New Wave and kitschy 1960s pop.[41] In the aftermath of grunge, the British music press launched a campaign to promote the New Wave of New Wave. This campaign involved overtly punk and New Wave influenced acts such as Elastica and Smash but was eclipsed by Britpop.[7] Other acts of note during the 1990s included No Doubt, Six Finger Satellite, and Brainiac.[8] [42] During that decade the synthesizer heavy dance sounds British and European New Wave acts influenced various incarnations of Eurodisco and trance.[27] [38] Chris Martin was inspired to start Coldplay by a-ha[43]

Franz Ferdinand performing in 2006.

During the 2000s a number of acts emerged that mined from a diversity of New Wave and post-punk influences. Among these were The Strokes, Interpol, Franz Ferdinand, The Epoxies, Bloc Party, Foals, Kaiser Chiefs, and The

New Wave music Killers. These acts were sometimes labeled "New New Wave". By 2004 these acts were described as "hot".[11] New Wave became revived during the 2000s with acts such as The Sounds, The Ting Tings, The Birthday Massacre[44] , Tegan and Sara, Hot Chip[45] , Cut Copy[46] [47] , MGMT[48] , The Presets[49] , La Roux, Shiny Toy Guns,[50] Santogold, Hockey[51] , Ladyhawke and Marina and the Diamonds.[8] [11] [52] [53] [54] [55] [56] [57] [58] [59] [60] While some journalists and fans regarded this as a revival, others argue that the phenomenon is a continuation of the original movements.[8] [61] [62] [63] The Drums are leading a current trend in the United States Indie music scene that mines both the sounds and attitudes of the British New Wave Era.[64] [38]

153

Parallel movements
Coldwave Dark Wave Neue Deutsche Welle No Wave Novi val

See also
List of New Wave bands and artists

External links
About.com Profile of the New Wave Genre [65] Encyclopedia Britannica Definition [66] St. James Encyclopedia of Pop Culture Article [67] Punk 2 New Wave [68] Top 100 list and short reviews Rolling Stone Magazine's Rock and Roll Daily blog Favorite 1980s New Wave Lists Reporters [69], Readers [70] A Real New Wave Rolls Out of Ohio [71] Robert Christgau for The Village Voice April 17, 1978 1997 Interview with Brat Pack Film Director John Hughes [72] Published MTV August 7, 2009 Walking on the Moon: The Untold Story of the Police and the Rise of New Wave [73] book by Chris Campion previewed by Google Books Rock Against the Bloc [74] A look back at the Punk/New Wave movement in Poland by the Krakow Post 1 February 2010 Drowning In My Nostalgia Philippine Inquirer September 7, 2002 [75] A critic looks back at her teenage fan days in The Philippines and Los Angeles

References
[1] Essay about New Wave's definition and list of essential New Wave Records from allmusic (http:/ / allmusic. com/ cg/ amg. dll?p=amg& sql=19:T572) [2] Cooper,Kim, Smay, David, Bubblegum Music is the Naked Truth (2001), page 248 "Nobody took the bubblegum ethos to heart like the new wave bands"/ [3] Keyboard Magazine, June 1982 (http:/ / www. synthpunk. org/ units/ keyboard1. html) [4] Disco inferno The Independent December 11, 2004 (http:/ / www. independent. co. uk/ news/ world/ americas/ disco-inferno-680390. html) [5] Bernard Edwards, 43, Musician In Disco Band and Pop Producer The New York Times April 22, 1996 (http:/ / www. nytimes. com/ 1996/ 04/ 22/ arts/ bernard-edwards-43-musician-in-disco-band-and-pop-producer. html) "As disco waned in the late 70's, so did Chic's album sales. But its influence lingered on as new wave, rap and dance-pop bands found inspiration in Chic's club anthems" [6] The Death of New Wave (http:/ / www. iaspm-us. net/ conferences/ 2009/ Papers/ Cateforis. pdf) Theo Cateforis Assistant Professor of Music History and Cultures in the Department of Art and Music Histories at Syracuse University 2009 [7] Encyclopedia of Contemporary British Culture Page 365 (http:/ / books. google. com/ books?id=iS4hsxKiMNgC& pg=PA365& lpg=PA365& dq="New+ Wave+ of+ New+ Wave"& source=bl& ots=7-cGHGIniS& sig=x80_O5dOhyBWF3mMho65xo9jqxQ& hl=en&

New Wave music

ei=0U63SclBjcG2B_GIiaoJ& sa=X& oi=book_result& resnum=7& ct=result#PPA365,M1) [8] New Wave/Post Punk Revival Allmusic (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=77:13761) [9] Is Chillwave the Next Big Music Trend? Wall Street Journal March 13, 2010 (http:/ / blogs. wsj. com/ speakeasy/ 2010/ 03/ 13/ is-chillwave-the-next-big-music-trend/ ) [10] Reynolds, Simon "Rip It Up and Start Again PostPunk 1978-1984" p160 [11] "New wave is back in hot new bands," MSNBC September 17, 2004 (http:/ / www. msnbc. msn. com/ id/ 6031887/ ) [12] Gendron, Bernard (2002). Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde (Chicago and London: University of Chicago Press), pp. 269270. [13] Clinton Heylin, Babylon's Burning (Conongate, 2007), pp. 140, 172. [14] Murray, Charles Shaar. Sleevenotes to CD reissue of The Boomtown Rats, reproduced at (http:/ / bobgeldof. info/ Disc/ rats1977. html). Retrieved on 2007-01-21. [15] Joynson, Vernon (2001). Up Yours! A Guide to UK Punk, New Wave & Early Post Punk. Wolverhampton: Borderline Publications. pp.12. ISBN1-899855-13-0. "For a while in 1976 and 1977 the terms punk and new wave were largely interchangeable. By 1978, things were beginning to change, although the dividing line between punk and new wave was never very clear." [16] Joynson, Vernon (2001). Up Yours! A Guide to UK Punk, New Wave & Early Post Punk. Wolverhampton: Borderline Publications. pp.11. ISBN1-899855-13-0. [17] Adams, Bobby. "Nick Lowe: A Candid Interview", Bomp magazine, January 1979, reproduced at (http:/ / powerpop. blogspot. com/ 2005/ 12/ pppda-nick-lowe-interview-from-1979. html). Accessed January 21, 2007. [18] Album Review Look Sharp (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=10:w9ftxq95ld6e) [19] Clinton Heylin, Babylon's Burning (Conongate, 2007), p. 17. [20] Savage, Jon. (1991) England's Dreaming, Faber & Faber [21] Power Pop genre Allmusic (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=77:383) [22] Post-Punk Allmusic (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=19:T728) [23] Greil Marcus, Ranters and Crowd Pleasers, p. 109. [24] Punk Rock Brings out a New Wave Associated Press October 29, 1977 (http:/ / news. google. com/ newspapers?id=bgwUAAAAIBAJ& sjid=BIsDAAAAIBAJ& pg=4832,4309527) [25] John Foxx Interviewed - The Quiet Man Speaks (http:/ / thequietus. com/ articles/ 00673-john-foxx-interview), , The Quietus, November 7, 2008 [26] Genre Punk/New Wave Allmusic (http:/ / allmusic. com/ cg/ amg. dll?p=amg& sql=77:4491) [27] St. James encyclopedia of Pop Culture (http:/ / findarticles. com/ p/ articles/ mi_g1epc/ is_tov/ ai_2419100891/ pg_1?tag=artBody;col1) [28] Anthems of the Blank Generation Time Magazine July 11, 1977 issue (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,919062-2,00. html) [29] American Punk Rock Allmusic (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=19:T555) [30] Is New-Wave Rock on the Way Out? Los Angeles Times February 16, 1980 posted by "The Daily Mirror" a Los Angeles Times blog February 16, 2010 (http:/ / latimesblogs. latimes. com/ thedailymirror/ 2010/ 02/ radio-consultant-sees-dim-future-for-new-wave-rock. html) [31] Rip It Up and Start Again Postpunk 1978-1984 by Simon Reynolds Pages 340,342-343 [32] 1986 Knight Ridder news article (http:/ / nl. newsbank. com/ nl-search/ we/ Archives?p_product=WE& s_site=kansas& p_multi=WE& p_theme=realcities& p_action=search& p_maxdocs=200& p_topdoc=1& p_text_direct-0=0EADB2EE79F08981& p_field_direct-0=document_id& p_perpage=10& p_sort=YMD_date:D& s_trackval=GooglePM) [33] The Pop Life The New York Times June 15, 1988 (http:/ / www. nytimes. com/ 1988/ 06/ 15/ arts/ the-pop-life-681988. html?scp=80& sq="new+ wave"+ music& st=nyt) [34] Rock Still Favorite Teen-Age music Gainesville Sun April 13, 1983 (http:/ / news. google. com/ newspapers?id=QJcRAAAAIBAJ& sjid=mOkDAAAAIBAJ& pg=2928,4154291& dq=new-wave-music) [35] Crossover: Pop Music thrives on black-white blend Knight Ridder News Service September 4, 1986 (http:/ / news. google. com/ newspapers?id=AO4gAAAAIBAJ& sjid=NnIFAAAAIBAJ& pg=4293,518718& dq=new-wave+ peter-gabriel& hl=en) [36] Where Are They Now: '80s New Wave Musicians ABC News 29 November 2007 (http:/ / abcnews. go. com/ GMA/ AMA/ story?id=3886672& page=1) [37] Goth styles and new wave tunes at weekly '80s night Newsday September 9, 2009 (http:/ / www. exploreli. com/ going-out/ bars-clubs/ goth-styles-and-new-wave-tunes-at-weekly-80s-night-1. 1431318) [38] The decade that never dies Still 80s Fetishizing in 09 Yale Daily News October 23, 2009 (http:/ / www. yaledailynews. com/ scene/ scene-cover/ 2009/ 10/ 23/ decade-never-dies/ ) [39] But what does it all mean? How to decode the John Hughes high school movies The Guardian September 26, 2008 (http:/ / www. guardian. co. uk/ film/ 2008/ sep/ 26/ drama. comedy1) [40] Why John Hughes Still Matters MTV May 7, 2010 (http:/ / www. mtv. com/ news/ articles/ 1633289/ 20100305/ story. jhtml) [41] The History of Rock Music: 1989-1994 (http:/ / www. scaruffi. com/ history/ cpt511. html) by Piero Scaruffi [42] POP REVIEW; "Knowing Just How Hard It Is to Be a Teen-Ager," New York Times, April 18, 1996 (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9E02E4DC1E39F93BA25757C0A960958260) [43] http:/ / www. spinner. com/ 2009/ 11/ 24/ coldplay-a-ha-mew-form-apparatjik/ [44] The Birthday Massacre Allmusic Overview (http:/ / www. allmusic. com/ cg/ amg. dll)

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[45] A British Bands Cerebral Electronics New York Times February 7, 2010 (http:/ / www. nytimes. com/ 2010/ 02/ 08/ arts/ music/ 08chip. html) [46] Cut Copy: Way more than New Order warmed over Toronto Star May 8, 2008 (http:/ / www. thestar. com/ entertainment/ article/ 422252) [47] Cut Copy show true colours Sydney Morning Herald April 7, 2008 (http:/ / www. smh. com. au/ news/ music/ cut-copy-show-true-colours/ 2008/ 04/ 06/ 1207420189511. html) [48] The Week Ahead The New York Times July 27, 2008 (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9906E0DF1031F934A15754C0A96E9C8B63& scp=66& sq=july+ 27,+ 2008& st=nyt) [49] Modular Christmas Party Sydney Morning Herald December 1, 2006 (http:/ / www. smh. com. au/ news/ gig-reviews/ modular-christmas-party/ 2006/ 11/ 30/ 1164777708371. html)"the "new new wave" of the Presets" [50] Shiny Toy Guns Allmusic bio (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=11:0pfexq9sldje~T1) [51] Hockey Allmusic bio (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=11:d9fixzegldte~T1) [52] Gwen Stefani MTV biography (http:/ / www. mtv. com/ music/ artist/ stefani_gwen/ artist. jhtml) [53] "Gwen Stefani's New Video Hits YouTube," People, November 15, 2007 (http:/ / www. people. com/ people/ article/ 0,,20160455,00. html) [54] Indie-rock band The Bravery records all the time and everywhere Schnectady Daily Gazette July 23, 2009 (http:/ / www. dailygazette. com/ news/ 2009/ jul/ 23/ 0723_bravery/ ) [55] "Daily Disc: The Ting Tings, We Started Nothing," CanWest New Service June 17, 2008 (http:/ / network. nationalpost. com/ np/ blogs/ theampersand/ archive/ 2008/ 06/ 17/ daily-disc-the-ting-tings-we-started-nothing. aspx) [56] "Download this: Ting Tings," Minneapolis Star Tribune, June 7, 2008 (http:/ / www. startribune. com/ entertainment/ music/ 19583179. html?location_refer=Entertainment) [57] "Critics Choice New CDs," New York Times April 28, 2008 (http:/ / www. nytimes. com/ 2008/ 04/ 28/ arts/ music/ 28choi. html?pagewanted=print) [58] Feathers fly over Ladyhawke's origins Sydney Morning Herald November 6, 2009 (http:/ / www. smh. com. au/ news/ entertainment/ music/ feathers-fly-over-ladyhawkes-origins/ 2009/ 11/ 05/ 1257247690143. html) [59] No 395: Marina and the Diamonds The Guardian 23 September 2008 (http:/ / www. guardian. co. uk/ music/ 2008/ sep/ 23/ marina. and. the. diamonds) [60] Marina & the Diamonds, 'The Family Jewels' Spin 19 May 2010 (http:/ / www. spin. com/ reviews/ marina-diamonds-family-jewels-chop-shopatlantic) [61] Reynolds, Simon. Rip It Up and Start Again: Postpunk 1978-1984 p. 398 [62] Tudor, Silke (11 September 2002), House of Tudor (http:/ / www. sfweekly. com/ 2002-09-11/ music/ house-of-tudor/ ), , retrieved 2007-06-25 [63] MTV Artist biography The Sounds (http:/ / www. mtv. com/ music/ artist/ sounds/ artist. jhtml#bio) [64] Album: The Drums, The Drums The Independent June 4, 2010 (http:/ / www. independent. co. uk/ arts-entertainment/ music/ reviews/ album-the-drums-the-drums-moshi-moshiisland-1991439. html) [65] http:/ / 80music. about. com/ od/ genresmovements/ p/ newwave. htm [66] http:/ / www. britannica. com/ eb/ article-9098396/ new-wave [67] http:/ / findarticles. com/ p/ articles/ mi_g1epc/ is_tov/ ai_2419100891/ pg_1?tag=artBody;col1 [68] http:/ / users. tpg. com. au/ sykespj/ punk2NW/ [69] http:/ / www. rollingstone. com/ rockdaily/ index. php/ 2008/ 04/ 11/ weekend-rock-list-eighties-new-wave/ [70] http:/ / www. rollingstone. com/ rockdaily/ index. php/ 2008/ 04/ 14/ readers-rock-list-eighties-new-wave/ [71] http:/ / news. google. com/ newspapers?id=8RMQAAAAIBAJ& sjid=tIsDAAAAIBAJ& pg=5864,1359601& dq=music+ |+ pop+ |+ rock+ new-wave [72] http:/ / www. mtv. com/ movies/ news/ articles/ 1617857/ story. jhtml [73] http:/ / books. google. com/ books?id=ODs8IEzC4Z0C& dq=The+ Untold+ Story+ of+ the+ Police+ and+ the+ Rise+ of+ New+ Wave+ Rock& printsec=frontcover& source=bl& ots=wRojlA2Jb5& sig=By88B5d4w9ipeY0nnI1S487w5yQ& hl=en& ei=nMDOSoqlH4TPlAedq52pCg& sa=X& oi=book_result& ct=result& resnum=4& ved=0CBMQ6AEwAw#v=onepage& q=& f=false [74] http:/ / www. krakowpost. com/ article/ 1849 [75] http:/ / news. google. com/ newspapers?id=oFY1AAAAIBAJ& sjid=eCUMAAAAIBAJ& pg=1480,26529883& dq=the-pale-fountains+ new-wave& hl=en

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Polystylism
Polystylism is the use of multiple styles or techniques in literature, art, film, or, especially, music, and is a postmodern characteristic. Some prominent contemporary polystylist composers include Peter Maxwell Davies, Michael Colgrass, Lera Auerbach, Sofia Gubaidulina, George Rochberg, Alfred Schnittke, Django Bates, Alexander Zhurbin, Lev Zhurbin and John Zorn. However, Gubaidulina, among others, has rejected the term as not applicable to her work.[1] Polystylist composers from earlier in the twentieth century include Charles Ives[2] and Eric Satie.[3] Among literary figures, James Joyce has been referred to as a polystylist.[4] Though perhaps not the original source of the term, the first important essay on the subject is Alfred Schnittke's essay "Polystylistic Tendencies in Modern Music (1971)"[5] The composers cited by Schnittke as those who make use of polystylism are Alban Berg, Luciano Berio, Pierre Boulez, Edison Denisov, Hans Werner Henze, Mauricio Kagel, Jan Klusak, Gyrgy Ligeti, Carl Orff, Arvo Prt, Krzystof Penderecki, Henri Pousseur, Rodion Shchedrin, Dmitri Shostakovich, Sergei Slonimsky, Karlheinz Stockhausen, Igor Stravinsky, Boris Tishchenko, Anton Webern, and Bernd Alois Zimmermann.

See also
21st-century classical music Postmodern music Eclecticism Eclecticism in music Bricolage Collage

References
[1] Vera Lukomsky, "Sofia Gubaidulina: 'My Desire Is Always to Rebel, to Swim against the Stream!'. Perspectives of New Music 36. no. 1 (Winter 1998): 541, citation on 24-26. [2] Nachum Schoffman, "Charles Ives's Song 'Vote for Names', Current Musicology 23 (1977): 5668. [3] Daniel Albright, "Postmodern Interpretations of Satie's Parade", Canadian University Music Review/Revue de Musique des Universits Canadiennes 22, no. 1 (2002): 2239. [4] Rudolph von Abele, "Film as Interpretation: A Case Study of Ulysses", Journal of Aesthetics and Art Criticism 31 (1973): 487500, citation on 495. [5] Alfred Schnittke, "Polystylistic Tendencies in Modern Music (1971)", in A Schnittke Reader, edited by Aleksandr Ivashkin, English translation by John Derek Goodliffe, 8790 (Bloomington: Indiana University Press, 2002) ISBN 0253338182, 9780253338181.

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Post-surrealism
Post-surrealism is a movement that arose in Southern California in 1934 when Helen Lundeberg and Lorser Feitelson wrote a manifesto explaining their desire to use art to convey the relationship between the perceptual and the conceptual. Sometimes this term is used to refer to art movement related to or influenced by surrealism, which occurred after a so-called period of "historical surrealism". Some have claimed that the term is unnecessary, because surrealism continues to the present day . Modern-day surrealist activity is sometimes called "post surrealism" by advocates of the idea that surrealism is "dead". Both Lundeberg and Feitelman participated in a showing of art for the Los Angeles Art Association on Wilshire Boulevard in 1954. Along with Stephen Longstreet and Elise Cavanna, the artists whose paintings were presented were known collectively as Functionists West. Feitelson and Cavanna showed only non-objective works. Both artists employed flat-colored and near geometrical shapes. Post-Surrealism was an American spin on the European-born art movement of the 20th Century. Beginning in the 1930s, artists searched for a style that would differentiate themselves from the dreamlike surrealism of Europe and more sub-conscious, earlier movements of Romanticism and Modernism. This new form of "Americana Dream" art began in Los Angeles, California. The cities' fanciful, other-worldly architecture and extravagant city-scape provided ample inspiration for burgeoning artists. Other cities such as San Francisco, New York, and Dallas became hotbeds for these creators. While exhibiting in California in 1934, Lorser Feitelson and Helen Lundberg displayed their work under the name post-surrealism. For the first time, artists were able to separate themselves through their own name, and even formed a Surrealism group which boasted such great artists as Philip Guston, Reuben Kadish, Harold Lehman [1], and Knud Merrild. As a social movement as well as art, the works being created at this time reflected the prevalent issues throughout the country. Undoubtedly, the war was a major factor in the surrealism movement. Although the works which focused on these events were surrealist, they are now classified as Social-surrealism. Dali influenced many social surrealists, including O. Louis Guglielmi, James Guy, Walter Quirt and David Smith, whose techniques can be seen in all of the aforementioned artists' works.

References
Los Angeles Times, Functionists Work Hailed As Brilliant, January 17, 1954, Page E7.

References
[1] http:/ / haroldlehman. com/ postreal. html

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Public Smog
Public Smog is an "atmospheric park" created by San Francisco-based artist Amy Balkin and her supporters through the use of financial, political, and legal methods. [1] The goal of Public Smog is to "highlight the complexities and contradictions of current environmental protocols." [2] .

The Park
The public smog atmospheric park consists of two areas which fluctuate in size and location. The upper park opened above the European Union in 2006 and the lower park is located over Californias South Coast Air Quality Management Districts Coastal Zone in 2004. Each was opened up through the purchasing of emissions offsets and then retiring the purchased air from use. Both parts of the park are currently closed.

Methodology
Some of the main methods used to create Public Smog are the purchase and withholding of emissions offsets and attempting to add the Earth's atmosphere to UNESCO's World Heritage List[3] .

External links
Public Smog on Wiser Earth [4]

References
[1] [2] [3] [4] Public Smog website (http:/ / www. publicsmog. org/ / ) Press Release from the Royal College of Art (http:/ / www. cca. rca. ac. uk/ publicsmog/ documents/ PressRelease_publicsmog. pdf) 'The New Romantics' The New Statesman December 4, 2006 (http:/ / www. newstatesman. com/ 200612040038) http:/ / www. wiserearth. org/ resource/ view/ 3b1c792307da75a13a5363eab09124c8/

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Russian postmodernism
Russian postmodernism refers to the cultural, artistic, and philosophical condition in Russia since the downfall of the Soviet Union and dialectical materialism. With respect to statements about post-Soviet philosophy or sociology, the term is primarily used by non-Russians to describe the state of economic and political uncertainty they observe since the fall of communism and the way this uncertainty affects Russian identity. 'Postmodernism' is, however, a term often used by Russian critics to describe contemporary Russian art and literature.

Artistic origins
In art, postmodernism entered the Soviet Union in the 1960s after the end of the Stalinist move toward liberalization with the advent of the Russian conceptualist movement. Beginning as an underground political-artistic move against the use of Socialist realism as a method of social control and becoming a full-fledged movement with the Moscow Conceptualists, Russian conceptualism used the symbolism of Socialist realism against the Soviet government.

See also
History of the Soviet Union (1953-1985) -- History of the Soviet Union (1985-1991) -- History of post-Soviet Russia -- Viacheslav Kuritsyn -- Mark Lipovetsky -- Modernism -- Postmodernism -- Russian literature -- Socialist realism -- Soviet Nonconformist Art

External links
The Origins and Meaning of Russian Postmodernism [1], Mikhail Epstein Russian Postmodernism [2] at Literary Encyclopedia [3]

References
[1] http:/ / www. emory. edu/ INTELNET/ af. rus. postmodernism. html [2] http:/ / www. litencyc. com/ php/ stopics. php?rec=true& UID=1365 [3] http:/ / www. litencyc. com/

Simulacrum

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Simulacrum
Simulacrum (plural: -cra), from the Latin simulacrum which means "likeness, similarity",[1] is first recorded in the English language in the late 16th century, used to describe a representation of another thing, such as a statue or a painting, especially of a god; by the late 19th century, it had gathered a secondary association of inferiority: an image without the substance or qualities of the original.[2] Philosopher Fredric Jameson offers photorealism as an example of artistic simulacrum, where a painting is created by copying a photograph that is itself a copy of the real.[3] Other art forms that play with simulacra include Trompe l'oeil,[4] Pop Art, Italian neorealism and the French New Wave.[5]

Simulacrum in philosophy
The simulacrum has long been of interest to philosophers. In his Sophist, Plato speaks of two kinds of image-making. The first is a faithful reproduction, attempted to copy precisely the original. The second is distorted intentionally in order to make the copy appear correct to viewers. He gives an example of Greek statuary, which was crafted larger on top than on bottom so that viewers from the ground would see it correctly. If they could view it in scale, they would realize it was malformed. This example from visual arts serves as a metaphor for philosophical arts and the tendency of some philosophers to distort truth in such a way that it appeared accurate unless viewed from the proper angle.[6] Nietzsche addresses the concept of simulacrum (but does not use the term) in The Twilight of the Idols, suggesting that most philosophers, by ignoring the reliable input of their senses and resorting to the constructs of language and reason, arrive at a distorted copy of reality.[7] Modern French social theorist Jean Baudrillard argues that a simulacrum is not a copy of the real, but becomes truth in its own right: the hyperreal. Where Plato saw two steps of reproduction faithful and intentionally distorted (simulacrum) Baudrillard sees four: (1) basic reflection of reality, (2) perversion of reality; (3) pretence of reality (where there is no model); and (4) simulacrum, which bears no relation to any reality whatsoever. Baudrillard uses the concept of god as an example of simulacrum.[8] In Baudrillards concept, like Nietzsches, simulacra are perceived as negative, but another modern philosopher who addressed the topic, Gilles Deleuze, takes a different view, seeing simulacra as the avenue by which accepted ideals or privileged position could be challenged and overturned.[9] Deleuze defines simulacra as "those systems in which different relates to different by means of difference itself. What is essential is that we find in these systems no prior identity, no internal resemblance."[10]

Simulacrum in literature, film, and television

Simulacra often make appearances in speculative fiction. Examples of simulacra in the sense of artificial or supernaturally created life forms include Ovids ivory statue from Metamorphoses, the medieval golem of Jewish folklore, Mary Shelleys creature from Frankenstein, Carlo Collodis Pinocchio, Karel apek's RUR (Rossum's Universal Robots [he was credited as the person who coined the term robot]), and Fritz Lang's Metropolis, with "Maria," the robotrix, Stanislaw Lem's Solaris and the synthetic life in Philip K. Dicks Do Androids Dream of Electric Sheep?. Another Philip K. Dick novel pertinently entitled The Simulacra centres on a fraudulent government led by a presidential simulacrum (more specifically, an android); another work of his called We can build you also revolves around this concept and features simulacra. Simulacra of worlds or environments may also appear: author Michael Crichton visited this theme several times, in Westworld and in Jurassic Park; other examples include the elaborately staged worlds of The Truman Show; The Matrix; Synecdoche, New York; Equilibrium; and in Tales from the Darkside in the episode Bigalow's Last Smoke. Some stories focus on simulacra as objects. One example would be Oscar Wildes The Picture of Dorian Gray. The term also appears in Vladimir Nabokov's Lolita.

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Simulacrum and recreation

Recreational simulacra include reenactments of historical events or replicas of landmarks, such as Colonial Williamsburg and the Eiffel Tower, and constructions of fictional or cultural ideas, such as Fantasyland at Disneys Magic Kingdom. The various Disney parks have by some philosophers been regarded as the ultimate recreational simulacra, with Baudrillard noting that Walt Disney World Resort is a copy of a copy, a simulacrum to the second power.[11] In 1975, Italian author Umberto Eco expressed his belief that at Disneys parks, we not only enjoy a perfect imitation, we also enjoy the conviction that imitation has reached its apex and afterwards reality will always be inferior to it."[12] This is for some an ongoing concern. Examining the impact of Disneys simulacrum of national parks, Disney's Wilderness Lodge, environmentalist Jennifer Cypher and anthropologist Eric Higgs expressed worry that the boundary between artificiality and reality will become so thin that the artificial will become the centre of moral value.[13] Eco also refers to commentary on watching sports as sports to the power of three, or sports cubed. First, there are the players who participate in the sport, the real; then the onlookers merely witnessing it; then, the commentary itself on the act of witnessing the sport. Visual artist Paul McCarthy has created entire installations based upon Pirates of the Caribbean, and theme park simulacra, with videos playing inside the installation itself.

Caricature as simulacra
An interesting example of simulacra is caricature. Where an artist draws a line drawing that closely approximates the facial features of a real person, the sketch cannot be easily identified by a random observer; the sketch could just as easily be a resemblance of any person, rather than the particular subject. However, a caricaturist will exaggerate prominent facial features far beyond their actuality, and a viewer will pick up on these features and be able to identify the subject, even though the caricature bears far less actual resemblance to the subject.

Simulacra in iconography
Beer (1999: p.11) employs the term 'simulacrum' to denote the formation of a sign or iconographic image whether iconic or aniconic in the landscape or greater field of Thanka Art and Tantric Buddhist iconography. For example, an iconographic representation of a cloud formation sheltering a deity in a thanka or covering the auspice of a sacred mountain in the natural environment may be discerned as a simulacrum of an 'auspicious canopy' (Sanskrit: Chhatra) of the Ashtamangala.[14] Perceptions of religious imagery in natural phenomena approaches a cultural universal and may be proffered as evidence of the natural creative spiritual engagement of the experienced environment endemic to the human psychology.

Word usage
The latinised plural simulacra is interchangeable with the anglicised version simulacrums. http:/ / www. merriam-webster.com/dictionary/simulacrum

See also
Jean Baudrillard Body double Doppelgnger Gilles Deleuze Look-alike Pareidolia

Pastiche Simulated reality Songlines

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External links
"Two Essays: Simulacra and Science Fiction; Ballards Crash" [15] Baudrillard, Jean "The Simulacrum's Revenge," sec 3.2 of Flatline Constructs: Gothic and Cybernetic-Theory Fiction [16] Fisher, Mark

References
[1] "Word of the Day Archive: Thursday May 1, 2003" dictionary.com http:/ / dictionary. reference. com/ wordoftheday/ archive/ 2003/ 05/ 01. html retrieved May 2, 2007 [2] "simulacrum" The New Shorter Oxford English Dictionary 1993 [3] Massumi, Brian. "Realer than Real: The Simulacrum According to Deleuze and Guattari." http:/ / www. anu. edu. au/ hrc/ first_and_last/ works/ realer. htm retrieved May 2, 2007 [4] Baudrillard, Jean. "XI. Holograms." Simulacra and Simulations. transl. Sheila Faria Glaser. http:/ / www. egs. edu/ faculty/ jean-baudrillard/ articles/ simulacra-and-simulations-xi-holograms/ retrieved May 5, 2010 [5] Massumi, Brian. "Realer than Real: The Simulacrum According to Deleuze and Guattari." http:/ / www. anu. edu. au/ hrc/ first_and_last/ works/ realer. htm retrieved May 2, 2007 [6] Plato. The Sophist. transl. Benjamin Jowett. http:/ / philosophy. eserver. org/ plato/ sophist. txt retrieved May 2, 2007 [7] Nietzsche, Reason in Philosophy. Twilight of the Idols. transl. Walter Kaufmann and R.J. Hollingdale. 1888. http:/ / www. handprint. com/ SC/ NIE/ GotDamer. html#sect3 retrieved May 2, 2007 [8] Baudrillard, Jean. excerpt Simulacra and Simulations. http:/ / www. stanford. edu/ dept/ HPS/ Baudrillard/ Baudrillard_Simulacra. html retrieved May 2, 2007. [9] Deleuze, Gilles. Difference and Repetition. transl. Paul Patton. Columbia University Press: Columbia, 1968, p. 69. [10] p.299. [11] Baudrillard, Jean. "Disneyworld Company." transl. Francois Debrix. Liberation. March 4, 1996. http:/ / www. egs. edu/ faculty/ jean-baudrillard/ articles/ disneyworld-company/ retrieved May 5, 2010. [12] Eco, Umberto. "The City of Robots" Travels in Hyperreality. Reproduced in relevant portion at http:/ / www. acsu. buffalo. edu/ ~breslin/ eco_robots. html retrieved May 2, 2007 [13] Cypher, Jennifer and Eric Higgs. Colonizing the Imagination: Disneys Wilderness Lodge. http:/ / www. ethics. ubc. ca/ papers/ invited/ cypher-higgs. html retrieved May 2, 2007 [14] Beer, Robert (1999). The Encyclopedia of Tibetan Symbols and Motifs, (Hardcover). Shambhala Publications. ISBN 157062416X, ISBN 978-1570624162, p.11 [15] http:/ / www. depauw. edu/ sfs/ backissues/ 55/ baudrillard55art. htm [16] http:/ / www. cinestatic. com/ trans-mat/ Fisher/ FC3s2. htm

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Art strike
First known reference to art strike is in Alain Jouffroy's essay "What's To Be Done About Art?" (included in "Art and Confrontation," New York Graphic Society 1968): "It is essential that the minority advocate the necessity of going on an 'active art strike' using the machines of the culture industry to set it in total contradiction to itself. The intention is not to end the rule of production, but to change the most adventurous part of 'artistic' production into the production of revolutionary ideas, forms and techniques." May 22nd 1970 - New York Art Strike against War, Repression, Racism and Sexism by Art Workers Coalition 1977-1980 - Gustav Metzger's call for artists to withdraw their labour for a minimum of 3 years. "Art Into Society/Society Into Art" (ICA, London 1974) Art Strike 1990-1993 Campaign launched in 1986 by Stewart Home which called upon all artists to cease their artistic work between January 1, 1990 and January 1, 1993 Art Strike Biennial in Alytus from August 18-24th, 2009 was called by Redas Dirys and the Second Temporary Art Strike Action Committee Alytus Chapter (STASAC-Alytus) in response to Vilnius becoming European Capital of Culture for 2009.[1] Spart Strike 2009 - 2012 following the Art Strike Biennial.

See also
Anti-art

References
[1] 'Alytus - Meno striko sostine', Alytaus Naujienos, No.155, 21 August 2009

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Superstroke
Superstroke is a term used for an post modern art movement with its origins in South Africa. Superstroke is one of the influential art movements regarding African modernism and abstraction. The word "Superstroke" implies the super expressive brush stroke. The Superstroke art movement was initially founded as a reaction to the impact that the Superflat art movement, founded by Takashi Murakami had on modern contemporary art.

Manifesto
The manifesto for the Superstroke art movement was written in 2008 by the South African artist Conrad Bo and deals with various forms of how paintings in the movement should be executed. This includes the statement that paintings should be created by using very expressive brush strokes. The manifesto also deals with photography and states that expressionism is more important than photo-realism. Then the manifesto states that abstract and figurative art is allowed in Superstroke. It goes further and states that certain subject matters are encouraged, and also makes mention of an [African] theme. Finally the manifesto states that the concept of "art for the sake of art" does not apply, and that members of the movement must produce paintings with texture, and excessive brush or pencil strokes.

Influences
Although the concept of Superstroke was a reaction to Superflat, the paintings in the Superstroke art movement are heavily influenced by Alberto Giacometti, Pablo Picasso and Vincent Van Gogh.

Artwork
Art in Superstroke, varies from realism to abstract, monochrome and full color. Different media such as collage, charcoal and plaster of paris are used. Paintings in Superstroke are also identifiable by the frequent use of mathematical signs such as plus, minus, and equal signs.

References
One Small Seed Magazine - The South African Pop Culture Magazine Peffer, J. 2009. Art at the end of apartheid. Minneapolis: University of Minnesota Press.

External links
Information about the Superstroke art movement manifesto [1] The Elements of Superstroke [2]

References
[1] http:/ / superstrokeartmovement. blogspot. com/ [2] http:/ / www. thefreelibrary. com/ The+ 4+ Elements+ of+ Superstroke-a01074012942

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Systems art
Systems art is art influenced by systems theory, which reflects on natural systems, social systems and social signs of the art world itself.[1] Systems art emerged as part of the first wave of the conceptual art movement extended in the 1960s and 1970s. Closely related and overlapping terms are Anti-form movement, Cybernetic art, Generative Systems, Process art, Systems aesthetic, Systemic art, Systemic painting and Systems sculptures.

Related fields of systems art

Anti-form movement
By the early 1960s Minimalism emerged as an abstract movement in art (with roots in geometric abstraction via Malevich, the Bauhaus and Mondrian) which rejected the idea of relational, and subjective painting, the complexity of Abstract expressionist surfaces, and the emotional zeitgeist and polemics present in the arena of Action painting. Minimalism argued that extreme simplicity could capture all of the sublime representation needed in art. Associated with painters such as Frank Stella, minimalism in painting, 1964 photo of Frank Stella by Ugo Mulas. as opposed to other areas, is a modernist movement. Depending on the context, minimalism might be construed as a precursor to the postmodern movement. Seen from the perspective of writers who sometimes classify it as a postmodern movement, early minimalism began and succeeded as a modernist movement to yield advanced works, but which partially abandoned this project when a few artists changed direction in favor of the anti-form movement. In the late 1960s the term Postminimalism was coined by Robert Pincus-Witten[2] to describe minimalist derived art which had content and contextual overtones which minimalism rejected, and was applied to the work of Eva Hesse, Keith Sonnier, Richard Serra and new work by former minimalists Robert Smithson, Robert Morris, Bruce Nauman, Sol LeWitt, and Barry Le Va, and others. Minimalists like Donald Judd, Dan Flavin, Carl Andre, Agnes Martin, John McCracken and others continued to produce their late modernist paintings and sculpture for the remainder of their careers.

Cybernetic art
Audio feedback and the use of tape loops, sound synthesis and computer generated compositions reflected a cybernetic awareness of information, systems and cycles. Such techniques became widespread in the 1960s in the music industry. The visual effects of electronic feedback became a focus of artistic research in the late 1960s, when video equipment first reached the consumer market. Steina and Woody Vasulka, for example, used "all manner and combination of audio and video signals to generate electronic feedback in their respective of corresponding media."[3] With related work by Edward Ihnatowicz, Tsai Wen-Ying and cybernetician Gordon Pask and the animist kinetics of Robert Breer and Jean Tinguely, the 1960s produced a strain of cyborg art that was very much concerned with the shared circuits within and between the living and the technological. A line of cyborg art theory also emerged during the late 1960s. Writers like Jonathan Benthall and Gene Youngblood drew on cybernetics and cybernetic. The most substantial contributors here was the American critic and theorist Jack Burnham. In "Beyond Modern Sculpture" from 1968 he builds cybernetic art into an extensive theory that centers on art's drive to imitate and ultimately reproduce life.[4]

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Generative systems
Generative art is art that has been generated, composed, or constructed in an algorithmic manner through the use of systems defined by computer software algorithms, or similar mathematical or mechanical or randomised autonomous processes. Generative Systems was a program established at the School of the Art Institute of Chicago in 1970 in response to social change brought about in part by the computer-robot communications revolution.[5] The program, which brought artists and scientists together, was an effort at turning the artist's passive role into an active one by promoting the investigation of Joseph Nechvatal's Orgiastic abattOir: a contemporary scientifictechnological systems and their relationship computer-robotic assisted acrylic, 2004 to art and life. Unlike copier art, which was a simple commercial spin-off, Generative Systems was actually involved in the development of elegant yet simple systems intended for creative use by the general population. Generative Systems artists attempted to bridge the gap between elite and novice by directing the line of communication between the two, thus bringing first generation information to greater numbers of people and bypassing the entrepreneur.[5]

Process art
Process art is an artistic movement as well as a creative sentiment and world view where the end product of art and craft, the objet dart, is not the principal focus. The 'process' in process art refers to the process of the formation of art: the gathering, sorting, collating, associating, and patterning. Process art is concerned with the actual doing; art as a rite, ritual, and performance. Process art often entails an inherent motivation, rationale, and intentionality. Therefore, art is viewed as a creative journey or process, rather than as a deliverable or end product. In the artistic discourse the work of Jackson Pollock is hailed as an Jackson Pollock's unique painting techniques. antecedent. Process art in its employment of serendipity has a marked correspondence with Dada. Change and transience are marked themes in the process art movement. The Guggenheim Museum states that Robert Morris in 1968 had a groundbreaking exhibition and essay defining the movement and the Museum Website states as "Process artists were involved in issues attendant to the body, random occurrences, improvisation, and the liberating qualities of nontraditional materials such as wax, felt, and latex. Using these, they created eccentric forms in erratic or irregular arrangements produced by actions such as cutting, hanging, and dropping, or organic processes such as growth, condensation, freezing, or decomposition".[6]

Systemic art

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According to Chilvers (2004) "earlier in 1966 the British art critic Lawrence Alloway had coined the term "Systemic art", to describe a type of abstract art characterized by the use of very simple standardized forms, usually geometric in character, either in a single concentrated image or repeated in a system arranged according to a clearly visible principle of organization. He considered the chevron paintings of Kenneth Noland as examples of Systemic art, and considered this as a branch of Minimal art".[7]

Kenneth Noland, Trans West, 1965.

Systemic painting
Systemic Painting, according ot Auping (1989) "was the title of an highly influential exhibition at the Guggenheim Museum in 1966 assembled and introduction written by Lawrence Alloway as curator. The show contained numerous works that many critics today would consider part of the Minimal art"[8] . In the catalogue Alloway noted, that ... "paintings, such as those in this exhibition are not, as has been often claimed, impersonal. The personal is not expunged by using a neat technique: anonymity is not a consequence of highly finishing a painting".[9] The term "systemic painting" later on has become the name for artists who employ systems make a number of aesthetic decisions before commencing to paint.[10]

Systems sculpture
According to Feldman (1987) "serial art, serial painting, systems sculpture and ABC art, where art styles of the 1960s and 1970s in which simple geometric configurations are repeated with little or no variation. Sequences becomes important as in mathematics and linguistic context. These works rely on simple arrangements of basic volumes and voids, mechanically produced surfaces, and algebraic permutations of form. The impact on the viewer, however, is anything but simple".[11]

See also
Algorithmic art Dynamic Painting Computer art Conceptual art Evolutionary art Fractal art Information art Interactive art Media art Process music Software art Sustainable art Systems thinking Systems music

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Further reading
Vladimir Bonacic (1989), "A Transcendental Concept for Cybernetic Art in the 21st Century", in: Leonardo, Vol. 22, No. 1, Art and the New Biology: Biological Forms and Patterns (1989), pp.109-111. Jack Burnham (1968), "Systems Esthetics" [12], in: Artforum (September, 1968). Karen Cham, Jeffrey Johnson (2207), "Complexity Theory: A Science of Cultural Systems?" [13], in: M/C journal, Volume 10 Issue 3 Jun. 2007 Francis Halsall (2007), "Systems Aesthetics and the System as Medium" [14], Systems Art Symposium Whitechapel Art Gallery, 2007. Pamela Lee, (2004), Chronophobia. Cambridge, MA: MIT Press. Eddie Price (1974), Systems Art: An Enquiry, City of Birmingham Polytechnic, School of Art Education, ISBN 0905017005 Edward A. Shanken, Cybernetics and Art: Cultural Convergence in the 1960s [15], in Bruce Clarke and Linda Dalrymple Henderson, eds. From Energy to Information: Representation in Science, Technology, Art, and Literature. (Stanford: Stanford University Press, 2002): 255-77. Edward A. Shanken, Art in the Information Age: Technology and Conceptual Art [16], in SIGGRAPH 2001 Electronic Art and Animation Catalog, (New York: ACM SIGGRAPH, 2001): 8-15; expanded and reprinted in Art Inquiry 3: 12 (2001): 7-33 and Leonardo 35:3 (August, 2002): 433-38. Edward A. Shanken, The House That Jack Built: Jack Burnhams Concept of Software as a Metaphor for Art [17] , Leonardo Electronic Almanac 6:10 (November 1998). Reprinted in English and Spanish in a minima 12 (2005): 140-51. Luke Skrebowski (2008), "All Systems Go: Recovering Hans Haacke's Systems Art", in Grey Room, Winter 2008, No. 30, Pages 5483.

External links
Systems Art Symposium [18], in de Whitechapel Art Gallery in London in 2007. Observing 'Systems-Art' from a Systems-Theoretical Perspective [19] by Francis Halsall: summary of presentation on Chart 2005, 2005.

References
[1] Systems art (http:/ / www. aat-ned. nl/ wwwopac. exe?database=aat& language=1& TAB=& %0=2583), Dutch Art & Architecture Thesaurus, retrieved March 2008. [2] Movers and Shakers, New York, "Leaving C&M", by Sarah Douglas, Art+Auction, March 2007, V.XXXNo7. [3] Edward A. Shanken, "From Cybernetics to Telematics: The Art, Pedagogy, and Theory of Roy Ascott," in Roy Ascott (2003, 2007), Telematic Embrace: Visionary Theories of Art, Technology, and Consciousness, University of California, ISBN 0520222946. [4] Mitchell Whitelaw (2004), Metacreation: Art and Artificial Life, MIT Press, ISBN 0262232340 p.17-18. [5] Sonia Landy Sheridan, "Generative Systems versus Copy Art: A Clarification of Terms and Ideas", in: Leonardo, Vol. 16, No. 2 (Spring, 1983), pp. 103-108. doi:10.2307/1574794 [6] Source: http:/ / www. guggenheimcollection. org/ site/ glossary_Process_art. html (accessed: Thursday, March 15, 2007) [7] "Systemic art." The Oxford Dictionary of Art. Ed. Ian Chilvers. Oxford University Press, 2004. eNotes.com. 2006. 19 Mar, 2008 systemic-art (http:/ / www. enotes. com/ oxford-art-encyclopedia/ ) [8] Michael Auping (1989), Abstraction, Geometry, Painting: Selected Geometric Abstract Painting, Albright-Knox Art Gallery, page 72. [9] Lawrence Alloway, "Systemic Painting", in: Minimal Art: A Critical Anthology, by Gregory Battcock (1995). p.19. [10] John Albert Walker (1973), Glossary of Art, Architecture, and Design Since 1945: Terms and Labels, p.197. [11] Edmund Burke Feldman (1987), Composition (Art), H.N. Abrams, ISBN 0139406026. [12] http:/ / www. dxarts. washington. edu/ courses/ 202/ current/ gallery/ burnham. pdf [13] http:/ / journal. media-culture. org. au/ 0706/ 08-cham-johnson. php [14] http:/ / discussion. systemsart. org/ [15] http:/ / www. artexetra. com/ / CyberneticsArtCultConv. pdf [16] http:/ / lbs. mit. edu/ isast/ articles/ shanken. pdf [17] http:/ / www. artexetra. com/ House. pdf

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[18] http:/ / www. systemsart. org/ symposium. html [19] http:/ / www. chart. ac. uk/ chart2005/ abstracts/ halsall. htm

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Postmodern theatre
Postmodern theatre is a recent phenomenon in world theatre, coming as it does out of the postmodern philosophy that originated in Europe in the 1960s. Postmodern theatre emerged as a reaction against modernist theatre. Most postmodern productions are centered around highlighting the fallibility of definite truth, instead encouraging the audience to reach their own individual understanding. Essentially, thus, postmodern theatre raises questions rather than attempting to supply answers.

Postmodern Techniques
Despite its rejection of genre and style a postmodern theatrical production might make use of some or all of the following techniques: 1. The accepted norms of seeing and representing the world are challenged and disregarded, while experimental theatrical perceptions and representations are created. 2. A diverse pastiche of different textualities and media forms are used, including the simultaneous use of multiple art or media forms, and there is the 'theft' of a heterogeneous group of artistic forms. 3. Narrative need not be complete but can be broken, paradoxical and imagistic. There is a movement away from linearity to multiplicity (to inter-related 'webs' of storying), where acts and scenes give way to a series of peripatetic dramatic moments. 4. Characters are fragmented, forming a collection of contrasting and parallel shards stemming from a central idea, theme or traditional character. 5. Each new performance of a theatrical pieces is a new Gestalt, a unique spectacle, with no intent on methodically repeating a play. 6. The audience is integral to the shared meaning making of the performance process and are included in the dialogue of the play. 7. There is a rejection of the precepts of "High" and "Low" art. The production exists only in the viewers mind as what the viewer interprets, nothing more and nothing less. 8. The rehearsal process in a theatrical production is driven more by shared meaning-making and improvisation, rather than the scripted text. 9. The play steps back from reality to create its own self conscious atmosphere. This is sometimes referred to as meta-theatre While these techniques are often found in postmodern productions they are never part of a centralised movement or style. Rather, they are tools for authentic introspection, questioning and representation of human experience.

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Notable Examples of Postmodern Theatre

Ozono Production's "Fuerza Bruta" Heiner Mullers "Hamletmachine" Ben Elton's "Popcorn"

See also
Postmodernism Postmodernity Poststructuralism Postmodern plays on Wikipedia

External links
Forced Entertainment http://www.forcedentertainment.com Fuerza Bruta http://www.fuerzabruta.net/

The Thing (art project)

The Thing is an international net-community of artists and art-related projects that was started in 1991 by Wolfgang Staehle. The Thing was launched as a mailbox system accessible over the telephone network in New York feeding a Bulletin Board System (BBS), a form of online community dialogue used before the advent of the World Wide Web.[1] By the late 1990s, The Thing grew into a diverse online community made up of dozens of members' Web sites, mailing lists, a successful Web hosting service, a community studio in Chelsea (NYC), and the first Web site devoted to Net Art: bbs.thing.net.[2]

The Thing website (circa 1998)

History
The Thing BBS (1991)
In 1991, The Thing began as a Bulletin Board System (BBS) focusing on contemporary art and cultural theory.[3] In 1990, the writer and critic Blackhawk (having recently produced the film Cyberpunk) taught Wolfgang Staehle many of the abilities he needed to start the original The Thing BBS. Blackhawk was the first person Staehle turned to after conceiving the idea for an electronic culture resource based on the model of Joseph Beuys's Social sculpture. Blackhawk and Wolfgang jointly set up the editorial structure of the original BBS and planned for many of the then experimental activities that took place. Other people who helped develop and shape the content of the early BBS included Josefina Ayerza, Dike Blair, Donald Newman, Jordan Crandall, David Platzker, Josh Decter, Rainer

The Thing (art project) Ganahl, Julia Scher, Barry Schwabsky, Morgan Garwood, Franz von Stauffenberg and Benjamin Weil. A second node, The Thing Cologne, was added in 1992, followed by The Thing Vienna in November 1993. Nodes in Berlin and elsewhere were soon to follow.

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The Thing on the Web (1995)

The Thing changed its form when a website was created for a presentation at the 1995 Ars Electronica. Credits on the 1995 website also name Nicky Chaikin, John F. Simon Jr., Wolfgang Staehle, Rob Keenan, Darryl Erentzen and John Rabasa.[4] Since 1995, The Thing set up an independent art network with hardware of its own that offered arts communities ways to establish themselves, to send information to one another and also to conceive of new artistic practices deriving from conceptual art and from performance art. The idea was that working with the Net was a way to operate around the institutions of art distribution of the day.[5] In 1998 Max Kossatz designed The Thing Communicator a website mimicking many functions of the original BBS, including member login, chat and messaging.[6] The most interactive area of The Thing consisted of various message boards offering forums for art theory debate, news and gossip, ongoing dialogue and an open-access flow of information, as well as several online versions of art journals. Alongside discussion forums, The Thing has offered artworks in the form of graphics downloadable to the home personal computer, for example by Peter Halley.

thing.net communities
The Thing has enabled a diverse group of artists, critics, curators, and activists to use the internet in its early stages. At its core, The Thing is a social network, made up of individuals from diverse backgrounds with a wide range of expert knowledge. From this social hub, The Thing has built an array of programs and initiatives, in both technological and cultural networks. During its first five years, TT became widely recognized as one of the founding and leading online centers for new media culture.[7] Its activities include hosting artists' projects and mailing lists - as well as publishing cultural criticism. The Thing has also organized many public events and symposia on such topics as the state of new media arts, the preservation of online privacy, artistic innovations in robotics, and the possibilities of community empowerment through wireless technologies. In 1997, thing.net communications, LLC, an Internet Service Provider (ISP) was incorporated by Wolfgang Staehle, Gisela Ehrenfried and Max Kossatz. The ISP was to provide a financial backbone for The Thing Inc. (a 501 c 3 non profit organization). thing.net has hosted arts and activist groups and publications including P.S.1 Contemporary Art Center, Artforum, Mabou Mines, Willoughby Sharp Gallery, Zingmagazine, Journal of Contemporary Art, RTMark and Tenant.net. Among many others, artists and projects associated with thing.net have included Sawad Brooks, Heath Bunting, Cercle Ramo Nash, Vuk Cosic, Ricardo Dominguez, etoy, GH Hovagimyan, Jrme Joy, John Klima, Jenny Marketou, Mariko Mori, Prema Murty, Mark Napier, Joseph Nechvatal, Phil Niblock, Daniel Pflumm, Francesca da Rimini, Beat Streuli and Beth Stryker.

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The Thing global

The Thing Amsterdam was founded by Walter van der Cruijsen The Thing Basel was founded by Barbara Strebel and Rik Gelles The Thing Berlin was founded Ulf Schleth The Thing Cologne was founded by Michael Krome The Thing Dsseldorf was founded by Jrg Sasse The Thing Frankfurt was founded by Andreas Kallfelz The Thing Hamburg (1993-94) was founded by Hans-Joachim Lenger The Thing Hamburg (2006-2009) was founded by the local art association "THE THING HAMBURG" The Thing London was founded by Andreas Ruethi The Thing New York was founded by Wolfgang Staehle The Thing Stockholm was founded by Magnus Borg The Thing Vienna was founded by Helmut Mark and Max Kossatz The Thing Roma was founded by Marco Deseriis and Giuseppe Marano

References
Dieter Daniels, Gunther Reisinger (Eds.) Net Pioneers 1.0: Contextualizing Early Net-Based Art, Sternberg. 2010. Christiane Paul, Digital Art, London: Thames & Hudson Ltd., p. 111 Edward A. Shanken, Art and Electronic Media. London: Phaidon, 2009. ISBN 9780714847825, p. 50 Mark Tribe and Reena Jana. New Media Art. Cologne: Taschen Verlag. pp. 22-23

External links
http://thing.net/(current url) http://old.thing.net/(1991) http://www.thething.it/ http://www.ecn.org/thingnet/frameset.html (Roma) http://www.thing-hamburg.de/(Hamburg) http://www.thing-frankfurt.de/(http://www.thing-net.de/) (Frankfurt) http://www.thing.de/(Berlin) http://www.thing.at/(Vienna) http://www.thing.desk.nl/(Amsterdam) http://www.thing.ch/(Basel, closed)

References
[1] [2] [3] [4] [5] [6] [7] Edward A. Shanken, Art and Electronic Media. London: Phaidon, 2009, p. 50 Mark Tribe and Reena Jana. New Media Art. Cologne: Taschen Verlag. pp. 22-23 Dieter Daniels, Gunther Reisinger (Eds.) Net Pioneers 1.0: Contextualizing Early Net-Based Art, Sternberg. 2010. http:/ / old. thing. net/ Mark Tribe and Reena Jana. New Media Art. Cologne: Taschen Verlag. p. 23 Christiane Paul, Digital Art, Thames & Hudson Ltd., p. 111 Christiane Paul, Digital Art, Thames & Hudson Ltd., p. 111

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This is the Public Domain

This is the Public Domain is an art project designed to look at the difficulty in demarcating a piece of land as part of the international commons for perpetuity within the United States.[1] [2]

History
This is the Public Domain was created by San Francisco based artist Amy Balkin.[3] In 2003, Balkin purchased 2.5 acres of land in Tegachapi California[4] [5] with the intention of giving them to a "global everyone." As a means of doing this, Balkin looked into a number of legal strategies within the constraints of property and copyright law.

Legal Tactics
Those working to create This is the Public Domain have attempted a number of legal strategies to achieve their goal.[1] . The first was attempting to copyright and then enter into the public domain, the land within the project's boundaries as a conceptual artwork. However, the artists involved learned that one can only give away the rights of works which can be reproduced. In order to deal with this limitation, a bench was created and the land was declared an extension of said bench. The second was to enter the land into the public domain by putting the land into a trust and then distributing the license which allows people to occupy or modify the land. Included in the license is that the land must either be licensed for universal use or for no one's use. Redistribution of this license is allowed, but modification is not. The final three strategies appear to be theoretical at this point. One is the creation of a bearer corporation which controls the land. The upside to this from the artists' perspective is that the land would have strong legal protection, but they question whether corporate control is the proper way to achieve it. Another is creating a Limited Common Property Regime. This is seen as acceptable if one can include the entire world as members of the regime, but they have doubts about whether or not that would be possible. The final is creating a land trust. However, this would require private ownership and thus is likely to be rejected.

External links
"This is the Public Domain" travel guide [6] "This is the Public Domain" on Google Maps [7]

References
[1] [2] [3] [4] [5] [6] [7] 'This is the Public Domain' Mute Magazine May 9, 2007 (http:/ / www. metamute. org/ en/ This-is-the-Public-Domain/ ) Press release from the Royal College of Art (http:/ / www. cca. rca. ac. uk/ publicsmog/ documents/ PressRelease_publicsmog. pdf) "This is the Public Domain in Arts & Ecology magazine (http:/ / www. artsandecology. org. uk/ magazine/ artworks/ project-1/ / / ) Haring Woods Associates (http:/ / www. artofcommonspace. org/ site/ 75/ 325. html) [http://www.cca.edu/calendar/1163 California College of the Arts http:/ / www. world66. com/ northamerica/ unitedstates/ california/ deserts/ thisisthepublicdomain/ http:/ / maps. google. com/ maps?f=q& source=s_q& hl=en& geocode=& q=35. 085000+ -118. 281000& sll=37. 0625,-95. 677068& sspn=27. 423305,79. 013672& ie=UTF8& ll=35. 085,-118. 281& spn=0. 000863,0. 002411& t=h& z=19/

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Tradigital art
Tradigital art most commonly refers to art (including animation) that combines both traditional and computer-based techniques to implicate an image.[1] It is related to digital art, traditional art, information art, new media art, video art, interactive art, and internet art.

Background
Artist and teacher Judith Moncrieff first coined the term. In the early 1990s, while an instructor at the Pacific Northwest College of Art, Moncrieff invented and taught a new digital medium called "Tradigital". The school held a competition between Moncrieff's students, who used the medium to electronically combine everything from photographs of costumes to stills from videotapes of performing dancers.[2] [3] Moncrieff also referred to her business entity (formerly "Moncrieff Studios") as "Tradigital Imaging" around the same period. Moncrieff was one of five founding members of the digital art collective called "Unique Editions". These five artistsHelen Golden, Bonny Lhotka, Dorothy Krause[4] , Judith Moncrieff, and Karin Unique Editions Schminkecombined their expertise in traditional studio media and top, left to right: Bonny Lhotka, Judith techniques with digital imaging to produce original fine art and Moncrieff; editions. The artists met in June, 1994, at "Beyond the Digital Print", a bottom, left to right: Dorothy Krause, Karin Schminke, Helen Golden workshop organized by Krause at Massachusetts College of Art and Design in Boston. The artists' varied backgrounds are evident in their mixed media approach to using the computer as an art-making tool. Although every image is conceived and executed at least in part on the computer, the range of work includes one of a kind paintings, collages, Polaroid and image transfers, monotypes and prints on such varied substrates as canvas, handmade paper, and embossed metal. Moncrieff used the term "Tradigital media" to describe this merging of traditional and digital tools and "tradigitalism" as a name for this emerging movement. Unique Editions also served as a research and public relations entity for exploring technologies and promoting digital art. The group forged links with hardware and software developers in an effort to provide feedback on their products from the artist's perspective. It served as a demonstration to the rest of the art world of the role of digital technologies in the artist's studio. Unique Editions became inactive in 1997; however, Golden and Moncrieff continued to work together under the name, "Tradigital Fine Art".[3] Independently in the early 1990s, artist Lisa Wray was developing the fine art style she calls "Renaissance of Metaphysical Imagery". Prototypes were made for each work from color copies, color photos or film negatives made in her graphic arts darkroom. In 1990, she visited the only two places in the country with proprietary computer systems capable of assembling her prototypes: Raphael Digital Transparencies in Houston Texas, and Dodge Color Laboratories in Washington D.C. The first two prototypes, Brew of Life and Fantasy, were assembled by Dodge Color Laboratories on a Superset machine that was first developed by the Department of Defense. The final art was archived on 1" magnetic tape, and then output as an 11x14 color film transparency. Lisa discovered Judith Montcrieff and her pioneering efforts with Unique Editions and Tradigital Fine Art, in the early 1990s, found the term, "Tradigital", and also used the term to describe her own work.[3]

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Other uses of the term

Since then, use of the term has greatly expanded to include other art forms. In 2002, "tradigital" went mainstream when Jeffrey Katzenberg used the term tradigital animation to refer to the blending of computer animation with classical cell animation techniques, "a seamless blend of two-dimensional and three-dimensional animation techniques".[5] He mentioned as examples such animation films as Toy Story, Antz, Shrek, Ice Age (film), and Spirit: Stallion of the Cimarron.[6] [7] [8] [9] [10] [11] He believed that Walt Disney (a traditional art animator) would approve of the changes in the way cartoons are made today. Animation World Magazine[12] describes tradigital television, and the impact of tradigital animation on pre- and post-production processes for television shows. Tradigital printing is an experimental approach to printmaking with contemporary technology. In one form of tradigital printing, printmakers use computers to generate positives for UV photo transfer to plates and screens. In another form, digital print output incorporating silkscreen, relief or intaglio techniques is the focus.[13] For example, the Josephine Press[14] uses a process that combines the use of archival digital prints with traditional techniques such as intaglio, woodcuts, lithographs, and all of the other traditional printmaking methods. The process allows the artist to create a multi-color image without using a four-plate process. In addition to more efficient registration, the artist can work with collage and other mixed media works that can be scanned and reproduced in an archival manner. Tradigital printing greatly expands the possibilities of image-making while still producing an original hand pulled, limited edition, fine art print. A recent Wall Street Journal article hailed tradigital creatives as the "voice of tomorrow"[15] , contrasting them with both "traditionalists" and "digitalists", and identifying several distinguishing characteristics of the new art/marketing medium: voices not eyeballs; experience not messages; community not communication; utility and solutions not cleverness; collaborative not silo thinkers.

Tradigital artists
Judith Moncrieff Helen Golden Lisa Wray Dorothy Krause Bonny Lhotka Karin Schminke Merrill Kazanjian Nathaniel Stern

See also
Art software Computer art Digital art New Media Art Internet art Electronic art Systems art Cyberarts Computer art scene Computer graphics Digital illustration Digital painting Software art

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References
[1] [2] [3] [4] WordSpy entry (http:/ / www. wordspy. com/ words/ tradigital. asp) for tradigital. Randy Gragg, "Art students get a crack at 'Nutcracker'," Portland Oregonian, October 25, 1995. Lisa Wray, Judith Montcrieff, Unique Editions and Tradigital Fine Art (http:/ / www. lisawrayart. com/ index. htm). William Zimmer, "ART;A Family and Its Gallery Click on the Future" (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9D07E5DD1339F93BA25751C0A960958260), The New York Times, February 18, 1996. [5] Thomas Doherty, "Sense and Cinematography" (http:/ / nl. newsbank. com/ nl-search/ we/ Archives?p_product=BG& p_theme=bg& p_action=search& p_maxdocs=200& p_topdoc=1& p_text_direct-0=106FA0A1A27D07B8& p_field_direct-0=document_id& p_perpage=10& p_sort=YMD_date:D& s_trackval=GooglePM), The Boston Globe, Dec 12, 2004. [6] Dave Kehr, "Spirit: Stallion of the Cimarron" (http:/ / movies. nytimes. com/ mem/ movies/ review. html?res=9A04E6DE1F38F937A15756C0A9649C8B63), The New York Times, May 24, 2002. [7] John Canemaker, "SUMMER MOVIES; Flat Worlders Face the Horizon and See It's in 3-D" (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9E05E0DC1430F931A25756C0A9649C8B63), The New York Times, May 12, 2002. [8] Jane Horwitz, Stallion vs. Iron Horse: A Galloping Good Tale (http:/ / www. washingtonpost. com/ ac2/ wp-dyn/ A2169-2002May23), The Washington Post, May 24, 2002. [9] Todd Leopold, "The 'Spirit' of a movie mogul" (http:/ / archives. cnn. com/ 2002/ SHOWBIZ/ Movies/ 05/ 22/ ca. s02. spirit. katzenberg/ index. html), CNN, May 22, 2002. [10] Nina Rehfeld, "Die Zukunft der Mrchen" (http:/ / www. welt. de/ print-wams/ article104216/ Die_Zukunft_der_Maerchen. html), Die Welt, Dec. 1, 2002. [11] Roger Moore, "The 'Spirit' of Jeffrey Katzenberg," The Orlando Sentinel, May 24, 2002. [12] Sylvia Edwards, "Tradigital Television: Digital Tools and Saturday Morning" (http:/ / www. awn. com/ mag/ issue6. 01/ 6. 01pages/ edwardstelevision. php3), Animation World Magazine, Issue 6.01, April 2001. [13] Aine Scannell, Tradigital Printmaking (http:/ / tradigitalprintmaking. blogspot. com). [14] Josephine Press, Tradigital Printmaking (http:/ / www. josephinepress. com/ tradigital. html). [15] Manish Sinha, "Creativity in tradigital times" (http:/ / www. livemint. com/ 2008/ 08/ 14151616/ Web-Exclusive--Creativity-in. html), The Wall Street Journal, Aug 14 2008.

Vision Forum (Art Organisation)

Vision Forum is an organisation which organises contemporary art events that transgresses the boundaries between performance, exhibition, workshops and education. It grew from a series of events organised by Curatorial Mutiny in collaboration with KSM[1] at Campus Norrkping, Linkpings Universitet [2] in Sweden 2005-2007. Vision Forum took its present form in 2008, it does not have a physical location or a program, but responds to the needs of the group of artists and curators that are part of the network any given moment. Its members are mostly based in Europe and have recently worked with artists and curators based in Sweden, Holland, Denmark, Great Britain, France, Germany, Italy, Lithuania, Macedonia, Belgium. China, Switzerland, Australia, Turkey, USA and Ukraine. In 2009, Steven Whitmarsh, a Dutch brain researcher joined the group showing that the organisation can host members outside of the artistic community.

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Workshops and Public Presentations

In 2008-09 Vision Forum organised two major projects. (Anti)Realism[3] brought together young contemporary visual artists based in Sweden, China, Great Britain, Holland and France[4] . The first part of the project was a practical workshop that took place in Guangzhou, China, in September 2008. The European participants developed collaborative projects with their Chinese peers that focused on time-based art. The title and the conceptual framework of [the workshop](Anti)Realism was created to look into the Yang Zhifei's performance in Beijing that was differences and similarities of how we look at reality (both part of The Invisible Generation, October 2009. as individuals and as members of different cultures) and how that can be used to further our understanding and appreciation of life. The project allowed the participants to both understand differences between European cultures, as well as how these differ from Chinese contemporary art and life. [5] The results of the workshop were presented to the public at the [[Guangzhou Academy of Fine Art and a second were later developed into an exhibition which was shown in Sweden, France and Italy. Parallel to (Anti)Realism Vision Forum created four workshops in Rome[6] ,Zrich[7] , Amsterdam, [8] and Stockholm. [9] These involved a completely different group of artists and curators from (Anti)Realism and focused on architecture, artistic production, curation and presentation.

The Development of Nodes

In 2009-10 Vision Forum focused on four major projects or nodes. They were each made up of a number of artists and curators who, like the Vision Forum workshops in 2008-09 met regularly. The nodes were held together by all doing research on time and temporality in different ways. If you dont want God, youd better have a multiverse Video stills of Dinu Li's performance on the was organised by 1:1 Projects in Rome[10] . It organised workshops in Shenzhen Metro that was part of The Invisible Rome, Skopje and Paris and then reformulated itself into Ouunpo, Generation, November 2009. inspired by French literary group Oulipo, which organised a public event at MACRO in Rome and at Tate Britain in London. Australian artist duoA Constructed World started Speech and What Archive? which continued its activities in 2010-11.[11] The node focused on alternative forms of communication and organised events in Paris, Nice, San Francisco and Melbourne working with important institutions like Villa Arson and CCA. Curator Claire Louise Staunton carried out research which later lead to the creation of the temporary gallery Inheritance Shenzhen [12] in the Chinese region of Guangdong[13] .

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The Invisible Generation

Main article: The Invisible Generation The fourth major project realized in 2009-10 was The Invisible Generation[14] . It was conceived by artist Per Httner and Curator Daniele Balit and created new meeting places between art and its audiences. A great number of projects were realized in Melbourne, Shenzhen, Beijing and Kiev in 2009-2010. For each city the program and artist list was totally new. No, project was ever repeated twice. The project always allowed the audience to meet art in new and unexpected situations and played with or confused the audiences expectations about what art is, where it normally appears and what shape it should take. In the introduction to the project in the catalogue Gerrie van

Installation view of poster project Young Dictators (Hitler as child), by Per Httner at public location in Melbourne, September 2009.

Noord writes: The Invisible Generation is a collection of artistic interventions that spread virally across the continents of our globe. It used the artistic and curatorial network of Vision Forum as a platform to multiply and make its way into the perception of people in unexpected spaces of selected cities around the world. The project takes its starting point in performative traditions, but focuses on practices and events that cross over into other time-based activities such as sound, film, video, literature, theatre and workshops and draws inspiration from other related fields such as journalism, fashion and design, but also from those further removed like mathematics and physics [15]

Selected Workshops
2010 Ouunpo, Ponder Pause Process (a Situation), Tate Britain, London, UK [16] Ouunpo MACRO, Rome, Italy In the Limbo of the Signifier: Workshop on Linear Logic, Ars Longa, Paris, France [17] 2009 New Creation [[Muse du temps, [[Besanon, France The Stockholm Syndrome, Kungliga Konsthgskolan, Stockholm, Sweden. 2008 If you dont want God, youd better have a multiverse, Press to Exit, Skopje, Macedonia If you dont want God, youd better have a multiverse, 1:1 Projects, Rome, Italy Vision Forum, White Space, Zrich, Switzerland Vision Forum, Amsterdam, Holland

(Anti)Realism, The Academy of Fine Arts, Guangzhou, China

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Selected Exhibitions, Performances and Projects

2010 0K in 5 Acts The Flat Time House, London, UK This Image Is No More, GOOD TV, Wu Dao Ying Hu Tong, [Beijing, China[18] . Dynasty, Pauline Curnier Jardin, Muse d'Art Moderne de la Ville de Paris and Palais de Tokyo, Paris. [19] The Invisible Generation, Les Kurbas Center, Kiev, Ukraine[20] . Simultaneity, Curated by Anne Klontz, Rumnska kulturinstitutet, Stockholm and Platform China, Beijing. [21] The Invisible Generation, Ullens Center for Contemporary Art (with Yan Jun)[22] Imminent [23] The Invisible Generation, OCAT, Shenzhen, China[24] News for Tomorrow, Yan Jun, Beijing, China (With Birdcage, Paris) [25] The Invisible Generation, VCA Margaret Lawrence Gallery, Melbourne[26] Do not Go Gentle ERBA and Muse du temps, Besanon, France"[27] Calabi-Yau Presents, Gerlesborgsskolan, Sweden; FACT, Liverpool and VCA Margaret Lawrence Gallery, Melbourne (3 parallel exhibitions in 3 countries).

2009

INH-SZ Temporary Project Space, Shenzhen. Exhibitions, film programme, lecture series including Chu Yun, Guy Delisle, Christian Jankowski, Daniel Knorr, Liu Chuang, Map Office, Yang Yong. Directed by Claire Louise Staunton, Inheritance Projects [28] 2008 (Anti)Realism, Norrkpings konsthall, Norrkping, Sweden, ERBA Besanon, France and Adele C, Rome, Italy Vision Forum, 1:1 Projects and Lift gallery, Rom, Italy. 2007 Priv och Publico, Galleri 54, Gteborg, Sweden (as Curatorial Mutiny) Private Parts, Museet fr glmska, Norrkping, Sweden (as Curatorial Mutiny) 2006 GYBE!, (Videofeed) Vacio 9, Madrid, Spain (as Curatorial Mutiny) Open Mike (Performance), Vacio 9, Madrid, Spain (as Curatorial Mutiny) Participate? Kraftstationen Drags, Norrkping, Sweden (as Curatorial Mutiny) 2005 Participate? [[Basekamp, [[Philadelphia, USA (as Curatorial Mutiny) Participate? Chinese European Art Center, Xiamen, China (as Curatorial Mutiny)

Publications
The Invisible Generation, 2010 188 pages. Texts by Gerrie van Noord, Daniele Balit, Per Httner and Geoffrey Lowe. Language: English. Design by Marie. Published by Curatorial Mutiny and Vision Forum.

External links
Official Vision Forum website [29] Vision Forum blog documenting art projects undertaken in 2009-10 [30] Vision Forum blog documenting educational projects undertaken in 2009-10 [31] Vision Forum blog documenting art projects undertaken in 2010-11 [32] Vision Forum blog documenting educational projects undertaken in 2010-11 [33]

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References
[1] KSM website (in Swedish) (http:/ / www. isak. liu. se/ ksm) [2] University website. (http:/ / www. liu. se/ ?l=en) [3] Documentation of workshop and exhibitions. (http:/ / www. visionforum. eu/ 2008antirealism. html) [4] Youth, Youth, Youth, Catalogue Produced by Huang Xiaopeng, Guangzhou At Academy, Guangzhou, China, 2008 [5] Per Httner, p.23 Issue 1 of Rumours, cole Rgional de Beaux Arts de Besanon. [6] Documentation of workshop organised by Formazero. (http:/ / www. visionforum. eu/ rome. html) [7] Curatorial workshop in Zrich organised by White Space and other local players. (http:/ / www. visionforum. eu/ zurich. html) [8] Utopia workshop in Amsterdam (http:/ / www. visionforum. eu/ amsterdam. html) [9] The Stockholm syndrom organised by Good TV at Konsthgskolan Stockholm. (http:/ / www. visionforum. eu/ stockholm. html) [10] Blog devoted to the project. (http:/ / www. visionforum. eu/ rome. html) [11] The projects official blog. (http:/ / speecharchive. blogspot. com/ ) [12] Article in Artforum picks by Robin Peckham (http:/ / www. artforum. com/ archive/ id=24421) [13] Documentation of the Gallerys activities December 2009 April 2010. (http:/ / inheritanceprojects. org/ inh-sz/ ) [14] Official blog for the project. (http:/ / theinvisiblegeneration. blogspot. com/ ) [15] Gerrie van Noord, p.8 The Invisible Generation catalogue, published by Vision Forum, London, 2010. [16] Introduction to Yane Calovskys project at Tate Britain which hosted the Vision Forum event. (http:/ / www. tate. org. uk/ britain/ exhibitions/ contemporaryartsociety/ yanecalovski/ default. shtm) [17] Christophe Brunos blog with documentation and information about the event. (http:/ / cosmolalia. blogspot. com/ ) [18] Information about the Beijing event. (http:/ / visionforum2009. blogspot. com/ 2010/ 06/ this-image-is-no-more-invisible. html) [19] The exhibitions official website, where Vision Forum co-organized Pauline Jardin Curnier and Les Vroums participation in the project. (http:/ / www. palaisdetokyo. com/ fo3/ low/ programme/ index. php?page=nav. inc. php& id_eve=2999& session=43) [20] Les Kurbas presentation in English (http:/ / kurbas. org. ua/ en/ les_kurbas. html) [21] Pressrelease and links to other collaborators. (http:/ / visionforum2009. blogspot. com/ 2010/ 04/ simultaneity-in-stockholm-and-beijing. html) [22] Flyers and short intro to the project with possibility to dowload more info as a pdf. (http:/ / www. ucca. org. cn/ portal/ activitie/ view. 798?id=520& lang=en& menuId=28) [23] Press release and press images. (http:/ / www. feiartcenter. com/ en/ detNews. asp?ID=22) [24] Official OCAT website (http:/ / www. ocat. com. cn) [25] Intro to the project on Birdcage website. (http:/ / www. birdcagespace. com/ index. php?/ next-episode/ yan-jun/ ) [26] Info and press release on Italian art site Undo.net. (http:/ / www. undo. net/ cgi-bin/ undo/ pressrelease/ pressrelease. pl?id=1252072574& day=1253138400) [27] Excerpt from video installation onYoutube, (http:/ / www. youtube. com/ watch?v=I0f1sm2VkJQ) [28] http:/ / inheritanceprojects. org/ inh-sz/ [29] http:/ / www. visionforum. eu [30] http:/ / visionforum2009. blogspot. com [31] http:/ / visionforums2009. blogspot. com [32] http:/ / visionforum2010. blogspot. com [33] http:/ / visionforums2010. blogspot. com

World War II in art and literature

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World War II in art and literature

The Second World War in art and literature encompasses works created during the years of conflict and works about or arising from that period of world history. Some well-known examples of books about the war, like Nobel laureate Kenzaburo e's Okinawa Notes, could only have been crafted in retrospect.[1]

Art
The years of warfare were the backdrop for art which is now preserved and displayed in such institutions as the Imperial War Museum in London and the National Maritime Museum at Greenwich.

Remembrance
Iconic memorials created after the war are designed as symbols of remembrance and as carefully contrived works of art.

Literature
Poetry
High Flight (1941) by John Gillespie Magee, Jr. (US pilot flying with a Canadian Spitfire squadron during the Battle of Britain).

Drama
Watch on the Rhine (1940) Arsenic and Old Lace (1941) Winged Victory (1943) Oklahoma! (1943) Harvey (1944)

Novels
The Harvey Girls (1942) by Samuel Hopkins Adams A Bell for Adano (1944) by John Hersey Flags of Our Fathers (2000) by James Bradley

Movies
Social historians regard the works of popular culture from the World War II era as documents that mirror and define crucial issues and concerns during that time. Individual combatants and those on the home fronts during World War II experienced the war through newspaper reports, radio broadcasts, movies, stage plays, books and popular music -all become noteworthy aspects of understanding the period and its impact on what happened afterward.[2]

World War II in art and literature Anti-Nazism and Anti-Fascism The Great Dictator (1940) The Mortal Storm (1940) Casablanca (1942) Watch on the Rhine (1943), film version of 1940 play on Broadway

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Patriotism For Me and My Gal (1942) In Which We Serve (1942) Mrs. Miniver (1942) Yankee Doodle Dandy (1942) Stage Door Canteen (1943) This Is the Army (1943) Passage to Marseille (1944)

Heroism A Yank in the RAF (1941) Wake Island (1942) Guadalcanal Diary (1943) The Fighting Sullivans (1944) Winged Victory (1944), film version of 1943 play on Broadway Sands of Iwo Jima (1949) Flags of Our Fathers. (2006), film version of 2000 book Letters from Iwo Jima (2006) Wartime problems Thank Your Lucky Stars (1943) The More the Merrier 1943) Cover Girl (1944) Since You Went Away (1944) A Bell for Adano (1945), film version of 1944 Pulitzer Prize-winning novel Home of the Brave (1949)

Escapism Sun Valley Serenade (1941) Harvey (1950), film version of 1944 play on Broadway Oklahoma! (1955), film version of 1943 play on Broadway Arsenic and Old Lace (1944), film version of 1941 play on Broadway The Harvey Girls (1946), film version of 1942 novel

World War II in art and literature Propaganda Target for Tonight (1941) U-Boote westwrts (1941) The Battle of Midway (1942)

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Some issues still remain sensitive

In 1970, e wrote in Okinawa Notes that members of the Japanese military had coerced masses of Okinawan civilians into committing suicide during the Allied invasion of the island in 1945. In 2005, two retired Japanese military officers sued e for libel; and in 2008, the Osaka District Court dismissed the case because, as the judge explained, "The military was deeply involved in the mass suicides". e commented succinctly by saying, "The judge accurately read my writing."[1]

See also
World War I in art and literature The Holocaust in art and literature

References
Henkes, Robert. (2001). World War II in American Art. [3] Jefferson, North Carolina: McFarland. 10-ISBN 0-7864-0985-1; 13-ISBN 978-0-7864-0985-3 Meredith, James H. (1999). Understanding the Literature of World War II: A Student Casebook to Issues, Sources, and Historical Documents. [4] Westport, Connecticut: Greenwood Publishing Group. 10-ISBN 0-313-30417-3; 13-ISBN 978-0-313-30417-0 Rosenfeld, David M. (2002). Unhappy Soldier: Hino Ashihei and Japanese World War II Literature. [5] Lanham, Maryland: Lexington Books. 10-ISBN 0-7391-0365-2; 13-ISBN 978-0-7391-0365-4 Roy, Pinaki (2010). The Scarlet Critique. New Delhi:Sarup Book Publishers. ISBN 978-81-7625-991-0

External links
Canadian War Museum: "Australia, Britain and Canada in the Second World War" [6], 2005.

References
[1] Onishi, Norimitsu. "Japanese Court Rejects Defamation Lawsuit Against Nobel Laureate," (http:/ / www. nytimes. com/ 2008/ 03/ 29/ world/ asia/ 29japan. html?scp=2& sq=kenzaburo+ oe& st=nyt) New York Times. March 29, 2008. [2] Oboler, Howard. "American Fights World War II: Films, Theater and Popular Music." 92nd St. Y lecture catalog (NYC, November 20080, p. 89. [3] http:/ / books. google. com/ books?id=MtviNTOsXDgC& client=firefox-a [4] http:/ / books. google. com/ books?id=ifOd-MXjG6oC& client=firefox-a [5] http:/ / books. google. com/ books?id=iIeyCNiD43sC& client=firefox-a [6] http:/ / www. warmuseum. ca/ cwm/ exhibitions/ artwar/ introduction_e. shtml

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Rob Gonsalves
Rob Gonsalves is a Canadian painter of magic realism with a unique perspective and style. He produces original works, limited edition prints and illustrations for his own books. Rob Gonsalves was born in 1959 in Toronto, Canada. During his childhood, Gonsalves developed an interest in drawing from imagination using various media. By the age of twelve, his awareness of architecture grew as he learned perspective techniques and he began to create his first paintings and renderings of imagined buildings. After an introduction to artists Dal and Tanguy, Gonsalves began his first surrealist paintings. The "Magic Realism" approach of Magritte along with the precise perspective illusions of Escher came to be influences in his future work. In his post college years, Gonsalves worked full time as an architect, also painting trompe-l'il murals and theater sets. After an enthusiastic response in 1990 at the Toronto Outdoor Art Exhibition [1], Gonsalves devoted himself to painting full time. Although Gonsalves' work is often categorized as surrealistic, it differs due to the fact that the images are deliberately planned and result from conscious thought. Ideas are largely generated by the external world and involve recognizable human activities, using carefully planned illusionist devices. Gonsalves injects a sense of magic into realistic scenes. As a result, the term "Magic Realism" describes his work accurately. His work is an attempt to represent human beings' desire to believe the impossible, to be open to possibility. Numerous individuals around the world, including a United States Senator, as well as corporations and embassies collect Gonsalves' original work and limited edition prints. Rob Gonsalves has exhibited at Art Expo New York and Los Angeles, Decor Atlanta and Las Vegas, Fine Art Forum, as well as one-man shows at Discovery Galleries, Ltd., Marcus Ashley Gallery in South Lake Tahoe, Hudson River Art Gallery, Saper Galleries (November 7 to December 31, 2004) and Kaleidoscope Gallery. In June 2003, Simon & Schuster introduced North America and Canada to "Imagine a Night", Gonsalves' first hardcover book featuring sixteen paintings. Due to the success of "Imagine a Night", Simon & Schuster released a second book, "Imagine a Day", in 2004 for which he won the 2005 Governor General's Award in the Children's Literature - Illustration category. He is also an accomplished guitarist. His book "Imagine a Place" was released in 2008. Gonsalves is a founder and member in good standing of the Fellowship of the Gourd and the Arrow. Gonsalves now has 64 paintings and is working on more. He spends an notable amount of time planning each piece in order to make the transitions flawless and usually finishes about four paintings each year.

External links
The Magic Realism of Rob Gonsalves [2]

References
[1] http:/ / www. torontooutdoorart. org/ [2] http:/ / www. sapergalleries. com/ Gonsalves. html

George Grie

185

George Grie
George Grie

IBM Corporation 2005. Birth name Yuri Georgevich Gribanovski Born Field May 14, 1962 USSR Neosurrealism art

George Grie (born May 14, 1962) is a Russian-Canadian artist. One of the first digital neo-surrealist artists, Grie is known for numerous 3D, 2D, and matte painting images. Born in the USSR during the Soviet regime (aka Russian: or ) he did not adopt the conventional and politically correct socialist realism art style, but chose instead to follow the more controversial path of modern surrealism.

Style
Flying-Dutchman (2006).

Grie's artistic style has been heavily influenced by famous surrealists such as Rene Magritte and Salvador Dal, fantastic realists Zdzisaw Beksiski and Wojciech Siudmak, and surreal photomanipulation artist Jerry Uelsmann. His neo-surrealist artwork is a combination of classic surrealist symbolism with modern fantasy, gothic, and visionary art tendencies. His digital neo-surrealistic artworks are an extraordinary visual record of his conceptual thoughts, philosophic views, fantasies, and dreams. Often journeying into the subconscious, Grie's digital photo-realism artwork shows a magical and playful, dream-like gothic world laced with detail. Supernatural illusions, mystic romanticism, Ice Age Premonition (2007). spiritual magic and delusional trance fantasies are presented all together in his virtual world. The result is not always comfortable or conventional: there is a great deal of tension and alienation in the strange events taking place in the landscape of his imagination.

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Life and work

George Grie acquired a classical art education in various fine art institutions before he started his career as a professional fine art painter and graphic artist. Use of a photo realistic technique giving a firm contrast between the light source and dark tonality, which can be seen in his early painting, gives his artworks a graphical appearance. Grie's artworks are strong and powerful images which rely on visual impact. They are about capturing visual paradoxes: sometimes they depict calm and contemplative moments, solitude, and sometimes melancholy. There is a stillness in his themes which conveys a sense of inner-reflection and self-observation. His admiration for photo-realism is the reason why Grie has transformed his artistic career from traditional fine art to computer digital art. His previous experience and classical painting education give him a complete freedom of self-expression. He became a professional multimedia graphic design artist and joined IBM Corporation as a lead new-media specialist. Today, his prime interest is in contemporary 2D & 3D digital art-design software [1], 3D studio models [2] and their applications. In 2002 he initiated a creation of the popular digital art related web portal Interartcenter.net. George Grie resides with his family in Toronto, Canada.

Kali the Destroyer (2006).

Mermaid Syndrom (2006).

The new form of art was born without pompous manifestations and noisy commercials. Some of us still consider digital and 3d art as something mechanical and artificial, something that in some way is out of human touch. Nothing could be more wrong. Computers dont make art, people do. Computers are creative tools much sophisticated ones. Once you try them, you will never give up going forward. There is only one chilling obstacle between you and your perfect design lack of imagination.[3] George Grie, Biography & Digital Art Statement

Exhibitions
Mistral gallery, London Artnova gallery, Stockholm Cinema House gallery, Saint-Petersburg Artson gallery, Helsinki Toronto Art Expo, International Art Exhibition Artfocus - Canada's largest indoor art event Toronto Pixel Perfect: The Digital Fine Art Exhibition, Agora gallery New York

Contemporary Art London New York Toronto Art Fair

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Work used by recording artists

Voyager, I am the revolution [4] Lalo Huber, Lost in Kali Yuga [5] Winterburst, Winterburst [6] Kayak, Letters from Utopia[7] Dawn of Destiny, Rebellion In Heaven[8] Sunroad, Flying n Floating [9] Gianfranco Biagini, Project Morfeo Mario Massi, Uncle Myros Flying Circus Gert Emmens, A Boy's World [10] Winter in Eden, At the end of the world

References
[1] http:/ / freeartsoftware. com [2] http:/ / artist-3d. com [3] "Modern art surrealism: George Grie neosurrealism gallery, George Grie Biography" (http:/ / www. neosurrealismart. com/ modern-art-prints/ ?biography/ ). . [4] "I am the revolution" (http:/ / www. voyager-australia. com). . [5] "Lost in Kali Yuga" (http:/ / www. myspace. com/ lalohuber). . [6] "Winterburst" (http:/ / www. myspace. com/ winterburst). . [7] "Kayak Letters from Utopia" (http:/ / www. kayakonline. nl/ e_news. html). . [8] "Dawn of Destiny, Rebellion In Heaven" (http:/ / www. dawnofdestiny. de/ news. html). . [9] "Interview Sunroad" (http:/ / www. sunroad. com. br). . [10] "Guts Of Darkness Gert Emmens - A Boy's World" (http:/ / www. gutsofdarkness. com/ god/ objet. php?objet=9879). .

Ffrench, Patrick (1997). "'Tel Quel' and Surrealism: A Re-evaluation". The Romanic Review 88. "U.S. and Canadian Dissertations, Surrealisms Aesthetic Turn: Memory and Visual Culture". The Art Bulletin 89. 2007. Mikkola, Jari (2009). "The Art of George Grie". The Journal of Anomalous Sciences 10.

External links
Modern Art Neo-Surrealism by George Grie (http://www.neosurrealismart.com) the official website Modern Surrealism Art Prints (http://www.zazzle.com/artsgrie*) open edition artworks by George Grie

Luna H. Mitani

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Luna H. Mitani
Luna Hideki Mitani

In Los Angeles, USA (2007) Born December 22, 1963 Kushiro, Hokkaid, Japan

Nationality USA Field Training Painting, Drawing, Creative Director

Dhoto University, Japan *Oregon State University, USA *Nieuwmarkt of Fine Art, Netherlands (Holland) *Hollywood Art Center, Hollywood, USA

Movement Surrealism Works 'Urban Night' 'Classic Illusion' 'Crystal Soul' 'Glory & Defeat' 'Snow Church' 'Midnight' 'Saxophone's Dream (Secret Place)' 'Saxophone's Whisper' 'Daisy Dukes' 'Midnight Conversation' 'Lovers'

Luna H. Mitani (born December 22, 1963) is a Japanese-American artist. He works in the field of neo-surrealist painting and pen & ink drawing. During 1980s, many talented surrealists came to the USA. New surrealism styles, such as Metaphorical Realism/Metaphorical Surrealism, became very popular among Americans. Mitani's style was also one of those new surrealistic styles. During the 1990s, Mitani established his current painting style, and since then, Mitani's surrealistic style has been known as "Neo Surrealism", and he has been known as one of the avant-garde surrealists. After traveling through more than 33 countries in Europe including England and Ireland, Mitani began his fine art training in Amsterdam, Netherlands. Afterward, he continued traveling around the world for sketching. After completing the training, he became interested in commercial art, and moved to the USA to study commercial art, while beginning his career as a professional artist for the publishers and entertainment industry. He was soon called upon to design and create LP-record, music tape and CD covers for artists such as George Benson[1] , The Platters[2] , Dizzy Gillespie, John Coltrane, Thad Jones[3] , Yardbird[4] , Chet Baker[5] , Wayne Henderson[6] , Dan Moretti[7] , Coale Johnson[8] , The Highland Project, Rue Davis[9] , Bobby Warren, and more. His CD cover works led him to

Luna H. Mitani work on designing posters, magazine covers, and comprehensive packaging design. Mitani has been featured in several exhibitions in Los Angeles, California. After that, he has received a great deal of attention in Japan for his American works and was appointed Head Advisor for the Yoyogi Animation School, the largest animation school in Japan. Mitani has been featured many times in magazines, newspapers and on television in the Europe, United States and Japan.

189

Works
Pen and ink drawings

Pen & Ink Drawing, "Hotel Mackusturm Restaurant"('87) by Luna H. Mitani

Pen & Ink Drawing, "Jungle in Philippines"('89) by Luna H. Mitani

Pen & Ink Drawing, "Edo Kabuki Goya"('92) by Luna H. Mitani

Pen & Ink Drawing, "Gondolas in Venice"('87) by Luna H. Mitani

Highlights
1985: Had a first exhibition in the USA at Rebel Gallery in Hollywood, California. 1986: Had exhibitions in Hollywood, West Los Angeles, Downtown L.A., Melrose, Santa Monica, Venice, Beverly Hills, Studio City, and Westwood. Was awarded "The Best of Mask" at Mona Lovins Mask Contest. 1987: Created CD cover art for George Benson's "4 For An Afternoon"[10] , The Platters's "Red Sails in the Sunset"[11] , Dizzy Gillespie, John Coltrane, Thad Jones's "John, John & Jones"[12] , Yardbird's "Saxmen Bop"[13] . Created cover art for a monthly magazine, The Lady. 1988: Was awarded "The Best Artist" at Japan America Artist Society. 1989: Created brochure for Singapore Airlines. Created logo for Sun Utility Network, Inc., a solar-energy and sustainability planning company currently designing a 'GreenRoof Los Angeles' project. 19891991: Created cover art for all 36 volumes (every month for three years) for the first English/Japanese bilingual real estate magazine in the USA, The Real Estate, published from Pioneer Promotion West. 1990: Created CD cover art for Chet Baker's "Albert's House"[14] and Coale Johnson's "Rainbow Visions"[15] .

'Urban Night (NY Times Square)' ('00) by Luna H. Mitani

Luna H. Mitani Created/designed logo and marketing materials for Club Sanctuary in Hollywood. 1991: Created CD cover art for Dan Moretti[16] , Highland Project, and Robinsons Family. 1991: Created magazine cover art for special issue "Golf & Travel" of Golf Digest.

190

'Glory & Defeat' ('99) by Luna H. Mitani

1992: Created CD cover art and poster for Wayne Henderson (Crusaders) "Back to the Groove"[17] . Created poster for Spritzer's Albuquerque Balloon Festival. Was appointed Head Advisor for the Yoyogi Animation School in Japan. Had an exhibition in Tokyo, Japan, sponsored by Yoyogi Animation School. 1993: Created package art for all products of Computer Hardware Companies, "Reval", "Legend", and their parent company, "Cal Abco". Created CD cover art for Rue Davis's "I'm in love with the girl next door"[18] . 1994: Created CD cover art for Kon Kord Records Volume 1 "September Love" by Various Artists[19] . Created CD cover art for Rue Davis's "Hard To Live Without You" by Kon Kord Records (KK-0049-S). Designed various products for a jazz guitarist, Richard Smith (T-Shirts, Poster for his concert at Catalina Island, etc). Had exhibitions in Ginza and Harajuku in Tokyo, Japan and was featured in various Japanese newspapers and magazines including "Nikkan Gendai", "Nikkan Sports", and "Mainichi Shimbun". Created CD cover art for Hiroshi Sato's "Hiroshi Sato Best"[20] by Alfa Records. Created CD cover art for Minako Yoshida's "Minako Yoshida Best"[21] by Alfa Records. Created CD cover art for Bob Belden's "Prince Jazz"[22] by Toshiba-EMI. 1995: Created a product catalogue for an apparel company, Gramicci. Was invited to a Sprint's (currently Sprint Nextel) special event, "American Dream", and was a guest speaker of the event. Created CD cover art for Rue Davis's "You Are My Honey Poo"[23] Created CD cover art for Southside Players's "Player's Game" by Kon Kord Records (KK-9991). 1996: Created package art for a computer hardware company, QPS's (canara technology, inc) CD-Drive product. Directed a localization/design team of Warner Entertainment Japan for creating Japanese version of DVD "Eraser (movie)" starring Arnold Schwarzenegger[24] Created CD cover art for Rusty Jackson's "Those Daisy Dukes"[25] Had an exhibition in Ginza, Tokyo. His painting was used in a Japanese TV drama, "(!3)", as a part of the story (not just as a set decoration)[26] . Was featured in a monthly L.A. local magazine, "VOGA", in 3-page.[27] 1997: Had an exhibition at Park Hotel in Hokkaid, Japan.

Luna H. Mitani Created mural (70 meters long) for L.A. Racing Pole Position (an amusement park in Japan) and also created logo and poster for it. Created logo for a boxing gym opened by a former World Boxing Association Light flyweight champion, Katsuo Tokashiki (Tokashiki Boxing Gym). Nissin Steel () (one of the biggest steel companies in Japan) introduced printable steel, and they used his paintings as model art. Created CD cover art for Bishop Larry Hudson's "A Tribute To Reverend James Cleveland"[28] . Created CD cover art for Valerie's "Where Is The Love"[29] . Created CD cover art for Gregg Bacon's "Secret Place"[30] . 1998: Was featured in a documentary TV program, "Human Gallery" (KDOC-18/UTB). This program introduce a successful/influential person in Los Angeles. Created CD-ROM cover art for a multimedia storybook, "Don Quixote" published by TDC Interactive.[31] . Was interviewed in a biweekly L.A. local magazine, "Lighthouse".[32] Was interviewed & featured in a monthly L.A. local magazine, "VOGA".[33] Created cover art for a magazine, "Midnight Graffiti". 1999: Received an honor letter from Bill Clinton, the President of the United States at the time, for many outstanding contributions to the music industry. Created cover art for a book 'Machigaidarake no Ashibumi Kenkouhou' published by Fukushodo, Japan [34] 2000: The first limited editions (giclee prints) in the US were published by Coast to Coast publishing Inc. Was introduced in numerous US art magazines, such as Art Business News, Art World News, Dcor, and Art Trend. Was introduced in music magazines such as BRE, in the basement (England), Voice (England), and Soul Express (Finland) as a CD cover artist and creative director. Created cover art for a book 'Teppou Kiku Ichidaiki' published by Fukushodo, Japan [35] Created cover art for a book 'Kafunshou Kakumei' published by Fukushodo, Japan [36] Created cover art for a book 'Ijigen Energy no Keifu' published by Fukushodo, Japan [37] Created cover art for a book 'Kakutou Body no Tsukurikata' published by Fukushodo, Japan. Directed and designed a CD cover art for Serenades The Serenade Experience released by Kon Kord Records . 2001: Directed and designed a CD cover art for Queen Isabellas Loving a Married Man released by Kon Kord Records. His paintings were introduced in a TV program, "Sound EX" (WOWOW), for 2-month. 2002: Created cover art for a book 'Kyousha Jyakusha ha Fukurahagi de Kimaru' published by Fukushodo, Japan
[38]

191

Directed and designed a CD cover art for Finis Tasbys BLUES - A Tribute to John Lee Hooker released by Kon Kord Records . 2003: Directed and designed a CD cover art for Bobby Warren's Make Me Yours released by Kon Kord Records. Created CD cover art for Rue Davis's "Heaven Must Have Sent Me Your Love" released by Kon Kord Records. Directed and designed a CD cover art for Patti Sterling's Bettin' On You released by Kon Kord Records. Created CD cover art for Superior Band's "No House, No Home Without My Man" released by Kon Kord Records. Directed and designed a CD cover art for M. Spivey's Booty Club released by Kon Kord Records. 2004: Created cover art for a magazine, FEALY, published by Fukushodo, Japan, and also was featured in the magazine in all 13 color-page as one of the most influential artists today. 2005: Had an exhibition at "T's" in Shibuya, Tokyo, Japan and displayed more than 40 pieces of his limited editions. Was featured in a weekly magazine, "Shyukan Asahi", in all 7 color-page.

Luna H. Mitani His painting was used in a Japanese TV drama series, "", aired on NHK[39] . Directed and designed a CD cover art for Bobby Warren's I Slipped Up released by Kon Kord Records. Directed and designed a CD cover art for Michael Brown's Can U Feel Me released by Kon Kord Records. 2006: Directed and designed a CD cover art for Bobby Warrens Pioneers & Legends. Was featured in a monthly magazine, "Wing Sapporo", in 2 color-page for 2 months. Directed and designed a CD cover art for The Carter Brothers Singing The Blues. His paintings were introduced at the exhibition in Dairen, China; it was a Japanese art collectors exhibition. 2007: Directed and designed a CD cover art for The Patterson Twins Take Us Higher. Was featured in a magazine, Insight, in 3 color page. Directed and designed a CD cover art for Harold Cagler's "Shadows Are Blue". 2008: Directed and designed a CD cover art for Rusty Jackson's "It Must Be Love". Directed and designed a CD cover art for Crystal cooley & the stars of faith's "Come see about me". Had exhibitions in Encino and Tarzana, Los Angeles. 2009: Had an exhibition in Sherman Oaks, Los Angeles. 2010: Fine Art Book and Poem "Camouflage" was published by Fukushodo Publications.

192

External links
Luna H. Mitani Web Site [40]

References
[1] George Benson "4 For An Afternoon" by ITI Records (CDP 72980) (http:/ / www. mtv. com/ music/ artist/ benson_george_1/ albums. jhtml?albumId=453036) [2] The Platters "Red Sails in the Sunset" by Allegiance Records (CDP 72913) (http:/ / www. celebritydirect. org/ platters/ disco. htm) [3] Dizzy Gillespie, John Coltrane, & Thad Jones "John, John & Jones" by ITI Records (CDP 72989) (http:/ / www. the-collector. be/ cd/ details/ 2412. html) [4] Yardbird "Saxmen Bop" by ITI Records (CDP 72960) (http:/ / music. msn. com/ music/ album/ various-artists/ yardbird-vol-1-(saxmen-bop)/ ) [5] Chet Baker "Albert's House" by Par Records (PAR-2007-CD) (http:/ / www. artistdirect. com/ nad/ store/ artist/ album/ 0,,47426,00. html) [6] Wayne Henderson "Back to the Groove" by Par Records (PAR-2013-CD) (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=10:axfoxq9gldae) [7] Dan Moretti "Point of Entry" by Par Records (PAR-2006-CD) (http:/ / www. danmoretti. com/ poe2. htm) [8] Coale Johnson "Rainbow Visions" by Par Records (PAR-2004-CD) (http:/ / www. hemisphere. nl/ asp/ detail. asp?id=034459) [9] Rue Davis "Heaven Has Sent Me Your Love" by Kon Kord Records (KON-0033) (http:/ / www. konkordrecords. com/ rueHeaven. htm) [10] George Benson "4 For An Afternoon" by ITI Records (CDP 72980) (http:/ / www. mtv. com/ music/ artist/ benson_george_1/ albums. jhtml?albumId=453036) [11] The Platters "Red Sails in the Sunset" by Allegiance Records (CDP 72913) (http:/ / www. celebritydirect. org/ platters/ disco. htm) [12] Dizzy Gillespie, John Coltrane, & Thad Jones "John, John & Jones" by ITI Records (CDP 72989) (http:/ / www. the-collector. be/ cd/ details/ 2412. html) [13] Yardbird "Saxmen Bop" by ITI Records (CDP 72960) (http:/ / music. msn. com/ music/ album/ various-artists/ yardbird-vol-1-(saxmen-bop)/ ) [14] Chet Baker "Albert's House" by Par Records (PAR-2007-CD) (http:/ / www. artistdirect. com/ nad/ store/ artist/ album/ 0,,47426,00. html) [15] Coale Johnson "Rainbow Visions" by Par Records (PAR-2004-CD) (http:/ / www. hemisphere. nl/ asp/ detail. asp?id=034459) [16] Dan Moretti "Point of Entry" by Par Records (PAR-2006-CD) (http:/ / www. danmoretti. com/ poe2. htm) [17] Wayne Henderson "Back to the Groove" by Par Records (PAR-2013-CD) (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=10:axfoxq9gldae) [18] Rue Davis "I'm in love with the girl next door" by Kon Kord Records (KK-0049) (http:/ / www. soulexpress. net/ ruedavis. htm) [19] Kon Kord Records Volume 1 "September Love" by Kon Kord Records (KKVL-1) (http:/ / www. artistdirect. com/ nad/ store/ artist/ album/ 0,,346140,00. html) [20] Hiroshi Sato "Hiroshi Sato Best" by Alfa Records (ALCA-561) (http:/ / www. hiroshi-sato. com/ album/ best. html) [21] Minako Yoshida "Minako Yoshida Best" by Alfa Records (ALCA-562) (http:/ / music. jp. msn. com/ music/ cd. aspx?cdid=91395) [22] Bob Belden "Prince Jazz" by Toshiba EMI (TOCJ-5565) (http:/ / www. groovecollector. com/ liste/ p_produit. cfm?lng=2& seller=0& what=label& srt=1& poch=& bargain=& news=& chunksize=24& currency=5& stringa=& stringt=& spop_id=& exact_search=0& pagination_easy_mode=0& n_ref_list=& general_state=& search_mode=& list_index=& n_ref=108049872& tete=universal japan& fmt=11&

Luna H. Mitani
categ_rech=0& page=1& alpha=0) [23] Rue Davis "You Are My Honey Poo" by Kon Kord Records (KON-4213-2) (http:/ / www. tower. com/ you-are-my-honey-poo-rue-davis-cassette/ wapi/ 106638328) [24] DVD "Eraser" by Warner Home Video (Warner Entertainment Japan Inc.) (DL-14202) (http:/ / www. whv. jp/ database/ database. cgi?cmd=dp& num=38& UserNum=& Pass=& AdminPass=& dp=) [25] Rusty Jackson "Those Daisy Dukes" by Kon Kord Records (KK-6444) (http:/ / www. konkordrecords. com/ rusty. htm) [26] "!3" by TBS (http:/ / www. tbs. co. jp/ tbs-ch/ lineup/ d1538. html) [27] VOGA (48th Issue, November 1996, p.18 ~ p.20) by VOGA C.R.D. Group. [28] Bishop Larry Hudson "A Tribute To Reverend James Cleveland" by Kon Kord Records (KK-1225) (http:/ / www. konkordrecords. com/ bishop. htm) [29] Valerie "Where Is The Love" by Kon Kord Records (KK-BB1617) (http:/ / www. konkordrecords. com/ valerie. htm) [30] Gregg Bacon "Secret Place" by Kon Kord Records (KK-BG3031) (http:/ / www. konkordrecords. com/ greggSecret. htm) [31] Don Quixote, TDC Interactive. ISBN 1-885784-13-9 (http:/ / tdcinteractive. net/ DonqPC. htm) [32] Lighthouse(No. 229 Issue, July 16, 1998, p.70) by Takuyo Corporation. [33] VOGA (62th Issue, January 1998, p.15) by VOGA C.R.D. Group. [34] Hideyasu Harada (1999). 'Machigaidarake no Ashibumi Kenkouhou', Fukushodo Publications. ISBN 4-89224-724-3. [35] Kenichi Aburadana (2000). 'Teppou Kiku Ichidaiki', Fukushodo Publications. ISBN 4-89224-750-2. [36] Hideyasu Harada (2000). 'Kafunshou Kakumei', Fukushodo Publications. ISBN 4-89224-743-X. [37] Keishou Fujishima (2000). 'Ijigen Energy no Keifu', Fukushodo Publications. ISBN 4-89224-759-6. [38] Hideyasu Harada (2002). 'Kyousha Jyakusha ha Fukurahagi de Kimaru', Fukushodo Publications. ISBN 4-89224-782-0. [39] "" by NHK (http:/ / www. nhk. or. jp/ drama/ archives/ boogie/ ) [40] http:/ / www. lunamitani. com

193

Rafa Olbiski
Rafal Olbinski immigrated to the United States in 1981, where he soon established himself as a prominent painter, illustrator and designer. For his artistic achievements, he has received more than 150 awards including Gold and Silver Medals from the Art Directors Club of New York, Gold and Silver Medals from the Society of Illustrators in New York and Los Angeles, and The Big Crit 2000 award by Critique Magazine in San Francisco. In 1994 he was awarded the International Oscar for The Worlds Most Memorable Poster, Prix Savignac in Paris. The President of the Republic of Poland awarded Olbinski the highest award in the field of arts, the gold medal, Gloria Artist. In the same year he received the Creative Review Award for the Best of British Illustration in London. In 1995 his poster was chosen as the official New York City Capital of the World Poster in an invitational competition by a jury led by Mayor Rudolf Giuliani. In the following year he won the Steven Dohanos Award for the best painting in the Annual Member Exhibition of the Society of Illustrators. In July 2002 the City of Fondi, Italy awarded him Divina Giulia for his contribution to contemporary art. In the same year he received the Creative Review Award for the Best of British Illustration in London. In 1995 his poster was chosen as the official New York City Capital of the World Poster in an invitational competition by a jury led by Mayor Rudolf Giuliani. In the following year he won the Steven Dohanos Award for the best painting in the Annual Member Exhibition of the Society of Illustrators. In July 2002 the City of Fondi, Italy awarded him Divina Guilia for his contribution to contemporary art. Rafal Olbinskis paintings are included in the collections of the National Arts Club in New York, the Smithsonian Institution and the Library of Congress in Washington, Suntory Museum in Osaka, Japan, and others throughout Europe and the United States. In 1996 he was commissioned by the U.S. Information Agency to design a poster celebrating the 25th Earth Day Anniversary. From 2002 through 2010, a selection of Olbinski paintings was included in the Grand Space projection in Grand Central Terminal, as a highlight of the Earth Day Celebration in New York. The other artists featured in the show are Keith Haring, Roy Lichtenstein, Robert Raushenberg, and Andy Warhol. In 2001, the Willy-Brandt House in Berlin presented the works of Rafal Olbinski in a one man retrospective exhibition entitled Art at the Turn of the Century

Rafa Olbiski In 2002 his set design debut for the Opera Company of Philadelphias performance of Mozarts Don Giovanni was highly acclaimed by critics in the New York Times and the Philadelphia Inquirer. In the same year the Art with Moral Purpose at the Goethe Institute in Hamburg exhibited the paintings and posters of Olbinski. Olbinski was commissioned to create several paintings illustrating articles and essays on moral values, which appeared in seven consecutive issues of the German magazine Stern. This led to a traveling exhibition of these paintings, the first hosted by the wife of the President of Germany, Eva Louise Keh In 2008 Olbinski had a one man exhibition titled Olbinski - Photokina Expo for Hewlett Packard (Cologne, Germany). In 2009 he had a large museum exhibition at The Jule Collins Smith Museum in Auburn entitled New Dreams of Old Values. He has completed many large murals for installations in public space in Europe as well as more than 100 opera images for CD covers for Allegro-Musics Opera DOro Series. Rafal Olbinski is represented by Patinae,Inc. www.patinae.com

194

References
Nahan, S. (2011) "Rafal Olbinski - Patinae", Bio Page

External links
http://www.patinae.com/olbinski.htm Clark's Center of Fantasy Art & More - Rafal Olbinski picture gallery [1] Polish Home Foundation - Rafal Olbinski (May, 2003) [2] Contemporary Posters - Rafal Olbinski [3]

References
[1] http:/ / www. webgalactic. net/ clarkscenter/ pics/ rafal_olbinski/ index. html [2] http:/ / www. polishhomefoundation. org/ events/ Olbinski. htm [3] http:/ / www. contemporaryposters. com/ category. php?Category_ID=23

Wojciech Siudmak

195

Wojciech Siudmak
Wojciech Kazimierz "Wojtek" Siudmak (born 10 October 1942 in Wielu) is a Polish painter, currently living in France. His works are often used as illustrations for science fiction and fantasy literature, including the Polish edition of Frank Herbert's Dune series.

External links
Siudmak's official website [1]

Wojciech Siudmak at Polcon 2007

References
[1] http:/ / www. siudmak. com/

Maggie Taylor

196

Maggie Taylor
Maggie Taylor
Born Nationality Field Training 1961 Cleveland, Ohio
United States

Photography, Digital imaging University of Florida Yale University

Maggie Taylor (born 1961 in Cleveland, Ohio) is an artist who works with digital images. She won the Santa Fe Center for Photography's Project Competition in 2004.[1] [2] Her work has been widely exhibited in the United States and Europe and is represented within the permanent collections of several galleries and museums.[3] She is the third wife of American photographer, Jerry Uelsmann. She produces prints by scanning objects into a computer using a flatbed scanner, then layering and manipulating these images using Adobe Photoshop into a surrealistic montage.

Education
Bachelors degree from Yale University in 1983. Masters in Fine Arts from the University of Florida in 1987.

Further reading
"Small Possibilities" [4]. The Georgia Review. The University of Georgia. Summer 2000. Retrieved 2007-09-02 [missing link]. Standen, Amy (2005-06-02). Maggie Taylor's Landscape of Dreams [5]. Adobe. ISBN0321306147. "Landscape of Dreams" [6]. Laurence Miller Gallery. 2005. Retrieved 2007-09-02. Eismann, Katrin (Sep 2005). "Question your assumptions" [7]. Photoshop User. Retrieved 2007-09-02. "Subject to change" [8]. The Georgia Review. The University of Georgia. Summer 2006. Retrieved 2007-09-02. Anchell, Steve (2007-07-13). "Maggie Taylor" [9]. Focus on Imaging Magazine. Retrieved 2007-09-02. "Solutions beginning with A" [10]. Modernbook Gallery. Retrieved 2007-09-02. "Maggie Taylor, Dreamweaver" [11]. Adobe.com. Retrieved 2007-09-02.

External links
Maggie Taylor web site [12].

References
[1] "Maggie Taylor Wins Santa Fe Competition" (http:/ / www. allbusiness. com/ retail-trade/ miscellaneous-retail-retail-stores-not/ 4453465-1. html). Photo District News. 2004-04-01. . Retrieved 2007-09-02. [2] "2004 Project Competition Winners" (http:/ / www. sfcp. org/ programs. cfm?p=VisionProject2004). Santa Fe Center for Photography. . Retrieved 2007-09-02. [3] "Small Possibilities" (http:/ / www. uga. edu/ garev/ summer00/ taylor. htm). The Georgia Review. The University of Georgia. Summer 2000. . Retrieved 2007-09-02. [4] http:/ / www. uga. edu/ garev/ summer00/ taylor. htm [5] http:/ / www. amazon. com/ Adobe-Photoshop-Master-Class-Landscape/ dp/ 0321306147/ ref=pd_bbs_sr_1/ 102-3616653-2964915?ie=UTF8& s=books& qid=1188736633& sr=8-1 [6] http:/ / www. laurencemillergallery. com/ taylor_dreams. htm

Maggie Taylor
[7] http:/ / www. photoshopdiva. com/ articles/ Creative%20Point%20of%20View%2006. pdf [8] http:/ / www. uga. edu/ garev/ summer06/ taylor. pdf [9] http:/ / www. steveanchell. com/ index. php?option=com_content& task=view& id=64& Itemid=39 [10] http:/ / www. modernbook. com/ maggietaylor. htm [11] http:/ / www. adobe. com/ products/ photoshop/ pdfs/ maggietaylor_ss. pdf [12] http:/ / www. maggietaylor. com

197

Jerry Uelsmann

198

Jerry Uelsmann
Jerry Uelsmann

Born

June 11, 1934 Detroit, Michigan USA Photography

Nationality Fields

Institutions University of Florida Alma mater Indiana University Rochester Institute of Technology

Jerry N. Uelsmann (born June 11, 1934) is an American photographer. Uelsmann was born in Detroit, Michigan. When he was in high school, his interest in photography sparked. He originally believed that using a camera could allow him to exist outside of himself, to live in a world captured through the lens. Despite poor grades, he managed to land a few jobs, primarily shooting weddings. Eventually Uelsmann went on to earn a BA from the Rochester Institute of Technology and M.S. and M.F.A. degrees from Indiana University. Jerry Uelsmann dropped out of Indiana University before earning a degree. He began teaching photography at the University of Florida in 1960. In 1967, Uelsmann had a solo exhibit at The Museum of Modern Art which opened doors for his photography career.[1] Uelsmann is a master printer producing composite photographs with multiple negatives and extensive darkroom work. He uses up to a dozen enlargers at a time to produce his final images. Similar in technique to Rejlander, Uelsmann is a champion of the idea that the final image need not be tied to a single negative, but may be composed of many. Unlike Rejlander, though, he does not seek to create narratives, but rather allegorical surrealist imagery of the unfathomable. Uelsmann is able to subsist on grants and teaching salary, rather than commercial work. Today, with the advent of digital cameras and Photoshop, photographers are able to create a work somewhat resembling Uelsmann's in less than a day, however, at the time Uelsmann was considered to have almost "magical skill" with his completely analog tools. Uelsmann used the darkroom frequently, sometimes using three to ten enlargers to produce the expected effect. Photos were still widely regarded as documentary evidence of events, and Uelsmann, along with people like Lucas Samaras, was considered an avant garde shatterer of the popular conception. He reassures, I am sympathetic to the current digital revolution and excited by the visual options created by the computer. However, I feel my creative process remains intrinsically linked to the alchemy of the darkroom.[2] Today he is retired from teaching and currently lives in Gainesville, Florida with his third wife, Maggie Taylor.[3] . Uelsmann has one son, Andrew, who is a graduate student at the University of Florida. But to this day, Uelsmann still produces photos, sometimes creating more than a hundred in a single year. Out of these images, he likes to sit back and select the ten he likes the most, which is not an easy process.[4]

Jerry Uelsmann His photographs are in the opening credits of the television series The Outer Limits (1995), and the illustrated edition of Stephen King's Salem's Lot. In addition, his artwork is featured in the progressive metal band Dream Theater's seventh studio album Train of Thought (2003).

199

Further reading
Bennett, Lennie (2006-02-19). "Focusing on a spiritual medium" [5] (in English). St. Petersburg Times. Retrieved 2007-09-14. Hirsch, Robert. "Maker of Photographs: Jerry Uelsmann" [6] (in English). PHOTOVISION Magazine. Retrieved 2007-09-14.

External links
Official website [7] Masters of Photography: Jerry Uelsmann [8]

References
[1] http:/ / shutterbug. com/ techniques/ pro_techniques/ 0907ueksmann/ index. html [2] [3] [4] [5] [6] [7] [8] http:/ / shutterbug. com/ techniques/ pro_techniques/ 0907ueksmann/ index1. html Modernbook - Maggie Taylor (http:/ / www. modernbook. com/ maggietaylor. htm) http:/ / shutterbug. com/ techniques/ pro_techniques/ 0907ueksmann/ index1. html http:/ / www. sptimes. com/ 2006/ 02/ 19/ Floridian/ Focusing_on_a_spiritu. shtml http:/ / www. photovisionmagazine. com/ articles/ uelsmann. html http:/ / www. uelsmann. net http:/ / www. masters-of-photography. com/ U/ uelsmann/ uelsmann. html

Jacek Yerka
Jacek Yerka is a Polish surrealist painter from Toru.

Life and work

Jacek Yerka was born in Toru, Poland, in 1952 - where he later studied fine art and graphic design. According to Yerka, he was pressured by his university instructors to eschew detail and realism in favor of the fashion of the times - but did not relent, adhering to the meticulous classic Flemish technique that still typifies his work. In time they came to see him as a brilliant - though troubled - talent. Yerka graduated from the Faculty of Fine Arts at Nicolaus Copernicus University in Toru, specializing in printmaking. He began working full time as an artist in 1980. Yerka cites Hieronymus Bosch, Pieter Bruegel, Cagliostro, Jan van Eyck, and Hugo van der Goes as formative influencers of his work. His subject matter ranges from odd beasts to whimsical landscapes incorporating extraordinary architecture, and include imagery gleamed from his childhood, such as his grandmothers kitchen. Says Yerka, "For me, the 1950s were a kind of Golden Age ... If I were, for instance, to paint a computer, it would definitely have a pre-war aesthetic to it." Work typically progresses from a graphite sketch, to crayon drawing, then a pastel comp, and finally an acrylic painting. Yerka's work has been exhibited in Poland, Germany, Monaco, France, and the United States, and may be found in the museums of Poland.

Jacek Yerka

200

Awards
World Fantasy Award for Best Artist, 1995 Awarded an honorary paver placard by the city of Toru, June 24th 2008

Further reading
The Fantastic Art of Jacek Yerka, Morpheus International (1994) MIND FIELDS, The Art of JACEK YERKA, The Fiction of HARLAN ELLISON, Morpheus International (1994)

References
http://www.yerkaland.com/bio.php

External links
Artist's homepage (http://www.yerkaland.com/) Jacek Yerka - Fantastic Art Collective (http://beinart.org/artists/jacek-yerka/)

List of minimalist artists

Among the artists to whom the term minimalist was originally applied are: Carl Andre (Born 1935) American Sculptor Mino Argento (Born 1927) Italian/ American Painter Dan Flavin (1933-1996) American Installation Artist, Fluorescent light Sculpture Donald Judd (1928-1994) American Sculptor Sol LeWitt (Born 1928) American Installation Artist John McCracken (Born 1934) American Sculptor Robert Morris (Born 1931) American Sculptor Richard Serra (Born 1939) American Sculptor Frank Stella (Born 1936) American Painter/Sculptor

Among the other artists whose work might be regarded as minimalist are: Richard Allen (abstract artist) (1933-1999) English painter Peter Halley (Born 1953) American Painter, known for Neo-Geo Ellsworth Kelly (Born 1923) American Painter/Sculptor Kasimir Malevich (1878-1935) Russian Painter Pioneer of Abstract Art Agnes Martin (Born 1912) Canadian/American Painter Giorgio Morandi (1890-1964) Italian Still-life Painter, proto-Minimalist Barnett Newman (1905-1970) American Painter, Abstract Expressionist Ad Reinhardt (1913-1967) American Painter, Abstract Expressionist Robert Smithson (1938-1973) American Installation Artist

In music artists whose work might be regarded as minimalist include: Roberto Carnevale Morton Feldman John Luther Adams Jon Gibson Philip Glass

List of minimalist artists Tom Johnson Alvin Lucier Steve Reich Terry Riley La Monte Young

201

See also
Neo-minimalism

Carl Andre

202

Carl Andre
Carl Andre
Born Nationality Field Training Movement Influenced by September 16, 1935 Quincy, MA American Sculpture Phillips Academy, Andover, MA Minimalism Hollis Frampton, Frank Stella

Carl Andre (born September 16, 1935) is an American minimalist artist recognized both for his ordered linear format and grid format sculptures and for being tried and acquitted for murdering his wife, artist Ana Mendieta. His sculptures range from large public artworks (such as Stone Field Sculpture, 1977 in Hartford, CT[1] and Lament for the Children, 1976[2] in Long Island City, NY) to more intimate tile patterns arranged on the floor of an exhibition space (such as 144 Lead Square, 1969[3] or Twenty-fifth Steel Cardinal, 1974).

Biography
Andre was born in Quincy, MA. He completed primary and secondary schooling in the Quincy public school system and studied art at Phillips Academy in Andover, MA from 1951 to 1953.[4] While at Phillips Academy he became friends with Hollis Frampton who would later influence Andre's radical approach to sculpture through their conversations about art[5] and through introductions to other artists.[6] Andre served in the U.S. Army in North Carolina 1955-56 and moved to New York City in 1956. While in New York, Frampton introduced Andre to Constantin Brncui through whom Andre became re-acquainted with a former classmate from Phillips Academy, Frank Stella, in 1958. Andre shared studio space with Stella from 1958 through 1960.[6] Andre's early work in wood may have been inspired by Brncui, but his conversations with Stella about space and form led him in a different direction. While sharing a studio with Stella, Andre developed a series of wooden "cut" sculptures[5] (such as Radial Arm Saw cut sculpture, 1959, and Maple Spindle Exercise, 1959). Stella is noted as having said to Andre (regarding hunks of wood removed from Andre's sculpture) "Carl, that's sculpture, too."[7] From 1960-64 Andre worked as freight brakeman and conductor in New Jersey for the Pennsylvania Railroad. The experience with blue collar labor and the ordered nature of conducting freight trains would have a later influence on Andre's sculpture and artistic personality. For example, it was not uncommon for Andre to dress in overalls and a blue work shirt, even to the most formal occasions."[4] During this period, Andre focused mainly on writing and there is little notable sculpture on record between 1960 and 1965. The poetry would resurface later, most notably in a book (finally published in 1980 by NYU press) called 12 Dialogues in which Andre and Frampton took turns responding to one another at a typewriter using mainly poetry and free-form essay-like texts.[5] Andre's concrete poetry has exhibited in the United States and Europe, a comprehensive collection of which is in the collection of the Stedelijk Museum in Amsterdam.[8] In 1965 he had his first public exhibition of work in the "Shape and Structure" show curated by Henry Geldzahler at the Tibor de Nagy Gallery. Andre's controversial "Lever" was included in the seminal 1966 show at the Jewish Museum in New York entitled Primary Structures.

Carl Andre In 1969 Andre helped organize the Art Workers Coalition. In 1970 he had a one man exhibition at the Solomon R. Guggenheim Museum, and has had one man exhibitions and participated in group shows in major museums, galleries, and kunsthalles throughout America and Europe. In 1972, Britain's Tate Gallery acquired Andre's Equivalent VIII, an arrangement of fireplace bricks. The piece was exhibited several times without incident, but became the center of controversy in 1976 after being featured in an article in The Sunday Times and later being defaced with paint. The "Bricks controversy" became one of the most famous public debates in Britain about contemporary art.[9] In 1979 Andre first met Ana Mendieta through a mutual friendship with artists Leon Golub and Nancy Spero at AIR Gallery in New York City.[4] Andre and Mendieta eventually married in 1985, but the relationship ended in tragedy. Mendieta fell to her death from Andre's 34th story apartment window in 1985 after an argument with Andre. Andre was charged with second degree murder. He elected to be tried before a judge with no jury. In 1988 Andre was acquitted of all charges related to Mendieta's death.[10] He is represented by the Paula Cooper Gallery in New York, by Sadie Coles HQ in London, and Yvon Lambert Gallery in Paris.

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Footnotes and References

[1] Hartford Advocate 11/13/1997 "Twenty Years After Stone Field Sculpture shook the Insurance City, Carl Andre Returns" by Patricia Rosoff (http:/ / nl. newsbank. com/ nl-search/ we/ Archives?p_action=doc& p_docid=1169FD71D17EA340& p_docnum=2& s_dlid=DL0108121605094521142& s_ecproduct=SUB-FREE& s_ecprodtype=INSTANT& s_trackval=& s_siteloc=& s_referrer=& s_subterm=Subscription until: 12/ 14/ 2015 11:59 PM& s_subexpires=12/ 14/ 2015 11:59 PM& s_username=freeuser& s_accountid=AC0107071613141404004& s_upgradeable=no) [2] Lament for the Children 1976 Paula Cooper Gallery, New York, NY (http:/ / www. artnet. com/ Galleries/ Artwork_Detail. asp?G=& gid=264& which=& ViewArtistBy=online& aid=1516& wid=425640779& source=artist& rta=http:/ / www. artnet. com) [3] 144 Lead Square (http:/ / dome. mit. edu/ handle/ 1721. 3/ 13116) [4] Naked by the Window by Robert Katz published 1990 by The Atlantic Monthly Free Press ISBN 0-87113-354-7 [5] 12 Dialogues Carl Andre and Hollis Frampton 1962-1963 published by Nova Scotia College of Art and Design Press and New York University Press, edited by Benjamin HD Buchloh ISBN 0-8147-0579-0 [6] Minimalism: Art and Polemics in the Sixties, edited by James Meyer, published 2004 by Yale University Press ISBN 0300105908,9780300105902 [7] Naked by the Window by Robert Katz, published 1990 by The Atlantic Monthly Free Press ISBN 0-87113-354-7 [8] http:/ / www. leftmatrix. com/ andrelist. html [9] Tate Gallery, The Bricks controversy (http:/ / www. tate. org. uk/ archivejourneys/ historyhtml/ people_public. htm) [10] Sullivan, Ronald (February 12, 1988). "Greenwich Village Sculptor Acquitted of Pushing Wife to Her Death" (http:/ / www. nytimes. com/ 1988/ 02/ 12/ nyregion/ greenwich-village-sculptor-acquitted-of-pushing-wife-to-her-death. html?scp=8& sq=Carl+ Andre+ acquitted& st=nyt). The New York Times. . Retrieved April 28, 2010.

Busch, Julia M. (1974). A Decade of Sculpture: the New Media in the 1960's. London: Associated University Presses (http://www.aupresses.com/). ISBN0-87982-007-1.

External links
Carl Andre - Biography and Analysis (http://www.theartstory.org/artist-andre-carl.htm) from the Art Story Foundation website Short biography (http://www.guggenheimcollection.org/site/artist_bio_3.html) from the Guggenheim Museum Carl Andre (http://www.acegallery.net/artistmenu.php?Artist=40) at Ace Gallery Carl Andre Work & Extended Biography (http://www.sadiecoles.com/carl_andre/biog_more.html) Timeline of Exhibitions 1964Present Carl Andre (http://www.yvon-lambert.com/index_pr.php?section=art_pr&artist=ca_andre) at the web site of Yvon Lambert, agent. Contains photographs of selected works, and a biographical list of exhibitions.

Carl Andre Carl Andre (http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=507& searchid=12133&currow=1&maxrows=10) at the Tate Modern

204

Timothy App
Timothy App
Born Nationality Field Works Influenced by 1948 Akron, Ohio American Abstract painting Avatar (1998), Leviathan (2001), Crucifer (2007) Karl Benjamin, Frank Stella, Josef Albers

Timothy App is a contemporary American painter whose works are in numerous private and public collections including the Baltimore Museum of Art.

Biography
Timothy App attended Kent State University in Ohio, where he received a BFA degree in painting in 1970. He continued his study of painting at Tyler School of Art of Temple University and in 1974 received an MFA. During his thirty-two years of teaching, he has taught at Pomona College in California, the University of New Mexico in Albuquerque, and since 1990 at MICA. With many one-person and group exhibitions, he has shown his abstract paintings regionally, nationally and abroad. In 1988, his work was the focus of a 20-year survey exhibition. Most recently, his work from the last seven years was the subject of an exhibition with a catalog at Goya Contemporary in Baltimore, where his paintings and prints are represented. His work is included in many private and public collections. He is a recipient of a NEA fellowship in painting, as well as an individual artist's grant from the Maryland State Arts Council. Twice he has received the Trustee's Award for Excellence in Teaching at MICA, and has been nominated for the Richard C. Diebenkorn Teaching Fellowship. In addition to teaching and painting, he has written on the work of other artists, lectured on his own work and curated exhibitions of abstract painting.

See also
Abstract painting

Bibliography
MICA Faculty Directory, Timothy App [1] (2009). The Goya Contemporary, Timothy App [2] (2009).

External links
An Interview with Artist Timothy App,<Geoform, November 2006.> [3]

References
[1] http:/ / www. mica. edu/ FACULTY_DIRECTORY/ index. cfm?faculty_id=135

Timothy App
[2] http:/ / www. artnet. com/ Galleries/ Artists_detail. asp?G=& gid=461& which=& aid=1578& ViewArtistBy=online& rta=http:/ / www. artnet. com/ artist/ 1578/ timothy-app. html [3] http:/ / www. geoform. net/ features/ features_app. html

205

Mino Argento
Mino Argento

Mino Argento in his studio. Bridgehamton, NY 1977 Born January 5, 1927 Rome, Italy

Nationality Italian, American Field Painter, Architect

Movement Abstract Expressionist, Lyrical abstraction, Geometric abstraction, Minimal art, Impressionism, collages

Mino Argento (born January 5, 1927) is an Italian artist, whose works comprise abstract paintings on canvas and paper.

Life and work

Mino Argento was born in Rome, Italy in 1927. He worked in architecture as a young man. His career as an artist began in Italy including a 1968 exhibition at Gallery Astrolobio in Rome presented by Marcello Venturoli the famous Italian writer, poet, and art critic. Until his arrival in 1969 in New York City Argento was a figurative painter. He left Italy because of his unwillingness to continue painting in a figurative manner, which he felt was expected in Europe. America, it seemed to him, offered other possibilities. Upon moving to New York, Argento presented one of his first one man exhibitions at the Livingston-Learmonth Gallery in 1974. Argento was the gallerys opening artist. He was also represented in London, England, by Nigel Greenwood beginning in 1974. By 1977 he would be represented by Betty Parsons. Throughout the seventies his work would be presented alongside such other well known artists as Frank Stella, Richard Pousette-Dart, Ronald Davis, Ruth Vollmer, Jack Youngerman, Marino Marini (sculptor), Giorgio de Chirico and Shusaku Arakawa. Later, in 1983 his work would become part of one of the last (if not the last) shows at the Betty Parsons Gallery after her death in 1982.

Artistic style
In the 1960s Argento worked in oil and canvas collage. Later in the 1970s and 1980s he began to apply an acrylic gesso to prepared canvas, sometimes so thinly brushed that it seemed barely to cover the grayish surface of the canvas. He dealt with the ambiguous subleties of the interplay of positive-negative space. Argento enjoyed contrasting the hardness and the aridity of penciled lines with sensuous layers of oil. He would build up the white gesso, at times adding oil paint, until it could almost be mistaken for collage. He varied the thickness of drawn lines creating an unusual sensitivity for the weight of various forms. Argento meticulously buildt up his delicate surfaces,

Mino Argento so fragile that every gesture was critical, with layer upon transparent layer of gesso, carefully balancing the tone values of the medium against the intensity of his pencil line. Using oil, acrylic and occasionally graphite in conjunction with the gesso, these high-key paintings are not about "being white" but are essentially concerned with the absencecolor. His background in architecture pervades his paintings through a sense of geometry.

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Rome
In 1968 Marcello Venturoli said: And one that reaches far greater results pictorial Impressionism Liberty, now going with a realistic, where love and female sovereign, now with a look more amused than ever to the beloved models, but the implications to the environment, rich the decorative details of backgrounds, collages, compartments, which resemble those of Leonardo Cremonini. But while the figure Cremonini and absorbed from the environment and how indiversificata-a conspiracy that do things on people-here in the most bitter but vital Argento, the figure remains sovereign, it is decorated, is complicated in a dressing gown, in drapery, becomes a goddess of rest and relaxation in a situation so composed and lonely, as alluding to the presence of man.[1]

New York
In 1974, John Gruen said: These are geometric abstractions that could be called White on White with their delicate, yet boldly differentiated forms and textures. One can see Argentos mind and hand attempting something different within the geometric genre. At times he succeeds, at others, he merely echoes the deja-vu syndromes of shape within shape and closed-hued tonality. Still, one is in the presence of a genuine artist, one who has a most felicitous affinity for making the most out of self-imposed limitations of form and color. If at the moment elegance overrides depth.[2] In 1975, Ellen Lubell said in Arts Magazine: OK Harris Gallery previously provided a refreshing change of pace. Mino Argentos four white-on-white paintings were variations on the gridded, rectangle-on-rectangle themes, but were enlivened whit differences in rhythm and conception. One composition included grayed grids and vertical rectangles in several, more opaque whites, clustered centrally. The keen sense of proportion, the sense of angularity abut the rectangles, and the cracked paint within one of them that looked like a natural grid contributed to make this painting a finely tuned, complex example of the genre.[3] In 1977, Noel Frackman said in Arts Magazine: No lines or forms are extraneous; the application of the paint itself, the juxtapositions of elements all work towards a tense, euclidean harmony. The varying thickness of drawn lines and an unusual sensitivity for the weight of various forms lift these paintings out of the realm of simple geometric constructions into the area of the theoretical. In a sense, these white paintings are philosophical musings on the nature of geometry as pure idea.[4] In 1977, Michael Florescu said in Arts Magazine: Is this his rendering of a far distant race-memory, the way in which, for instance, the pyramids came to be built, where the raw material of the structure evolved into the mechanics by which similar enterprises

Mino Argento, New York, 1973

Mino Argento came about in the future? Or are we, at this point in time, to interpret the physical effect of mistiness the deliberate fragmentation and obscuring of the image (elsewhere a seemingly endless vista of virgin grid) as representing no less that visible breath of a concerned Creator![5] In 1977, Nina Ffrench-Frazier said in ARTnews. Argento deals with the ambiguous subleties of the interplay of positive-negative space. There is more than the mind at first can grasp in these monotone paintings of squares, traingles, grids, and rectangular. Apparently involved with Pythagorean geometry, Argento-much in the same tradition as Filippo Brunelleschi, Bramante and other Renaissance men-is in reality fascinated by the intensely spiritual beauty of Pythagorean philosophy, with which he so marvelously infuses all of his paintings.[6] In 1980, Michael Florescu said in Arts Magazine.
Mino Argento, New York, 1973 #2

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Is his essay Vicissitudes of the Square, Harold Rosenberg Noted, Painting squares is now no different from painting trees or clowns; the question of the feeling they convey becomes all-important, Argento conveys feeling by means of his play with perspectives, with units of measurement, with directional symbols, with modes of calculation, and with ventors of suggested light, He creates illusions of refraction, causing the spectator to look at his squares. Argento dramatizes distance by the recognition of affirmations and denials within the same picture plane. This particular effect was identified by Theodor Adorno, when he wrote that "distance is not a safety zone, but a field of tension. It is manifested not in relaxing the claim of ideas to truth, but in delicacy and fragility of thinking." This characteristic may be best appreciated if Argento's paintings are considered for what I believe they are: a valid contemporay form of the traditional still life.[7]

Fourteen Painters
In the Words Adorno: "All thought has its moment of universality anything well thought out will inevitably be thought of elsewhere by someone else". Jean Allemand, Shusaku Arakawa, Mino Argento, Juhana Blomstedt, Ronald Davis, Maxime Defert, Michel Gueranger, Patrick Ireland, Nicholas Krushenick, Barry LeVa, Finn Mickelborg, Philippe Morisson, Georges Noel and Frank Stella. The omission stems from a past failure to relate the work of two groups of artists working on opposite sides of Atlantic without contact or influence upon each other yet both equally free of formulated systems or of constitutes "Schools" And the evidence postulated is to bring together "fourteen painters" each offering different yet complementary spatial concepts. Though limited the range exhibited suffices to evoke a contemporary break both with the geometric language of Minimal Art and with optical art.[8]

Mino Argento

208

Exhibitions
Solo
1965, Condotti Gallery, Rome, Italy. ("Umanit e Construttivismo di Mino Argento" by Giuseppe Fabbri, Bussola, (February, 1965) 1966, Realschule Gallery, Vaduz 1968, Galleria Astrolabio, Rome, Crane & Korchin Gallery, Manhasset, New York. ("Mino Argento" presentation by Marcello Venturoli. 1974, October 28, Meet The Artist, Livingston-Learmonth Gallery, New York City.[9] 1977, Betty Parsons Gallery, New York City 1979, Betty Parsons Gallery, New York City 1987, J. P. Natkin Gallery, New York City 1988, April Sgro-Riddle Gallery, Los Angeles

Group
1965, Burckardt Gallery, Rome 1966, Porfirius Gallery, Rome 1968, Guglielmi Galleria, San Benedetto del Tronto, Italy 1975, Livingstone-Patricia Learmonth Gallery, New York City 1975, Group Exhibition, OK Harris Gallery Mino Argento and Ron Jackson (among others).[10] 1977, Dec 20-Dec 31, Group Exhibition, Betty Parsons Gallery. Mino Argento, Calvert Caggeshall, Minoru Kawabata, Richard Tuttle, Ruth Vollmer, Robert Yasuda, Helene Aylon and Cleve Gray (among others).[11] 1978, Dec 12- Dec 30, Group Exhibition, Betty Parsons Gallery. Ruth Vollmer, Mino Argento, Cleve Gray, Calvert Caggeshall (among others)[12] 1978, 2-10 Septembre, Group Exhibition 14, "7 Artistes Americains, 7 Artistes Europeans . Galerie Doree Michel Gueranger et Maire de Deauville Anne d'Ornano.. Casino de Deauville hall et Galerie Doree, Deauville France. Jean Allemand, Shusaku Arakawa, Mino Argento[13] , Juhana Blomstedt, Ronald Davis, Maxime Defert, Michel Gueranger, Patrick Ireland, Nicholas Krushenick, Barry LeVa, Finn Mickelborg, Philippe Morisson, Georges Noel, Frank Stella.[14] 1979-80, Dec 18-Jan 12, Group Exhibition, Betty Parsons Gallery. Mino Argento, Fanny Brennan, Richard Francisco, Richard Tuttle, Ruth Vollmer and Toko Shinoda (among others).[15] 1979, Nardin Gallery, New York. (Group show of Contemporary Italian Art). Lawrence Calcagno, Gio Pomodoro, Marcello Boccacci, Giorgio de Chirico, Marino Marini (sculptor), Mino Argento, Giorgio Morandi, Gustavo Foppiani. Twenty-eight artists are represented in 50 pieces of sculpture and painting)[16] 1980, Sneed Gallery, Rockford, Illinois 1982 Ericson Gallery, New York City 1983, May 25-June 18, Group Exhibition, Betty Parsons Gallery. Mino Argento, Jack Youngerman, David Budd, Calvert Coggshall, Cleve Gray, Lee Hall, Minoru Kawabata, Richard Pousette-Dart, Leon Polk Smith, Hedda Sterne, Ed Zutrau and Sari Dienes (among others).[17]

Mino Argento

209

Collections
General Electric, New York City and Betty Parsons, New York City.[18]

List of works
La Tigre, (The Tiger) Oil e Collage su Tela, 60x 70cm, 1968. Private Collection[19] Donna col Drappo Giallo, (Woman with Yellow Drape) 1968. Oil e Collage su Tela. Private Collection Bagnanti, (Bathers) 1968. Oil e Collage su Tela. Private Collection Sul Tappeto Giallo, (The Yellow Carpet) 1968. Oil e Collage su Tela. Private Collection Ragazza Sul Letto, (Girl On Bed) 1968. Oil e Collage su Tela. Private Collection Nudo,(Naked) 1968. Private Collection Figura Giacente, (Lying Figure) 1968. Oil e Collage su Tela. Private Collection Donna Accovacciata, (Woman Squatting) 1968. Private Collection[20] Beauty Salon, (Beauty Salon) 1968. Oil e Collage su Tela. Private Collection Donna e Macchina, (Woman and Machine) 1968. Private Collection Donna e Frutta, (Woman and Fruit) 1968. Private Collection Natura Morta, (Still life) 1968. Private Collection Pupazza, (Puppet) 1968. Oil e Collage su Tela. Private Collection Melanzane, (Eggplant) 1968. Private Collection Il Foglio Bianco, (The white paper) 1968, Oil e Collage su Tela Private Collection Scena di Caccia, (Hunting Scenes)1968. Private Collection Toro al Mattatoio, (Toro at Slaughterhouse) 1968. Private Collection La Monta, (The Mount) 1968, Private Collection Piccolo Toro n.1, (Small Toro No.1) 1968. Private Collection Piccolo Toro n.2, (Little Bull No .2) 1968. Private Collection La grande Bestia, (The Great Beast) 1968. Oil e Collage su Tela. Private Collection Paesaggio, (Landscape) 1968. Oil e Collage su Tela. Private Collection New York, 1973, Oil Acrylic and Gesso, Grids, Square Pencil Lines. White on White. 50" x 50" Private Collection New York, 1973 #2 Oil, acrylic and gesso, three squares, pencil on canvas. White on White. 50" X 50" Private Collection Untitled, 1976, Acrylic on Canvas, 48" X 60". Private Collection Untitled, 1977, Acrylic on Canvas, 35 1/2"X 50". Private Collection Untitled, 1977, Acrylic on Canvas, 25" x 70". Private Collection Untitled', 1978, 1,27 x 1,02 m. Private Collection Labyrinthus II, 1978, Oil and Acryic on Canvas. Private Collection Fragments of a Paradox, 1979, Oil and Acrylic on Canvas, 57" x 48". Private Collection Untitled, 1979, Oil and Acrylic on Canvas, 48"x 40". Private Collection Janus Two Headed, 1979. Private Collection Construction of Three Alternatives, 1979, Oil and Acrylic on Canvas, 57" x 48". Private Collection Untitled, 1986, Oil on canvas, 36" x 60". Private Collection Inquietudine Geometria, 1987, Oil on Canvas, 52" x 47". Private Collection

Mino Argento

210

See also
Rockefeller Center

References
[1] [2] [3] [4] [5] [6] [7] [8] [9] "Mino Argento" presentazione di Marcello Venturoli Roma, 24 maggio -15 giugno 1968. From Biblioteca Di Archeologia E Storia Dell'Arte. John Gruen "Renoir, Bailey, Argento, Whinnie, MacCoy & Solomon. The SoHo Weekly News, 1974 p. 18 Ellen Lubell, "Group show" Art Magazine, p.11 October 1975 "Mino Argento" by Noel Frackman (Arts Mgazine. P.19 December 1977) Michael Florescu. "Mino Argento" Arts Magazine V.52 p. 13 November 1977) "Mino Argento" by Nina Ffrench-Frazier (ARTnews. p.261,262 November, 1977) "Mino Argento" by Michael Florescu (Arts Magazine. v.54 p.26 February 1980) 14 7 artustes americains, 7 artistes europeens 2-10 Septembre Galeria Doree, Deauville, France 1978 From: Henry Allen Moe Papers(Mss. B. M722), Guggenheim Foundation, at the American Philosophical Society. Communcation from Livingston-Learmonth Gallery, New York City. [10] Ellen Lubell."Group Show" Art Magazine, p.11 October 1975 [11] Book: Ruth Vollmer 1961-1978 Thinking The Line, Nadja Rottner and Peter Weibel, editors. P.220, ISBN 9783775717861 [12] The Archives of American Art, Smithsonian, Betty Parsons Gallery Papers, Reel 4087-4089: Exhibition Records, Reel 4108: Artists Files, last names A-B. [13] Untitled. 1978, (1,27 x 1,02.m). Exhibition Catalog: Casino de Deauville hall et Galerie Doree, 1978. [14] "7 Artistes Americains, 7 Artistes Europeans". Exhibition Catalog: Casino de Deauville hall et Galerie Doree, 2-10 Septembre, 1978. [15] Book: Ruth Vollmer 1961-1978 Thinking The Line, Nadja Rottner and Peter Weibel, editors. P.220, ISBN 9783775717861 [16] Margaret Betz. "Forty Years of Italian Art" Art news, p. 174, February, 1979 [17] The Archives of American Art, Smithsonian, Betty Parsons Gallery Papers, Reel 4087-4089: Exhibition Records, Reel 4108: Artists Files, last names A-B. [18] Media Release: December 22, 1987 April Sgro-Riddle Gallery Los Angeles, CA [19] Marcello Venturoli "Mino Argento" (Catalogo Bolaffi D'arte Moderna. p.20 p.56, 1970) [20] "Mino Argento" Presentazione di Marcello Venturoli, Roma, 24 Maggio-15 Giugno 1968 Galleria Astrolabio Arte-Roma

Additional Reference
Hall, Lee (1991). Betty Parsons: artist, dealer, collector. New York: Harry N. Abrams, Incorporated. ISBN 0-8109-3712-3 From cover: Betty Parsons at her gallery, 1979. Work by artists she represent. Painting by Mino Argento, Ruth Vollmer wooden sculpture. (Among others). Photograph by Lisl Steiner. Ruth Vollmer 1961-1978 Thinking The Line, Nadja Rottner and Peter Weibel, editors. p.220, ISBN 9783775717861

External links
Getty Union List of Artist Names (Research at the Getty) (http://www.getty.edu/research/ conducting_research/vocabularies/ulan/) Betty Parsons Gallery records, Mino Argento. (1977-1983 (http://aaa.si.edu/search/index.cfm/fuseaction/ Collections.ViewCollection/CollectionID/7211) Mino Argento, Art Appraisal, Artist Paintings (http://www.askart.com/askart/artist.aspx?artist=11085918) Museum of Modern Art Library, Mino Argento file (Los Angeles, Media Relese, 1987 (http://arcade.nyarc. org:80/record=b526748~S8) Henry Allen Moe Papers. Livingstone-Learmonth Gallery. Letter to Henry Allen Moe. Exhibition in 1974 (Mino Argento) (http://www.amphilsoc.org/mole/view?docId=ead/Mss.B.M722-ead.xml;query=;brand=default) Mino Argento, Marcello Venturoli 1968 (http://www.archeologica.librari.beniculturali.it/contents/pagina. aspx?idpagina=2) Development of the Brand Name: Mino Argento And Lydia Banch, 1970 (http://www.jumpintothe.net/ portfolio/LotteBerkMethod/studios.htm) Yale University Library. Mino Argento Artist file (http://newton.library.yale.edu/yufind/Record/1656367/ Holdings#tabnav)

Mino Argento DC Public Library (http://catalog.dclibrary.org/vufind/Author/Home?author=Parsons, Betty 1917-) John Gruen A prominent music, dance and art critic (http://www.jamesgavin.com/page41/page208/page208. html) Los Angeles Times. January 22, 1988, "Mino Argento. He specializes in geometric shapes with cloudy edges". (http://articles.latimes.com/1988-01-22/entertainment/ca-25065_1_geometric-shapes) Photograph (1979) Betty Parsons in her Gallery in New York with works by artists whom she represents. to the left of Parsons is Ruth Vollmer wooden sculpture, behind her; two pieces by Stephen Porter. On the wall is a Painting by Mino Argento. Risa's Brightly painting construction is to the right, and Michael Malpass metal sculpture is on the table. (http://www.npg.si.edu/cexh/artnews/parsons.htm)

211

David Batchelor (artist)

David Batchelor (born 1955, Dundee, Scotland) is an artist and writer based in London. A sculptor, artist, writer, (he is the author of Chromophobia) Batchelor is currently a tutor at the Royal College of Art. He has shown work internationally in many exhibitions including the 26th Sao Paulo Biennale, Days Like These at Tate Britain [1], Extreme Abstraction at the Albright-Knox Art Gallery [2] in Buffalo, Chromosexuals at Galleri Bouhlou [3] in Bergen and Amid Concrete, Clay and General Decay at Konstfack Gallery in Stockholm. He is represented by Wilkinson Gallery [4] and Ingleby Gallery [5] in Edinburgh. David Batchelors most recognised works are colourful lightbox installations using salvaged bits and pieces from the streets of London. Batchelor takes industrial debris trolleys, shelving units, factory scrap and transforms them into frames to hold assemblages of neon, perspex and found shopfront signs. His works are held in various museum collections, including the Tate.[6]

Sources
Batchelor, David, Chromophobia, ISBN 978-1861890740

External links
Information about David Batchelor on ArtFacts.Net [7] David Batchelor Ingleby Gallery [8] David Batchelor Saatchi Gallery [9] David Batchelor's post at the RCA [10] Batchelor's work on the London Underground [11]

David Batchelor (artist)

212

References
[1] http:/ / www. tate. org [2] http:/ / www. albrightknox. org/ [3] http:/ / www. kulturnett. no/ organisasjoner/ hovedorganisasjon. jsp?id=T2300211 [4] http:/ / www. wilkinsongallery. com/ [5] http:/ / www. inglebygallery. com/ [6] tate.org (http:/ / www. tate. org. uk/ servlet/ ArtistWorks?cgroupid=999999961& artistid=4915& page=1) [7] http:/ / www. artfacts. net/ index. php/ pageType/ artistInfo/ artist/ 15836 [8] http:/ / www. inglebygallery. com/ artistsDetail. php?id=41 [9] http:/ / www. saatchi-gallery. co. uk/ artists/ david_batchelor. htm [10] http:/ / www. rca. ac. uk/ pages/ research/ david_batchelor_233. html [11] http:/ / www. tfl. gov. uk/ tube/ arts/ platform-for-art/ artists/ batchelor. asp

Alan Ebnother

213

Alan Ebnother
Alan Ebnother

Photographer Jennah Ward has extensively documented Ebnother's unique painting techniques. Born Nationality Field Movement December 26, 1952 Alameda, U.S.A. American Painting& Drawing Monochrome painting, Postminimalism, Concrete art and Color-based Painting

Alan Ebnother (Born 1952 in Alameda, California) is a contemporary American artist. His practise as an artist is usually associated with monochrome, concrete, modernist, post, color-based, radical, minimalist and abstract Painting.[1]

Life and work

There is nothing to paint, except paint itself.

Alan Ebnother.

Ebnother lives and works in Stanley, New Mexico.[2] His oils, in hand-ground dry pigment on stretched linen and wood panels, are characterized by rich impasto, dense pigmentation, and dense markings.

Alan Ebnother

214 Ebnother originally trained as a ballet dancer and his understanding of elevation, extension, and balance comes through in his dispersed composition and the agility of his paint handling. The high pigment-to-oil ratio and furrowed surfaces of these paintings combine to create an unusually saturated color with a grounded, concrete physicality.[3]

Solo exhibitions (retrospective): Paintings, Room for Painting Room for Paper. San Francisco, California (2009), Reduxion, Maria Elena Gonzalez- Alan Ebnother, Galerie Gisele Linder, Basel Switzerland (2009),Paintings on Paper, Imprints, Le Vieux Village, France (2008), Painting, Wade Wilson Art, Houston, Texas (2007), Small Paintings, Galerie Klaus Braun, Stuttgart, Germany (2008), Painting on Paper, Jan 4th 2007 , 2007. Oil and pigments on linen, 65 x 60 inches. Galerie Klaus Braun, Stuttgart, Germany (2003), Paintings, Charlotte Jackson Fine Art, Newport Beach, California (1999) New Paintings, Galerie Klaus Braun, Stuttgart, Germany (1998), Painting, Galerie Alf-Krister Job, Mainz, Germany (1998), Alan Ebnother, Charlotte Jackson Fine Art, Santa Fe, New Mexico (1997), Alan Ebnother, Galerie Orms, Innsbruck, Austrian (1997),Alan Ebnother-Kulturraum Kirche, Evangelische Kirche, Taunusstein-Bleidenstadt, Germany (1996).[4] [5] "Das Grn ist eine unendlich ruhige Farbe". (Alan Ebnother) Before color can be used as an expressive medium it has to become abstract. (Alan Ebnother)[6]

External links
http://brenthallard.wordpress.com/2009/08/10/suspension-in-blue-alan-ebnother/ http://jeffreycollinspainter.blogspot.com/2008/01/alan-ebnother-is-painting-red.html http://www.georgelawsongallery.com/artists/a_ebnother_writings.html

References
[1] ArtSlant, . "Alan Ebnother, Quick facts." the #1 contemporary art network n. pag. Web. 21 Mar 2010. <http://www.artslant.com/global/artists/show/33032-alan-ebnother>. [2] Ashley, Chris. "Alan Ebnother Interview at Minus Space." 20060106 6 January 2006: n. pag. Web. 22 Mar 2010. <http://www.chrisashley.net/weblog/archives/week_2005_05_01.html#000778>. <http://www.minusspace.com/2005/04/interview-with-alan-ebnother-by-chris-ashley/>. [3] Artlog, Art & Culture in Real Time. "room for painting 08 - Alan Ebnother: recent paintings." room for painting room for paper 1 July 2002: n. pag. Web. 13 Mar 2010. [4] http:/ / www. artslant. com/ global/ artists/ show/ 33032-alan-ebnother/ / [5] http:/ / www. georgelawsongallery. com/ artists/ a_ebnother_bio. html/ / [6] Brent, . "Suspension in Blue Alan Ebnother." August 10, 2009: n. pag. Web. 21 Mar 2010. <http://brenthallard.wordpress.com/2009/08/10/suspension-in-blue-alan-ebnother/>.

Dale Eldred

215

Dale Eldred
Dale Eldred (b. Minneapolis, Minnesota 1933; d. Kansas City, Missouri 1993) was an internationally acclaimed sculptor renowned for large-scale sculptures[1] that emphasized both natural and generated light.[2] .

Biography
The grandson of Finnish immigrant builders, Eldred was raised in Minnesota. Eldred moved to Kansas City in 1959, fresh out of the University of Michigan. Within a year, he was named chairman of the sculpture department of Kansas City Art Institute. Eldred possessed an imposing physical presence and was a college football fullback. He was known to be resilient in the face of challenge, such as the fire in 1991 that destroyed a studio that contained his library and many valuable artworks. Eldred chaired the sculpture department at KCAI for 33 years, exerting a powerful influence on thousands of students, including: Shawn Brixey, Ming Fay, Michael Rees, John E. Buck, and the collaborative couple, (the late) Kate Ericson and Mel Ziegler who met at KCAI. He also was the artistic director of Biosphere II, and was a fellow at the Massachusetts Institute of Technology Center for Advanced Visual Studies. Dale Eldred was a victim of the "500-year" flood in the summer of 1993, when the Missouri River inundated parts of Kansas City. He was killed in a fall trying to rescue equipment in his West Bottoms-neighborhood studio.
Light+Time Tower, Raleigh, NC

Sculpture
Eldred's early sculptures were large works in clay. Influenced by the monumental steel sculptures of David Smith and Alexander Calder, he began to work in steel, wood and other materials, creating large sculptures and environments. Examples of these include a sculpture composed of a pair of large cantilevered slabs of wood and steel, placed near the entrance of the Kansas City Art Institute; and a park in northern Kansas City, Missouri housing a large stone and lumber environment. His work of this time was reviewed favorably by critic and artist Donald Judd. Eldred was commissioned to redesign downtown Kansas City, Kansas. His challenging modernist design included futuristic fountains, irregular streets, and steel curbs. Received poorly, its unpopularity led the city to modify much of his work, but aspects still exist today. Eldred expressed his desire to reveal natural phenomena. He created a towering sculpture in a Kansas City park that sprayed water in order to create prismatic light refractions. His emphasis increasingly focused on light; he used mirrors, pure pigments, gas flames, fluorescent paint, refraction tape, glass, neon tubes and other materials to create light effects. "I want the sculptures to remind us all," he said, "that our lives are inextricably linked to light, and that our universe is in constant motion."[3] In collaboration with choreographer Todd Bolender, he created the set and costumes for "Voyager," a ballet performed by the State Ballet of Missouri. He collaborated with other highly regarded artists and musicians, including composer Phillip Glass.

Dale Eldred

216

Commissions, Museums and Private Collections

United States
Arizona Time/Light Fusion, 1990, Scottsdale Center for the Arts, Scottsdale Time Garden, 1990, Arizona State University, Tempe Vision Lens: Light and Future, 1990, Arizona State University, Tempe Florida Solar Time Plane, 1984, Broward County Main Library, Fort Lauderdale Light Abacus I, 1990, Criser Hall, Gainsville Sun Stations, 1983, Coconut Grove Station, Miami Earth and Sky Garden, 1984, University of South Florida, College of Public Health courtyard, Tampa

Illinois Urban Time and Light Field, 1985, Cermak Plaza Shopping Center, Berwyn Iowa Landscape Piece #1, 1965, Des Moines Art Center, Des Moines Model for Landscape, 1967, Des Moines Art Center, Des Moines Kansas Salina Piece, 1969, University of Kansas, Lawrence Untitled, 1968, litho, Spencer Gallery of Art, University of Kansas, Lawrence Untitled, 1968, litho, Spencer Gallery of Art, University of Kansas, Lawrence Galileo's Garden, 1984, Johnson County Community College, Overland Park

Michigan Untitled, 1973, Grand Valley State University, Allendale Minnesota Mankota Piece, 1968, Riverfront Park, Mankota Missouri Heritage Fountain, 1977, Blue Valley Park, Kansas City Steeple of Light, 1990 - 94, Community Christian Church, Kansas City Signage, Harry J. Epstein Hardware, Kansas City East Gate Piece, 1966, Kansas City Art Institute, Kansas City Homage to the Ancients, 1975, print, Kemper Museum of Contemporary Art, Kansas City Seven Views of the Grand Canyon, 1985, Kemper Museum of Contemporary Art, Kansas City Sculpture II, 1963, Nelson-Atkins Museum of Art, Kansas City Standing Iron, 1962, Nelson-Atkins Museum of Art, Kansas City Untitled, 1962, University of Missouri-Kansas City, Kansas City Sun Field, 1991, Laumeier Sculpture Park, St. Louis

North Carolina Time + Light Tower, 1991, Capital Blvd & Fairview Dr, Raleigh Ohio Light Path Crossing, 1987, Case Western University, Cleveland Sun Obelisk, 1974, Promenade Park, Toledo Oklahoma

Dale Eldred Tulsa Time and Light Continuum, 1983, Convention Center, Tulsa Radiant Range, 1993, Convention Center, Tulsa Kansas Landmark (Drum Piece), 1965, Philbrook Museum of Art, Tulsa Oregon Levitated Light, 1987, Portland State University, School of Business Administration, Portland Tennessee Airport Sun Project, 1989, Nashville International Airport, Nashville Utah Light and Time Incident, 1995, Utah State University, Science / Technology Library, Logan Virginia Light Garden, 1988, Virginia Beach Wisconsin Appleton Aurora, 1989, Appleton Center, Appleton

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International
City Art Museum, Helsinki (Finland) Cankaya Cultural and Arts Foundation, Ankara, Turkey

Awards and honors

He received numerous awards and honors, including a Guggenheim Fellowship and grants from the Ford Foundation, the American Institute of Architects and the National Endowment of the Arts.

Publications
Ralph Coe. Dale Eldred: Sculpture Into Environment, ISBN 0700601597, Regents Press Kansas, 1978.

External links
Roberta Lord, The Sky Above Dale Eldred [4] Biography: Kansas City Public Library [5] Homage to Dale Eldred, Jrgen Claus Leonardo, Vol.28, No.4 (1995), pp.328-329, Published by: The MIT Press
[6]

New York Times, Wednesday, July 28, 1993 [7] Kansas City Missouri, Office of the City Clerk, Legislation #930908, 8/5/1993, Special Action Resolution, Councilmember Shields: On The Death of Dale Eldred [8]

Dale Eldred

218

References
[1] Roberta Lord, The Sky Above Dale Eldred, http:/ / www. cultureport. com/ cultureport/ artists/ eldred/ index. html [2] New York Times, Wednesday, July 28, 1993 http:/ / query. nytimes. com/ gst/ fullpage. html?res=9F0CEFDB1F3FF93BA15754C0A965958260 [3] http:/ / users. rcn. com/ jdeubel/ plaza/ timelig. html [4] http:/ / www. cultureport. com/ cultureport/ artists/ eldred/ index. html [5] http:/ / kclibrary. org/ localhistory/ media. cfm?mediaID=34844 [6] http:/ / www. jstor. org/ pss/ 1576201 [7] http:/ / query. nytimes. com/ gst/ fullpage. html?res=9F0CEFDB1F3FF93BA15754C0A965958260 [8] http:/ / cityclerk. kcmo. org/ liveweb/ Documents/ DocumentText. aspx?q=%2fhK37OJL2a4J8MDGbaUngwujgFBLBvhbj6zqH4Ngo02Rt3%2fuq%2bNHauH0qx7r46bg

Dan Flavin

219

Dan Flavin
Dan Flavin
Born Died April 1, 1933 Jamaica, New York November 29, 1996 (aged63) Riverhead, New York

Nationality American Field Training Installation art, Sculpture Columbia University

Dan Flavin (April 1, 1933, Jamaica, New York November 29, 1996, Riverhead, New York) was an American minimalist artist famous for creating sculptural objects and installations from commercially available fluorescent light fixtures. The Estate of Dan Flavin is represented by David Zwirner[1], New York.

Education
Flavin studied art history for a short time at the New School for Social Research, then moved on to Columbia University, where he studied painting and drawing.[2]

Site-specific installation by Dan Flavin, 1996, Menil Collection

Life and career

Flavin first conceived of using electric light as an art form in 1961,[3] the same year he married his first wife Sonja Severdija.[4] His first solo show was also held in 1961, at New York's Judson Gallery.

Early work
The first works to incorporate electric light were his "Icons" series: eight colored square box-forms, constructed by the artist and his then-wife Sonja: these were fluorescent tubes with incandescent bulbs attached to their sides, and sometimes beveled edges. One of these icons was dedicated to Flavin's twin brother David, who died of polio in 1962.[5] "

Mature work
The "Diagonal of Personal Ecstasy (the Diagonal of May 25, 1963)," completed in 1963, was Flavin's first mature work; it marks the beginning of the artist's exclusive use of fluorescent light as a medium. In the decades that followed, he continued to use fluorescent structures to explore color, light and sculptural space, in works that filled gallery interiors. These structures cast both light and an eerily-colored shade, while taking a variety of forms, including "corner pieces", "barriers," and "corridors." Most of Flavin's works were untitled, followed by a dedication

Dan Flavin in parenthesis to friends, artists, critics and others: the most famous of these include his "Monuments to V. Tatlin," an homage to the Russian constructivist sculptor Vladimir Tatlin, which he continued to work on between 1964 and 1990. Flavin married his second wife, the artist Tracy Harris, in a ceremony at the Guggenheim Museum, in 1992.[6] Dan Flavin's last artwork was a site-specific work at S. Maria Annunciata in Chiesa Rossa, Milan, Italy. The 1930s church was designed by Giovanni Muzio. The design for the piece was completed two days before Flavin's death on November 29, 1996. Its installation was completed one year later with the assistance of the Dia Center for the Arts and Fondazione Prada.[7] The Menil Gallery in Houston, Texas states that in 1990 Dominique de Menil approached Flavin to create a permanent, site-specific installation at Richmond Hall. Just two days before his death in November 1996 Flavin completed the design for the space. The artists studio completed the work.[8] Flavin died in Riverhead, New York. His estate is represented by David Zwirner, New York.

220

Sculptures in collections[9] [10]

United States Arizona untitled (in memory of "Sandy" Calder) V 1/5, 1977, Private Collector, Scottsdale California untitled (to Marianne), 1970, San Diego Museum of Contemporary Art, La Jolla monument for V Tatlin, 1969, Museum of Contemporary Art, Los Angeles untitled (to Robert, Joe, and Michael), 197582, Museum of Contemporary Art, Los Angeles untitled (to Charles Cowles), 1963, Museum of Contemporary Art, Los Angeles Mrs. Reppin's survival, 1966, Norton Simon Museum, Pasadena untitled 1/3, 1969, Norton Simon Museum, Pasadena

Colorado untitled (for A. C.), 1992, Denver Art Museum, Denver District of Columbia untitled, 1980, Administered by United States General Services Administration, Art-in-Architecture Program, Washington "monument" for V. Tatlin 1/5, 1968, National Gallery of Art, Washington "monument" for V. Tatlin 4/5, 196970, National Gallery of Art, Washington untitled (to Barnett Newman to commemorate his simple problem, red, yellow, and blue) 4/5, 196970, National Gallery of Art, Washington Illinois untitled (monument for V. Tatlin), 1970, Private Collector, Chicago the alternate diagonals of March 2, 1964 (to Don Judd), 1964, Private Collector, Chicago Iowa untitled (for Ellen), Des Moines Art Center, Des Moines Massachusetts Barbara Roses, 19621965, Smith College, Smith College Museum of Art, Northampton Michigan "monument" for V. Tatlin, 1969, Detroit Institute of Arts, Detroit

Dan Flavin Minnesota untitled, 1963, Walker Art Center, Minneapolis untitled, 1966, Walker Art Center, Minneapolis "monument" for V. Tatlin 3/5, 1969, Walker Art Center, Minneapolis Nebraska untitled, 1964, University of Nebraska-Lincoln, Sheldon Memorial Art Gallery and Sculpture Garden, Lincoln New Hampshire untitled (To Elita and her baby, Cintra), 1970, Dartmouth College, Hood Museum of Art, Hanover New York gold, pink and red, red 2/3, 1964, Dia Art Foundation, Beacon monument 4 for those who have been killed in ambush (to P.K. who reminded me about death) 2/3, 1966, Dia Art Foundation, Beacon the diagonal of May 25, 1963 (to Constantin Brancusi) 3/3, 1963, Dia Art Foundation, Beacon first entirely fluorescent work the nominal three (to William of Ockham) 2/3, 1963, Dia Art Foundation, Beacon untitled (to a man, George McGovern) 2 2/3, 1972, Dia Art Foundation, Beacon untitled (to the real Dan Hill) 1b 1/5, 1978, Dia Art Foundation, Beacon untitled, 1996, Dia Art Foundation, Beacon red out of a corner (to Annina) 3/3, 1963, Dan Flavin Art Institute, Bridgehampton untitled 2/3, 1976, Dan Flavin Art Institute, Bridgehampton untitled (to Robert, Joe and Michael) 2/3, 197581, Dan Flavin Art Institute, Bridgehampton untitled (to Jan and Ron Greenberg) 2/3, 197273, Dan Flavin Art Institute, Bridgehampton untitled (in honor of Harold Joachim) 3 1/3, 1977, Dan Flavin Art Institute, Bridgehampton untitled (to Katharina and Christoph), [from the series to European couples] 1/5, 1971, Dan Flavin Art Institute, Bridgehampton untitled (to Jim Schaeufele) 1 1/3, 1972, Dan Flavin Art Institute, Bridgehampton untitled (to Jim Schaeufele) 2 1/3, 1972, Dan Flavin Art Institute, Bridgehampton untitled (to Jim Schaeufele) 3 1/3, 1972, Dan Flavin Art Institute, Bridgehampton "monument" for V. Tatlin, 1964, Museum of Modern Art, New York pink out of a corner - to Jasper Johns, 1963, Museum of Modern Art, New York untitled (to the "Innovator" of Wheeling Peachblow) 2/3, 1968, Museum of Modern Art, New York untitled, 1968, Museum of Modern Art, New York three fluorescent tubes, 1963, Private Collector, New York icon V (Coran's Broadway flesh), 1962, Private Collector, New York icon VIII (the dead nigger's icon)(to Blind Melon Jefferson), 1962, Private Collector, New York "monument" for V. Tatlin 1/5, 1964, Private Collector, New York "monument" for V. Tatlin 4/5, 1964, Private Collector, New York untitled (to Henri Matisse) 3/3, 1964, Private Collector, New York untitled (for Ad Reinhardt) 1b 1/5, 1990, Private Collector, New York greens crossing greens (to Piet Mondrian who lacked green), 1966, Solomon R. Guggenheim Museum, New York the nominal three (to William of Ockham), 1963, Solomon R. Guggenheim Museum, New York untitled (to Tracy, to celebrate the love of a lifetime), 1992, Solomon R. Guggenheim Museum, New York

221

untitled (to Ward Jackson, and old friend and colleague who, during the Fall of 1957 when I finally returned to New York from Washington and joined him to work together in this museum, kindly communicated), 1971, Solomon R. Guggenheim Museum, New York

Dan Flavin untitled (for Robert, with fond regards), 1977, Whitney Museum of American Art, New York untitled, 1966, Whitney Museum of American Art, New York untitled, 1966, Whitney Museum of American Art, New York North Carolina untitled, 1971, Mint Museum of Art, Charlotte Ohio untitled (to Janie Lee) one, 1971, Columbus Museum of Art, Columbus untitled (Fondly to Helen), 1976, Private Collector, Cincinnati untitled (to Ellen Johnson, fondly), 1975, Oberlin College, Allen Memorial Art Museum, Oberlin Oregon untitled (To Donna) II , 1971, Portland Art Museum untitled (for Robert Ryman) 2/5, 1996, Miller-Meigs Collection, Portland Texas alternate diagonals of March 2, 1964 (to Don Judd) 2/3, 1964, Dallas Museum of Art, Dallas diagonal of May 25, 1963 (to Constantin Brancusi) 2/3, 1963, Fort Worth Art Museum, Fort Worth monument 1 for V. Tatlin, 1964, Menil Collection, Houston untitled (to Barbara Wood), 1970, Menil Collection, Houston untitled frieze, 1996, Menil Collection, Richmond Hall, Houston untitled foyer, 1996, Menil Collection, Richmond Hall, Houston untitled interior, 1996, Menil Collection, Richmond Hall, Houston icon III, 1962, Judd Foundation, Marfa icon VI (Ireland dying)(to Louis Sullivan), 1962, Judd Foundation, Marfa

222

Washington untitled (To Donna), 1973, Private Collector, Seattle International Canada the alternate diagonals of March 2, 1964 (To Don Judd), 1964, Art Gallery of Ontario, Toronto, Ontario untitled corner piece, , Art Gallery of Ontario, Toronto, Ontario "monument" for V. Tatlin, 19691970, National Gallery of Canada, Ottawa, Ontario "monument" for V. Tatlin, 1968, National Gallery of Canada, Ottawa, Ontario untitled (to Barnett Newman to commemorate his simple problem, red, yellow and blue), 1970, National Gallery of Canada, Ottawa, Ontario untitled, 1971, Winnipeg Art Gallery, Winnipeg, Manitoba France "monument" for V. Tatlin, 1975, Musee National d'Art Moderne, Centre Georges-Pompidou, Paris untitled (To Donna) 5a, 1971, Musee National d'Art Moderne, Centre Georges-Pompidou, Paris United Kingdom "monument" to V. Tatlin, 1975, Gallery of Modern Art, Edinburgh, Scotland monument for V. Tatlin, 19661969, Tate Gallery, London untitled, 1969, Tate Gallery, London a primary picture 2/3, 1964, Hermes Trust U.K., London

untitled (to Lucie Rie, master potter) 1c 2/5, 1990, Waddington Galleries Ltd., London untitled (to Lucie Rie, master potter) 1jjj 2/5, 1990, Waddington Galleries Ltd., London

Dan Flavin untitled (to Lucie Rie, master potter) 1o 1/5, 1990, Waddington Galleries Ltd., London Estate Collection icon I (the heart) (to the light of Sean McGovern which blesses everyone), 1961 icon II (the mystery) (to John Reeves), 1961 pink out of a corner - to Jasper Johns, 1963 "monument" 1 for V. Tatlin, 1964, Sonja Flavin collection Corner Monument 4, 1966 "monument" for V. Tatlin, 1967 "monument" for V. Tatlin, 1967 untitled (to Janie Lee) one, 1971 untitled (to Emily), 1973 untitled (to you, Heiner, with admiration and affection), 1973 untitled (in honor of Harold Joachim) 3, 1977 "monument" for V. Tatlin, 1981 untitled (to Piet Mondrian), 1985 untitled (for Donald Judd, colorist) 1, 1987 untitled (for Donald Judd, colorist) 2, 1987 untitled (for Donald Judd, colorist) 3, 1987 untitled (for Donald Judd, colorist) 4, 1987 untitled (for Donald Judd, colorist) 5, 1987 untitled, 1989 untitled (for Ad Reinhardt) 2b, 1990

223

Bibliography
Govan, Michael and Bell, Tiffany. "Dan Flavin: The Complete Lights, 1961-1996." Yale University Press, New Haven, CT. 2004.

External links
The Estate of Dan Flavin at David Zwirner [1] Series and Progressions at David Zwirner [11] Dan Flavin: A Retrospective, The National Gallery of Art [12] The Dan Flavin Art Institute [13] Dan Flavin at Dia:Beacon [14] Villa & Panza Collection: Dan Flavin - Varese Corridor [15] Museum of Modern Art, Dan Flavin Images [16] Guggenheim Museum, Dan Flavin [17] S. Maria Annunciata in Chiesa Rossa, Dan Flavin's last artwork [18]

Dan Flavin

224

References
[1] [2] [3] [4] [5] [6] http:/ / www. davidzwirner. com/ danflavin/ Daniel Marzona and Uta Grosenick. Minimal Art," Taschen, 2004, p14 Daniel Marzona and Uta Grosenick, Minimal Art, Taschen, 2004, p50 diacenter.org (http:/ / www. diacenter. org/ exhibs_b/ flavin-exhib/ ) accessed August 25, 2007 Tiffany Bell, diacenter.org (http:/ / www. diacenter. org/ ltproj/ flavbrid/ essay. html) accessed August 25, 2007 New York Times, June 26, 1992. Abstract available at nytimes.com (http:/ / select. nytimes. com/ gst/ abstract. html?res=F10612FE3B5C0C758EDDAF0894DA494D81& n=Top/ Reference/ Times Topics/ People/ F/ Flavin, Dan) [7] "Dan Flavin", brochure, S. Maria in Chiesa Rossa, Fondazione Prada, Dia Center for the Arts, 1997. Essay by Michael Govan. [8] Menil Collection at (http:/ / www. menil. org/ visit/ flavin. php) [9] Govan and Bell, Dan Flavin: A Retrospective, Yale University Press, 2004 [10] diacenter.org (http:/ / www. diacenter. org/ ) accessed June 6, 2008 [11] http:/ / www. davidzwirner. com/ exhibitions/ 199/ [12] http:/ / www. nga. gov/ exhibitions/ 2004/ flavin/ introduction/ introduction. shtm [13] http:/ / www. diacenter. org/ ltproj/ flavbrid/ / [14] http:/ / www. diaart. org/ exhibs_b/ flavin/ index. html [15] http:/ / www. fondoambiente. it/ en/ beni/ the-farm-wing-villa-panza-collection. asp [16] http:/ / www. moma. org/ collection/ browse_results. php?criteria=O%3AAD%3AE%3A1911/ [17] http:/ / www. guggenheimcollection. org/ site/ artist_bio_46. html [18] http:/ / www. smacr. com/

Donald Judd

225

Donald Judd
Donald Judd

Donald Judd, Untitled, 1990, Anodised aluminium, steel and acrylic, Tate Gallery Birth name Donald Clarence Judd Born Died Excelsior Springs, Missouri Manhattan, New York

Nationality American Field Training Sculpture College of William and Mary, Columbia University School of General Studies, Art Students League of New York

Movement Minimalism Works Patrons Chinati Foundation Dia Art Foundation

Donald Clarence Judd (June 3, 1928 - February 12, 1994) was a minimalist artist (a term he stridently disavowed).[1] In his work, Judd sought autonomy and clarity for the constructed object and the space created by it, ultimately achieving a rigorously democratic presentation without compositional hierarchy. It created an outpouring of seemingly effervescent structure without the rigor associated with minimalism proper.

Background and education

Judd was born in Excelsior Springs, Missouri.[1] He served in the Army from 1946-1947 as an engineer and in 1948 began his studies in philosophy at the College of William and Mary, later transferring to Columbia University School of General Studies. At Columbia, he earned a degree in philosophy and worked towards a master's in art history under Rudolf Wittkower and Meyer Shapiro. Also at Columbia he attended night classes at the Art Students League of New York. He supported himself by writing art criticism for major American art magazines; his writing, like his art, was direct, forceful, controversial and influential.

Career
Early work
His first solo exhibition, of expressionist paintings, opened in New York in 1957. His artistic style soon moved away from illusory media and embraced constructions in which materiality was central to the work. He would not have another one person show until the Green Gallery in 1963, an exhibition of works that he finally thought worthy of showing. Humble materials such as metals, industrial plywood, concrete and color-impregnated Plexiglas became staples of his career. Most of his output was in freestanding "specific objects" (the name of his seminal essay of 1965

Donald Judd published in Arts Yearbook 8, 1965), that used simple, often repeated forms to explore space and the use of space. In this essay, Judd found a starting point for a new territory for American art, and a simultaneous rejection of residual inherited European artistic values, these values being illusion and represented space, as opposed to real space. He pointed to evidence of this development in the works of an array of artists active in New York at the time, including Jasper Johns, Dan Flavin, George Ortman and Lee Bontecou. The works that Judd had fabricated inhabited a space not then comfortably classifiable as either painting or sculpture and in fact he refused to call them sculpture, pointing out that they were not sculpted but made by small fabricators using industrial processes. That the categorical identity of such objects was itself in question, and that they avoided easy association with well-worn and over-familiar conventions, was a part of their value for Judd. He displayed two pieces in the seminal 1966 exhibit, "Primary Structures" at the Jewish Museum in New York where, during a panel discussion of the work, he challenged Mark di Suvero's assertion that real artists make their own art. He replied that methods should not matter as long as the results create art; a groundbreaking concept in the accepted creation process. In 1968, the Whitney Museum of American Art staged a retrospective of his work which included none of his early paintings. In 1968 Judd bought a five-story building in New York that allowed him to start placing his work in a more permanent manner than was possible in gallery or museum shows. This would later lead him to push for permanent installations for his work and that of others, as he believed that temporary exhibitions, being designed by curators for the public, placed the art itself in the background, ultimately degrading it due to incompetency or incomprehension. This would become a major preoccupation as the idea of permanent installation grew in importance and his distaste for the art world grew in equal proportion.

226

Mature work
Throughout the 1970s and 1980s he produced radical work that eschewed the classical European ideals of representational sculpture. Judd believed that art should not represent anything, that it should unequivocally stand on its own and simply exist. During the seventies he started making room sized installations that made the spaces themselves his playground and the viewing of his art a visceral, physical experience. His aesthetic followed his own strict rules against illusion and falsity, producing work that was clear, strong and definite. As he grew older he also worked with furniture, design, and architecture. In the early seventies Judd started making annual trips to Baja California with his family. He was very affected by the clean, empty desert and this strong attachment to the land would remain with him for the rest of his life. In 1971 he rented a house in Marfa, Texas as an antidote to the hectic New York art world. From this humble house he would later buy numerous buildings [2] and a 60,000 acre (243km) Ayala de Chinati Ranch [3]30719.58N 1043433.95W, almost all carefully restored to his exacting standards [4]; though rumored that much of the 'preserved' land has been sold [5]. These properties and his building in New York are now maintained by the Judd Foundation.

Donald Judd, Untitled, 1977, Mnster, Germany

In 1976 he served as Baldwin Professor at Oberlin College in Ohio. Beginning in 1983, he lectured at universities across the United States, Europe and Asia on both art and its relationship to architecture. In 1979, with help from the Dia Art Foundation, Judd purchased a 340 acre (1.4km) tract of desert land near Marfa, Texas which included the abandoned buildings of the former U.S. Army Fort D. A. Russell. The Chinati Foundation opened on the site in 1986 as a non-profit art foundation, dedicated to Judd and his contemporaries. The permanent collection consists of large-scale works by Judd, sculptor John Chamberlain, light-artist Dan Flavin and select others,

Donald Judd including David Rabinowitch, Roni Horn, Ilya Kabakov, Richard Long, Carl Andre and Claes Oldenburg and Coosje Van Bruggen. Judd's work in Marfa includes 15 outdoor works in concrete and 100 aluminum pieces housed in two painstakingly renovated artillery sheds.

227

Judd Foundation
Originally conceived in 1977, and created in 1996, the Judd Foundation was formed in order to preserve the work and installations of Judd in Marfa, Texas and at 101 Spring Street in New York. In 2006, the Judd Foundation decided to auction off about 36 of his sculptures at Christie's in New York on the 20th floor of the Simon & Schuster building. Concerns that the sale would have an adverse effect on the market proved unfounded and the exhibition itself won an AICA award for "Best Installation in an Alternative Space" for 2006. The $20 million in proceeds from the sale went into an endowment that enable the Foundation to fulfill its mission, supporting the 16 permanent installations that are located at 101 Spring Street in New York City and Marfa, Texas.[6] The Judd Foundation is represented by The Pace Gallery, New York.

Personal
Judd married dancer Julie Finch in 1964 (later divorced) and fathered two children, son Flavin Starbuck Judd and daughter Rainer Yingling Judd. He died in Manhattan of Non-Hodgkin's lymphoma in 1994.

References
[1] Tate Modern website "Tate Modern Past Exhibitions Donald Judd" (http:/ / www. tate. org. uk/ modern/ exhibitions/ judd/ ). Retrieved on 19 February 2009. [2] http:/ / www. panoramio. com/ photo/ 29605850 [3] http:/ / static. panoramio. com/ photos/ original/ 29603816. jpg [4] http:/ / www. panoramio. com/ photo/ 29605859 [5] http:/ / www. panoramio. com/ photo/ 29606284 [6] Joao Ribas (2006), News Analysis: Judd Auction Raises Some Eyebrows (http:/ / www. artinfo. com/ news/ story/ 13760/ news-analysis-judd-auction-raises-some-eyebrows/ ), ARTINFO, , retrieved 2008-04-17

More References Judd, Donald. (1986) "Complete Writings, 1975-1986" Eindhoven, NL: Van Abbemuseum. Haskell, Barbara. (1988) "Donald Judd." New York: Whitney Museum of American Art / W.W.Norton & Co. Agee, William C. (1995) "Donald Judd: Sculpture/Catalogue" New York: Pace Wildenstein Gallery. Krauss, Rosalind E. & Robert Smithson. (1998) "Donald Judd: Early Fabricated Work." New York: Pace Wildenstein Gallery. Serota, Nicholas et al. (2004) "Donald Judd" London and New York: Tate Modern and D.A.P. Busch, Julia M., A Decade of Sculpture: the New Media in the 1960s (http://www.worldcatlibraries.org/wcpa/ ow/4ed0b0bd878eaf2a.html) (The Art Alliance Press: Philadelphia; Associated University Presses (http://www. aupresses.com/): London, 1974) ISBN 0-87982-007-1

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External links
Donald Judd at Brooke Alexander Gallery (http://www.baeditions.com/donald-judd-artwork.htm) Judd Foundation (http://www.juddfoundation.org) The Pace Gallery (http://thepacegallery.com) Judd's biography (http://www.tshaonline.org/handbook/online/articles/JJ/fjuyq.html) at the Handbook of Texas Online. The Chinati Foundation/La Fundacin Chinati (http://www.chinati.org) Dia Beacon (http://www.diabeacon.org/exhibs_b/judd/index.html) New York Times review (http://www.nytimes.com/2006/04/24/arts/design/24judd.html?ex=1303531200& en=64ffe1043e3cb87c&ei=5088&partner=rssnyt&emc=rss) Tate Modern retrospective (2004) (http://www.tate.org.uk/modern/exhibitions/judd/) Artforum article (02/2000) (http://www.findarticles.com/p/articles/mi_m0268/is_6_38/ai_59923225) Actual exhibitions worldwide (http://www.artfacts.net/index.php/pageType/artistInfo/artist/2013/lang/1) New York Times piece by Carol Vogel (http://www.nytimes.com/2006/02/24/arts/design/24voge. html?_r=1&oref=slogin) on the 2006 auction of Judd's works

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Ellsworth Kelly
Ellsworth Kelly

Ellsworth Kelly arrives at LACMAs Gala Opening of the Broad Contemporary Art Museum on February 9, 2008 in Los Angeles Born Nationality Field Training May 31, 1923 Newburgh, New York American Painting, sculpture Pratt Institute cole nationale suprieure des Beaux-Arts School of the Museum of Fine Arts, Boston Henri Matisse Pablo Picasso Romanesque and Byzantine art Surrealism Neo-Plasticism

Influenced by

Ellsworth Kelly (born May 31, 1923) is an American painter and sculptor associated with Hard-edge painting, Color Field painting and the Minimalist school. His works demonstrate unassuming techniques that emphasize the simplicity of form. Kelly often employs bright colors to enhance his works. Ellsworth Kelly lives and works in Spencertown, New York.

Childhood
Kelly was born the second son of three to Allan Howe Kelly and Florence Bithens Kelly in Newburgh, New York, a town approximately 60 miles north of New York City.[1] His father was an insurance company executive of Scottish-Irish and German descent. His mother was a former schoolteacher of Welsh and Pennsylvania-German stock. His family moved from Newburgh, New York, to New Jersey shortly after he was born. Kelly remembers his mother moving his family around each year to a different house. They lived in many places in New Jersey both in and around the Hackensack area. Many of Kellys memories are centered on the time they lived in Oradell, New Jersey a town of nearly 7,500 people at the time. They lived near the Oradell Reservoir where his paternal grandmother Rosenlieb introduced him to bird watching at the age of eight or nine. This introduction to bird watching enabled Kelly to train his eye and develop his appreciation for the physical reality of the world by focusing

Ellsworth Kelly in on natures shapes. This is where he developed his passion for form and color. He continued to further expand his knowledge on this particular passion by studying the works of Louis Agassiz Fuertes and John James Audubon. Audubon had a particularly strong influence on Kellys work throughout his career. Author E.C. Goossen speculates that the two and three-color paintings (such as Three Panels: Red Yellow Blue, I 1963) for which Kelly is so well known can be traced to his bird watching, and his acquaintance with the two and three-color birds he so frequently watched at such an early age. Kelly has said he was constantly alone as a young boy and became somewhat of a "loner". He was also afflicted by a slight stutter that persisted into his teenage years.[1]

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Education
Kellys schooling from the elementary to the high school level followed the conventional public school curriculum, which included art classes that stressed materials and sought to develop the "artistic imagination". This curriculum was typical of the broader trend in schooling that had emerged from the Progressive education theories promulgated by the Columbia University Teacher's College, at which the American modernist painter Arthur Wesley Dow had taught.[1] His parents were reluctant to support Kelly's training in the arts, but a school teacher offered the necessary encouragement.[2] As his parents would only fund technical study, Kelly was educated first at the Pratt Institute in Brooklyn, which he attended from 1941 to 1943, until he was inducted into the Army on New Years Day, 1943. Upon his discharge at the end of World War II, Kelly took advantage of the generous G.I. Bill education provisions to study from 1946 to 1947 at the School of the Museum of Fine Arts, Boston, where he haunted the collections of that city's museums, and then at the cole nationale suprieure des Beaux-Arts in Paris. There he attended classes infrequently, but again immersed himself in the rich artistic resources of the city.[3] It was in Paris that Kelly established his aesthetic.[4]

Military
Upon entering U.S military service in 1943 he requested to be assigned to the 603rd Engineers Camouflage Battalion, which was normal for artists at the time to do. He was inducted at Fort Dix, New Jersey and waited there several weeks for transfer orders that never came. He was then sent off to Camp Hale, Colorado where he trained with mountain ski troops. He had never skied before. His transfer came in six to eight weeks later and he went to Fort Meade, Maryland.[1] During World War II, he served, alongside other artists and designers, in a deception unit known as The Ghost Army. The Ghost soldiers used inflatable tanks, trucks, and other elements of subterfuge to mislead the Axis forces about the direction and disposition of Allied forces. He had a lot of exposure to military camouflage during the time he served. His exposure to the visual art of camouflage can be seen as part of his basic training.[1] Kelly served with the unit from 1943 until the end of the European phase of the war.

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Career
Kelly decided to return to America in 1954 after being abroad for six years. His decision to venture back into the New York art scene was sparked after reading a review of an Ad Reinhardt exhibit, to which he felt his work related. Upon his return to New York he found the art world very tough.[1] The acceptance of his art was anything but rapid. Although Kelly can now be considered an essential innovator and contributor to the American art movement, he was not always seen in such a positive light. It was hard for many to find the connection between Kellys art and the dominant stylistic trends.[4] Kelly's first solo exhibition was held at the Galerie Arnaud, Paris, 1951. In May 1956 Kelly had his first New York exhibition at Betty Parsons Gallery. The art he showed in this exhibit was considered by many in Ellsworth Kelly, The Meschers, 1951, oil on the art world to have more of a European flair. He showed at Betty canvas, 59 x 59 inches, Museum of Modern Art. Kelly was a pioneer of Hard-edge painting in the Parsons Gallery in the fall of 1957. He had three pieces, Atlantic, Bar, 1940s and 1950s and Painting in Three Panels selected and shown for the Whitney Museum of American Art's show "Young America 1957. His pieces were considered radically different from the other twenty-nine artists work. Painting in Three Panels, for example, was particularly noted and questioned for the idea of having more than one canvas used to create one piece was unheard of at this time.[1] Critic Michael Plante commented on this use of multiple-panels by noting that more often than not Kellys multiple-panel pieces were cramped in accordance to the installations restrictions, which resulted in a downplay of the interaction between the pieces and the architecture of the room.[5]

Sculpture
Although Kelly may be better known for his paintings, he has also pursued sculpture throughout his career. Kellys sculpture is founded on its adherence to absolute simplicity and clarity of form.[6] Although the source of the piece is usually unidentifiable to the viewer's eye, there is almost always a source behind the forms he creates. Kelly creates his pieces using a succession of ideas on various forms. He may start with a drawing, enhance the drawing to create a print, take the print and create a freestanding piece, which is then made into a sculpture. Kellys sculptures are meant to be entirely simple and can been viewed quickly, often only in one glance. The viewer observes smooth, flat surfaces that are secluded from the space that surrounds them. This sense of flatness and minimalism make it hard to tell the difference between the foreground and background.[6] Kelly's "Blue Disc" was included in the seminal 1966 exhibit at the Jewish Museum in New York entitled, "Primary Structures" alongside many much younger artists just beginning to work with minimal forms.

Style
William Rubin noted that Kellys development had been resolutely inner-directed: neither a reaction to Abstract Expressionism nor the outcome of a dialogue with his contemporaries.[7] Many of his paintings consist of a single (usually bright) color, with some canvases being of irregular shape, sometimes called "shaped canvases." The quality of line seen in his paintings and in the form of his shaped canvases is very subtle, and implies perfection. This is demonstrated in his piece Block Island Study 1959.

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Influences
Kellys background in the military has been suggested as a source of the seriousness of his works.[1] While serving time in the army, Kelly was exposed to and influenced by the camouflage with which his specific battalion worked. This close contact helped enlighten him on the use of form and shadow as well as the construction and deconstruction of the visible. It was a basic part of Kellys early education as an artist.[1] Ralph Coburn, a friend of Kellys from Boston, introduced the technique of automatic drawing to him while he was visiting Kelly in Paris. Kelly embraced this technique of arriving at an image without looking at the sheet of paper upon which the image is drawn. These techniques helped Kelly in loosening his particular drawing style and broaden his acceptance of what he believed to be art.[1] Kellys illness and coexistent depression may possibly be related to his use of black and white during his last year in Paris.[6] The influence of Kellys admiration for Henri Matisse and Pablo Picasso are apparent in his work. His ability to view things in various ways and work in different mediums is in thanks to them.[4] Piet Mondrian influences the different forms he uses in both his paintings and sculptures for they are nonobjective.[4] Kelly was first influenced by the art and architecture of the Romanesque and Byzantine eras while he was studying in Paris.[4] His introduction to Surrealism and Neo-Plasticism influenced his work and caused him to test the abstraction of geometric forms.[4]

Artworks
Window, Museum of Modern Art, Paris, 1949, oil and wood on canvas, Private Collection Spectrum of Colors Arranged by Chance, 195153, oil on wood, San Francisco Museum of Modern Art Black Ripe, 1955, oil on canvas, Collection of Harry W. and Mary Margaret Anderson Sculpture for a Large Wall, 1957, anodized aluminum, Museum of Modern Art, New York Red Blue Green, 1963, oil on canvas, Museum of Contemporary Art, San Diego Curve IX, 1974, polished aluminum, Private Collection Houston Triptych, 1986, bronze, Museum of Fine Arts, Houston Three Panels: Orange, Dark Gray, Green, 1986, oil on canvas, Museum of Modern Art, New York Red Curves, 1996, oil on canvas, Private Collection "High Yellow" 1960, oil on canvas, Blanton Museum of Art in Austin, TX

Exhibitions
1951 Kelly Peintures et reliefsGalerie Arnaud, Paris 1956 Betty Parsons Gallery, New York 1957 Betty Parsons Gallery, New York 1957 Young America 1957, Whitney Museum of American Art, New York 1973 Ellsworth Kelly, Museum of Modern Art, New York 1977 Ellsworth Kelly: Paintings, Leo Castelli Gallery, New York 1982 Ellsworth Kelly: Sculpture, Whitney Museum of American Art, New York 1985 Ellsworth Kelly: White Panel II", High Museum of Art, Atlanta 1987 Ellsworth Kelly: Works on Paper, Fort Worth Art Museum, Fort Worth 1994 Ellsworth Kelly: Recent Paintings, Matthew Marks Gallery, New York 1996 Ellsworth Kelly: A Retrospective, Guggenheim Museum, New York 2002 Ellsworth Kelly in San Francisco, San Francisco Museum of Modern Art, San Francisco 2003 Ellsworth Kelly: The Self-Portrait Drawings, 1944-1992, Matthew Marks Gallery, New York 2006 Ellsworth Kelly: New Paintings, Matthew Marks Gallery, New York

2010 Ellsworth Kelly: Drawings 1954-1962, Middlesbrough Institute of Modern Art, Middlesbrough, United Kingdom

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External links
Ellsworth Kelly in St Ives [8] exhibition at Tate St Ives, UK, 2006 Ellsworth Kelly in "Blue Green Black Red: The Dallas Panels" [9] on the north wall of the main lobby at the Meyerson Symphony Center in Dallas, Texas Biography from the Museum of Modern Art, includes selected images and bibliography [10] Biography from Guggenheim Museum [11] includes selected works, and suggested reading list. VernissageTV [12] Interview with Ellsworth Kelly at the Art 39 Basel Fair. collection of quotes by Ellsworth Kelly, with sources [13]

References
[1] [2] [3] [4] [5] Goossen, E.C. Ellsworth Kelly. Greenwich, CT: New York Graphic Society, 1973. Museum of Modern Art Biography: http:/ / www. moma. org/ collection/ details. php?artist_id=3048 Ellsworth Kelly: Biography. Collections. Guggenheim Museum. <http://www.guggenheimcollection.org/site/artist_bio_72.html> Coplans, John. Ellsworth Kelly. New York: H.N. Abrams, 1972. Plante, Michael. "Things to Cover Walls: Ellsworth Kellys Paris Paintings and the tradition of Mural Decoration. American Art Vol. 9, No. 1. Spring, 1995: 36-53. JSTOR. 10 Feb. 2008 <http://www.jstor.org> [6] Sims, Patterson and Emily Raugh Pulitzer. Ellsworth Kelly: Sculpture. New York: Whitney Museum of American Art, 1982. [7] William Rubin, Ellsworth Kelly: The Big Form, Art News, vol. 62, no.7 (November, 1963), p. 34. [8] http:/ / www. tate. org. uk/ stives/ exhibitions/ ellsworthkelly/ [9] http:/ / www. meyersonsymphonycenter. com/ EllsworthKelly. cfm [10] http:/ / www. moma. org/ collection/ details. php?artist_id=3048 [11] http:/ / www. guggenheimcollection. org/ site/ artist_bio_72. html [12] http:/ / vernissage. tv/ blog/ 2008/ 06/ 04/ interview-with-ellsworth-kelly-art-39-basel-2008 [13] http:/ / www. quotes-famous-artists. org/ ellsworth-kelly

Mel Kendrick
Mel Kendrick (born July 28, 1949), is an American artist, known primarily for his sculptural work in wood, bronze, rubber, paper and, most recently, cast concrete. Kendrick's work reflects a deep fascination with process, space, and geometry. The New York Times has written that Kendrick's work "looks offhand, but is in fact complex almost to the point of craziness, Piranesi-style."[1] Born in Boston, Massachusetts, Kendrick attended Phillips Academy, Andover and Trinity College, Connecticut before he moved to New York City in 1971 where he studied at Hunter College under Tony Smith and worked for Dorothea Rockburne[2] . His first solo show at Artists Space was in 1974. Since then he has shown in at least thirty-six solo shows and numerous group shows. His most recent work is an installation of five monumental cast concrete sculptures in Madison Square Park entitled "Markers".[3] Kendrick currently lives and works in New York. Kendrick's work can be found in numerous permanent collections, including The Art Institute of Chicago, The Brooklyn Museum, The Dallas Museum of Art, The Metropolitan Museum of Art, MoMA, The National Gallery of Art, The Philadelphia Museum of Art, The Storm King Art Center and the Whitney Museum of American Art.

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External links
New York Times ART IN REVIEW: Mel Kendrick-Drawings in Wood [4] Art in America Mel Kendrick at David Nolan Gallery [5] David Nolan Gallery: Mel Kendrick [6] PSFK Mel Kendrick's Markers In Madison Square Park [7] Mel Kendrick: Official Page [8]

References
[1] SCULPTURE: MEL KENDRICK (http:/ / www. nytimes. com/ 1983/ 04/ 15/ arts/ sculpture-mel-kendrick. html) [2] ART/ARCHITECTURE: What Documenta Meant to Them (http:/ / www. nytimes. com/ 2002/ 06/ 02/ arts/ art-architecture-what-documenta-meant-to-them. html) [3] http:/ / www. nytimes. com/ 2009/ 09/ 11/ arts/ design/ 11vogel. html?sq=mel%20kendrick& st=cse& scp=12& pagewanted=all [4] http:/ / www. nytimes. com/ 2003/ 01/ 17/ arts/ art-in-review-mel-kendrick-drawings-in-wood. html [5] http:/ / www. accessmylibrary. com/ coms2/ summary_0286-33706388_ITM [6] http:/ / www. davidnolangallery. com/ artists/ mel-kendrick/ [7] http:/ / www. psfk. com/ 2009/ 09/ mel-kendrick-markers-art-sculpture-madison-square-park-nyc. html [8] http:/ / www. melkendrick. com

Wolfgang Laib
Wolfgang Laib (born 25 March 1950) is a German conceptual artist working predominantly with natural materials.

Biography
Laib studied medicine in the 1970s in Tbingen. From early on he had been interested in art, foreign cultures and eastern philosophies such as Zen Buddhism and Taoism, but also for the mystics of the European middle ages. His work may be grouped with Land Art and he shows influences of Minimalism. He employs natural materials, such as beeswax and rice. Most notable is his use of large quantities of intense, yellow pollen that he collects by hand, then spreads over large areas of floor or piles to conical heaps. He also became famous for his so-called "milk stones": big blocks of marble into which very shallow depressions are sanded, then filled with milk. Laib considers nature as something to be experienced through the senses, but not the goal of his work; it is rather a space for activity and contemplation to point towards larger contexts. Frequent codes in his work include: "cell", "wall", "seed" and "boat".

Works
In 1982 Laib exhibited in the German Pavilion during the Biennale di Venezia. A Retrospective of his work toured through the United States from 2000 until 2002.

External links
kunstaspekte.de [1] Retrospective 2002-03 [2] Text accompanying the exhibition in the Villa Rot 2004 [3] [4]

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References
[1] [2] [3] [4] http:/ / www. kunstaspekte. de/ index. php?action=webpages& k=678 http:/ / www. speronewestwater. com/ cgi-bin/ iowa/ artists/ record. html?record=10 http:/ / www. villa-rot. de/ AUSSTELLUNG/ wolfgang_laib. html http:/ / www. mintdesignblog. com/ ?p=868

Antn Lamazares
Antn Lamazares (1954) is a Spanish painter, who is, along with Jos Mara Sicilia, Miquel Barcel and Vctor Mira, a member of the "generacin de los 80". Working elaborate surfaces of wood and cardboard with varnish and other materials, he has created a very personal medium and artistic language. From an initially playful expressionism, his style has developed toward abstract expressionism and straightforward abstraction, and, more recently, a sort of minimalism in which an intimate dialogue between soul and memory, the spiritual and the sensual, poetry and dream-life can take place. His works have been exhibited throughout the world and are held by numerous important institutions, including the National Museum Reina Sofa, the Galician Centre for Contemporary Art and the Madrid Museum of Contemporary Art, as well as by many private collectors and foundations.

Biography
Early years: painting and poetry
(Galicia, 19541977)

Lamazares in Berlin, 2005

Lamazares was born on January 2, 1954 in Maceira, a village in Laln (Pontevedra, Spain), whose rural environment left a deep impact on his imagery and creative process. Much of his early schooling (19631969) took place at the Franciscan seminary of Herbn where he devoted himself to the study of literature, mostly Latin and Greek classics. In the late sixties he began writing poetry and developed friendships with the writer lvaro Cunqueiro and the painters Laxeiro and Manuel Pesqueira, who would become formative influences. As his creative vocation began to Pieces from the series Sueo e colorao and Titania e Brao shift from poetry toward painting, he undertook lengthy travels throughout Europe (1972) to study in person work by the masters he revered, including Van Gogh, Paul Klee, Rembrandt and Joan Mir, to whom would be added

Antn Lamazares Antoni Tpies, Manuel Millares, Alberto Giacometti and Francis Bacon, as well as Medieval art and the Art of Oceania. At the conclusion of his travels he stayed briefly in Barcelona, where he took a job as a construction worker, studying the works in its museums, particularly the collections of Romanesque art at the Mars Museum and the National Art Museum of Catalonia in his free time. In Madrid, where he next alighted, he resumed contact with his maestro, Laxeiro, and got to know the poet Carlos Oroza, whose friendship would remain essential for him: the dialogue between painting and poetry is a constant in all of his work. In 1973, at the age of only 19, Lamazares had already begun exhibiting his paintings in group and solo shows. In 1975 he began his compulsory military service in the Navy, in El Ferrol. On September 27 of that year he learned the startling news of the final executions by the Franco regime, following the Burgos Trial; one of the executed culprits was his friend Humberto Baena, a 24-year-old from Pontevedra. The news sank Lamazares into a deep depression, resulting in a period of psychiatric institutionalization. It was during this time that he would write his collection of poems, Adibal. "Throughout the 20th century painters have wanted to express the most hidden and mysterious places of the human being. But when they did so, it has always been on a white canvas, as if they had the ability to express themselves over the immaculate territory of nothingness. For me a painter isn't someone who demonstrates his power over a surface, but one who succeeds in establishing a relationship of conflict and of respect with the world that surrounds him. When I take up a piece of cardboard or wood and paint on it, I do so because I believe that I am thereby calling to mind the importance of a sacred dimension." Lamazares, Enter.arte, 2007

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From expressionism and Arte Povera to bifacial painting

(Madrid-New York, 19781989) In 1978 Lamazares moved to Madrid, where he formed a close friendship with the painter Alfonso Fraile, as well as with the gallerist Juana Mord,[1] the art critic and poet Santiago Amn and the neurologist Alberto Portera, the link to a large group of artists writers, filmmakers, musicians and painters who would meet on weekends at his country house in Mataborricos, where Lamazares would mount an open air exhibition of his work in 1979. That same year he would meet Joan Mir, and travel through Provence to acquaint himself with the landscape of Van Gogh, Picasso, Czanne or Matisse.

Mauro, from Gracias vagabundas, in the National Gallery of Jordan

The eighties were a time of intense creative activity and broad diffusion of his work: by the age of 30, Lamazares had already carved out a space in the panorama of Spanish as well as international art. His paintings of the time show playful and dreamlike figures depicted in an expressionistic mode, intensely chromatic and powerfully original. He exhibited at Juana Mords gallery in Madrid, at Elisabeth Franks in Belgium and at the Sala Gaspar in Barcelona.[2] Soon he moved to New York, where he would remain for two years on a Fulbright Scholarship. There, his painting, which he exhibited at the Bruno Fachetti Gallery,[3] developed in a direction at once purer and more material. For a period he divided his time between New York and Salamanca. In 1988 he traveled through Anatolia visiting the temple of Didyma as a tribute to Hlderlin's Hyperion and Istanbul, where he was deeply impressed by the Byzantine churches. Imagery reflecting his

Antn Lamazares experience, articulated by the arrangement of wood in the paintings, can be seen in the work exhibited at Galera Miguel Marcos.[4] In 1990 he began preparing a new series of works, designed to be looked at from both sides, which he calls bifrontes (bifacials). "The myth proposed and given form by Antn Lamazares in the equidistance of the twilight isn't about crossing the border of another world, but about identifying and revealing a profound sense of infinity of the one here. As the true artist he is, Lamazares becomes a witness to the dimension of the infinite. Only the great artists have been able to evoke that dimension and transform it into myth." Santiago Amn, La pintura de Lamazares y la luz crepuscular, 1986

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Sculptural painting and large formats

(Paris-Madrid, 19902003) In 1990 and 1991, Lamazares came to Paris on a stipend from the Cit des Arts, and in 1991 he opened a large studio in Madrid, where he began to work on the series Gracias vagabundas (Wandering Graces) and Desazn de vagabundos (The Anxiety of Vagabonds).[5] In 1993 he met Tpies and published an extensive interview with him subsequent to Tpies having been awarded the Golden Lion at the Venice Biennale. Invited by the Galician Centre for Contemporary Art, he spent May to November 1996 in Galicia painting the series Gracias do Antn Lamazares in his studio lugar: Eidos de Rosala, Eidos de Bama (The place's charm: Rosala's fields, Bamas fields).[6] From June to November 1997 he worked outdoors in Santa Baia de Matalobos on Bs de Santa Baia. That same year he became acquainted with the sculptor Jorge Oteiza, a lengthy conversation with whom is filmed by Chus Gutirrez. In 1998, in Madrid, he painted the series Titania e Brao, a tribute to the Castilian summer, and subsequently Pol en Adeln.[7] During this time, he also created numerous graphic works, including a suite of etchings to accompany five texts by Gustavo Martn Garzo in the artists book El Canto de la Cabeza (Galera Sen, Madrid) and the lithographs that accompany Itinerarium by Egeria (Raia Lupa, Paris), a work that was nominated as book of the year by Le Monde Diplomatique. In 2001 he mounted a grand-scale exhibition at the Seaport of A Corua, under the title Un saco de pan duro (A Bag of Hard Bread).[8] His work was chosen for international promotion, along with that of other Spanish artists such as Antonio Saura, Martn Chirino, Joan Hernndez Pijuan, Millares, Pablo Serrano, Oteiza and Tpies by the Ministry of Foreign Affairs under its program Spanish Art for the Outside World. Around this time Lamazares traveled to Florence and Assisi to examine works of Renaissance art as well as to gain familiarity with the milieu of Saint Francis, to whom he would dedicate his new series, Follente Bemil.[9] "His work has often been compared with that of Jean Dubuffet, or Gaston Chaissac and his idea of the brut, the spontaneous, but in truth, he has always been in search of that humble beauty which is constantly threatened by the strong winds of reality and of conformity." Gustavo Martn Garzo, Jons y la calabacera, 2000

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From abstraction to poetic minimalism

(Berlin, since 2004) In 2004, Lamazares moved to Berlin where he has been living ever since. Following the death of his father he began the series E fai fro no lume (Its Cold in the Fire). He was the subject of large exhibitions in Slovenia and in the Museum (Church) Kiscelli in Budapest (Hungary).[10]

Exhibition of Domus Omnia in Santiago de Compostela

Subsequently he devoted himself to the series Domus Omnia,[11] and collaborated in the creation of two further artists books by Oroza: Deseo sin trmite (Aguatinta, Vigo) with a serigraph and Un sentimiento ingrvido recorre el ambiente (Raia Lupa, Paris) to which he contributed five lithographs.[12] In 2008 he exhibited Horizonte sin dueo (Unowned Horizon) in the National Gallery Exhibition by Lamazares in New York, 2009 of Jordan (Amman) and an anthology of his graphic work in the Cervantes Institute of Damascus (Syria), where the poet Taher Riyad dedicated the collection of poems Cantos de Lamazares to him. In 2009 he exhibited his work at the Queen Sofa Spanish Institute in New York,[13] as well as in Orense (Spain), at the Cultural Centre of the Delegation.[14] He also participated in a traveling exhibition dedicated to the poet Vicente Aleixandre and received the Laxeiro Prize honoring his lifes work and its international renown. In 2010 he exhibited his work at the University Church, in Santiago de Compostela, and in Tui, where the documentary Horizonte sin dueo,[15] was screened at its international film festival Play-Doc. The film, directed by the siblings Nayra and Javier Sanz (Rinoceronte Films), presents a journey through the universe of painting, poetry and nature from the perspective of Antn Lamazares. "Antn Lamazares has always manifested a brutal affection for, so to speak, "innocent" material and gesture, which isn't exactly the same as "spontaneous". One shouldn't forget that Lamazares is an intellectually and technically very complex artist. For example, he can use a base as vulgar as cardboard, but in his hands, well-pressed and varnished, it acquires the luster of polished wood. His "scribbles", which mimic the carelessness of children or the rudimentary schematism of self-taught artists, are impregnated, no matter what the figurative motif is, with subtle refinements." Francisco Calvo Serraller, Casa de la pintura, 2007

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See also
Abstract art Expressionism Minimalism Contemporary art

References
Bibliography
AMN, Santiago, "La pintura de Lamazares y la luz crepuscular", Lamazares 1978-1986, La Corua, Durn, 1986. CALVO SERRALLER, Francisco, "La musa en cueros", Madrid, Montenegro, 1986; "Casa de la pintura", Domus Omnia, Madrid, lvaro Alczar, 2007. CASTRO, Fernando, "Fragmentos de un texto que no pude escribir", Antn Lamazares. Un saco de pan duro, La Corua, Ayto. de La Corua, 2001. CASTRO, Luisa, "Alma en lunes o la noche de las estrellas que brillan poco", Antn Lamazares. Alma en lunes, Orense, Museo Municipal, 2002. FUENTES FEO, Javier, "Inventar y divulgar nuevos secretos. En torno a la pintura de Antn Lamazares", Lamazares, Madrid, SEACEX, 2005. GABILONDO, ngel, "Del verde llover", Antn Lamazares. Gracias do lugar, Santiago de Compostela, CGAC, 1997; "Una conversacin entre ngel Gabilondo y Antn Lamazares" (entrevista), Lamazares, Madrid, SEACEX, 2005. LOGROO, Miguel, "Todos los ojos del mundo", Reconocimientos. Coleccin Miguel Logroo, Santander, Museo de Bellas Artes, 2007. MARTN GARZO, Gustavo, "Jons y la calabacera", Antn Lamazares. Iles Qun, Madrid, La Caja Negra, 2000. MIKU, Jure, "La imagen original bajo las capas del palimpsesto de la conciencia", Lamazares, Madrid, SEACEX, 2005. MOURE, Gloria, "Antn Lamazares", Artforum, Nueva York, mayo de 1987. MURADO, Miguel-Anxo, "Hermana carne", Follente Bemil, Madrid, Metta, 2003. RIVAS, Manuel, "La leyenda de Antn Lamazares", Antn Lamazares, Murcia, Palacio Almud, 1995. SANDOVAL, Michael, "Antn Lamazares. The Vagabond Shaman", Antn Lamazares, Nueva York, Queen Sofa Spanish Institute, 2009.

External links
Documentary about Lamazares [16] at Play-Doc Lamazares at SEACEX [17] Works by Lamazares at the Coleccin Caixanova [18] Lume na fonte. Exhibition for the "Xacobeo 2010" in Santiago de Compostela [19] La pintura de Lamazares y la luz crepuscular [20] by Santiago Amn (Spanish) Exhibition catalogue of Domus Omnia & E fai fro no lume [21] (Spanish) Website of painter Antn Lamazares [22]

Antn Lamazares

240

References
[1] "Juana Mord, una vida por el arte espaol" (http:/ / www. elpais. com/ articulo/ cultura/ MORDO/ _JUANA/ Juana/ Mordo/ vida/ arte/ espanol/ elpepicul/ 19840315elpepicul_4/ Tes/ ) (in Spanish). El Pas. . [2] "Antn Lamazares: "Cuando pinto trato de expresarme con cosas mnimas, y tocar el alma"" (http:/ / hemeroteca. lavanguardia. es/ preview/ 1987/ 02/ 03/ pagina-37/ 32982325/ pdf. html) (in Spanish) (pdf). La Vanguardia. . [3] "Chirino y Lamazares exponen en Nueva York" (http:/ / www. elpais. com/ articulo/ cultura/ LAMAZARES/ _ANTON_/ PINTOR/ CHIRINO/ _MARTIN_/ ESCULTOR/ ESTADOS_UNIDOS/ Chirino/ Lamazares/ exponen/ Nueva/ York/ elpepicul/ 19880419elpepicul_9/ Tes/ ) (in Spanish). El Pas. . [4] "Fieles a su propia sangre" (http:/ / hemeroteca. abc. es/ nav/ Navigate. exe/ hemeroteca/ madrid/ abc/ 1989/ 11/ 16/ 149. html) (in Spanish) (pdf). ABC. . [5] "Utilizo la pintura a bofetadas" (http:/ / www. elpais. com/ articulo/ cultura/ LAMAZARES/ _ANTON_/ PINTOR/ MADRID/ MADRID_/ MUNICIPIO/ Utilizo/ pintura/ bofetadas/ elpepicul/ 19950923elpepicul_2/ Tes/ ) (in Spanish). El Pas. . [6] "Lamazares presenta un montaje "posedo por el hbitat" de Galicia" (http:/ / www. elpais. com/ articulo/ cultura/ LAMAZARES/ _ANTON_/ PINTOR/ GALICIA/ Lamazares/ presenta/ montaje/ poseido/ habitat/ Galicia/ elpepicul/ 19960719elpepicul_9/ Tes/ ) (in Spanish). El Pas. . [7] "Antn Lamazares: "A mi pintura hay que acercarse a gatas, con mirada de nio"; Territorios de la emocin" (http:/ / hemeroteca. abc. es/ nav/ Navigate. exe/ hemeroteca/ madrid/ cultural/ 2000/ 11/ 11/ 036. html) (in Spanish) (pdf). ABC. . [8] "Apoteosis del exceso" (http:/ / www. elpais. com/ articulo/ arte/ Apoteosis/ exceso/ elpepuculbab/ 20011229elpbabart_2/ Tes/ ) (in Spanish). El Pas. . [9] "Canto de la carne" (http:/ / www. elpais. com/ articulo/ arte/ Canto/ carne/ elpepuculbab/ 20031129elpbabart_3/ Tes/ ) (in Spanish). El Pas. . "La carne no es triste" (http:/ / hemeroteca. abc. es/ nav/ Navigate. exe/ hemeroteca/ madrid/ cultural/ 2003/ 12/ 13/ 028. html) (in Spanish) (pdf). ABC. . "El Kama-sutra de Lamazares" (http:/ / www. elcultural. es/ version_papel/ ARTE/ 8447/ El_Kama-sutra_de_Lamazares) (in Spanish). El Cultural (El Mundo). . [10] "Los demonios interiores de Lamazares asaltan el museo Kiscelli de Budapest" (http:/ / www. elpais. com/ articulo/ Galicia/ demonios/ interiores/ Lamazares/ asaltan/ Museo/ Kiscelli/ Budapest/ elpepiautgal/ 20070531elpgal_24/ Tes/ ) (in Spanish). El Pas. . "The exhibition of the painter Antn Lamazares" (http:/ / www. museum. hu/ museum/ temporary_en. php?IDT=5645& ID=1163). Museum Kiscelli. . [11] "Antn Lamazares expone en SCQ la serie Domus Omnia" (http:/ / www. lavozdegalicia. com/ ocioycultura/ 2009/ 06/ 05/ 0003_7764844. htm) (in Spanish). La Voz de Galicia. . [12] "Carlos Oroza reaparece con un libro ilustrado por Antn Lamazares" (http:/ / www. elpais. com/ articulo/ Galicia/ Carlos/ Oroza/ reaparece/ libro/ ilustrado/ Anton/ Lamazares/ elpepiautgal/ 20070916elpgal_6/ Tes/ ) (in Spanish). El Pas. . "Un sentimiento ingrvido entre Lamazares y Oroza" (http:/ / www. farodevigo. es/ secciones/ noticia. jsp?pRef=3113_8_163699__Sociedad_y_Cultura-sentimiento-ingravido-entre-Lamazares-Oroza) (in Spanish). Faro de Vigo. . [13] "Filmando a Lamazares" (http:/ / www. elpais. com/ articulo/ Galicia/ Filmando/ Lamazares/ elpepiautgal/ 20091122elpgal_9/ Tes/ ) (in Spanish). El Pas. . "Anton Lamazares at Queen Sofia" (http:/ / www. villagevoice. com/ 2010-01-05/ art/ hans-breder-s-inmixing-anton-lamazares-at-queen-sofia-zone-s-disciplined-spontaneity). Village Voice. . [14] "A construcin da alma de Antn Lamazares" (http:/ / www. elpais. com/ articulo/ Galicia/ construcion/ da/ alma/ Anton/ Lamazares/ elpepiautgal/ 20100129elpgal_21/ Tes/ ) (in Galician). El Pas. . [15] "Un documental sobre el pintor Antn Lamazares levanta el teln de la sexta edicin del festival de cine de Tui" (http:/ / www. lavozdegalicia. es/ ocioycultura/ 2010/ 03/ 18/ 0003_8363166. htm) (in Spanish). La Voz de Galicia. . [16] http:/ / www. play-doc. com/ web2010/ fichas/ horizon_e. html [17] http:/ / www. seacex. es/ English/ activities/ activity_library/ pages/ activity_113_1. aspx?Language=EN& type=0 [18] http:/ / www. coleccioncaixanova. com/ cargador. php?phpg_idap=1008& phpg_ctp=2& phpg_id=18 [19] http:/ / programacion2010. xacobeo. es/ en/ events/ lume-na-fonte-anton-lamazares [20] http:/ / www. santiagoamon. net/ art. asp?cod=450 [21] http:/ / www. centroculturaldeourense. com/ catalogos/ pdf/ ANTON%20LAMAZARES. pdf [22] http:/ / www. antonlamazares. com

Sol LeWitt

241

Sol LeWitt
Sol Le Witt

Sol LeWitt, c.1965 Born Died September 9, 1928 Hartford, Connecticut April 8, 2007 (aged78) New York, New York

Nationality American Field Training Painting, Drawing & Sculpture Syracuse University, School of Visual Arts

Movement Conceptual Art & Minimalism

Sol LeWitt

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Sol LeWitt (September 9, 1928 - April 8, 2007) was an American artist linked to various movements, including Conceptual art and Minimalism. LeWitt rose to fame in the late 1960s with his wall drawings and "structures" (a term he preferred instead of "sculptures") but was prolific in a wide range of media including drawing, printmaking, and painting. He has been the subject of hundreds of solo exhibitions in museums and galleries around the world since 1965. His prolific two and three-dimensional work ranges from wall drawings (over 1200 of which have been executed) to hundreds of works on paper extending to structures in the form of towers, pyramids, geometric forms, and progressions. These works range in size from gallery-sized installations to monumental outdoor pieces. Sol LeWitts frequent use of open, modular structures originates from the cube, a form that influenced the artists thinking from the time that he first became an artist.

Life and work

LeWitt was born in Hartford, Connecticut to a family of Jewish immigrants from Russia. After receiving a BFA from Syracuse University in 1949, LeWitt traveled to Europe where he was exposed to Old Master painting. Shortly thereafter, he served in the Korean War, first in California, then Japan, and finally Korea. LeWitt moved to New York City in the 1950s and studied at the School of Visual Arts while also pursuing his interest in design at Seventeen magazine, where he did paste-ups, mechanicals, and photostats. Later, for a year, he was a graphic designer in the office of architect I.M. Pei. Around that time, LeWitt also discovered the work of the late 19th-century photographer Eadweard Muybridge, whose studies in sequence and locomotion were an early influence. These experiences, combined with an entry-level job he took in 1960 at the Museum of Modern Art (MoMA) in New York, would influence LeWitt's later work.
Sol LeWitt, Untitled lithograph 1992

Sol LeWitt, Isometric Projection #13, ink and pencil drawing on paper 1981 At the MoMA, LeWitts co-workers included fellow artists Robert Ryman, Dan Flavin, and Robert Mangold. Curator Dorothy Canning Miller's now famous 1960 Sixteen Americans exhibition with work by Jasper Johns, Robert Rauschenberg, and Frank Stella created a swell of excitement and discussion among the community of

artists with whom LeWitt associated. Dan Graham's John Daniels Gallery gave LeWitt his first solo show in 1964 or 1965.[1] In 1966, he participated in the "Primary Structures" exhibit at the Jewish Museum in New York (a seminal

Sol LeWitt show which helped define the minimalist movement), submitting an untitled, open modular cube of 9 units. The same year he was included in the "10" exhibit at Dwan Gallery, New York. Interviewed in 1993 about those years LeWitt remarked, I decided I would make color or form recede and proceed in a three-dimensional way. MoMA gave Sol LeWitt his first retrospective in 1978-79. The exhibition traveled to various American venues. Other major exhibitions since include Sol LeWitt Drawings 1958-1992, which was organized by the Gemeentemuseum in The Hague, the Netherlands in 1992 which traveled over the next three years to museums in the United Kingdom, Germany, Switzerland, France, Spain, and the United States; and in 1996, the Museum of Modern Art, New York mounted a traveling survey exhibition: Sol LeWitt Prints: 1970-1995. In recent years the artist was the subject of exhibitions at P.S. 1 Contemporary Center, Black Form Dedicated to the Missing Jews, Altona City Hall, Altona, Long Island City (Concrete Blocks); The Addison Hamburg, Germany, 1987. Gallery of American Art, Andover (Twenty-Five Years of Wall Drawings, 1968-1993); and Wadsworth Atheneum Museum of Art, Hartford (Incomplete Cubes), which traveled to three art museums in the United States. In 2006, LeWitts Drawing Series was displayed at Dia:Beacon and was devoted to the 1970s drawings by the conceptual artist. He had drawn directly on the walls using graphite, colored pencil, crayon, and chalk. The works were based on LeWitts complex principles, which eliminated the limitations of the canvas for more extensive constructions.[2] A major LeWitt retrospective was organized by the San Francisco Museum of Modern Art in 2000. The exhibition traveled to the Museum of Contemporary Art, Chicago, and Whitney Museum of American Art, New York. At the time of his death, LeWitt had just organized a retrospective of his work at the Allen Memorial Art Museum in Oberlin, Ohio. Sol LeWitt: A Wall Drawing Retrospective, a landmark collaboration between the Yale University Art Gallery (YUAG), MASS MoCA (Massachusetts Museum of Contemporary Art), and the Williams College Museum of Art (WCMA) opened to the public on November 16, 2008, at MASS MoCA in North Adams, Massachusetts. The exhibition will be on view for 25 years and is housed in a three-story 27000-square-foot (2500 m2) historic mill building in the heart of MASS MoCAs campus fully restored by Bruner/Cott and Associates architects (and outfitted with a sequence of new interior walls constructed to LeWitts specifications.) The exhibition consists of 105 drawings - comprising nearly one acre of wall surfacethat

243

Sol LeWitt, Tower, Figge Art Museum, Davenport, Iowa, USA, 1984.

Sol LeWitt LeWitt created over 40 years from 19682007 and will include several drawings never before seen, some of which LeWitt created for the project shortly before his death. Sol LeWitt was one of the main figures of his time; he transformed the idea and practice of drawing and changed the relationship between an idea and the art it produces. LeWitts art is not about the singular hand of the artist; it is the ideas behind the works that surpass each work itself.[3] LeWitt collaborated with an architect to design a synagogue for his congregation Beth Shalom Rodfe Zedek; he conceptualized the "airy" synagogue building, with its shallow dome supported by "exuberant wooden roof beams", an homage to the Wooden synagogues of eastern Europe.[4] [5] Sol LeWitt is represented by the Donald Young gallery in Chicago, Lisson Gallery in London, and Yvon Lambert Gallery in Paris.[6] [7] [8] . The Pace Gallery was appointed the International Representative of the LeWitt Estate in November 2007, and continues to represent the Estate today.

244

Books
Arcs, Circles and Grids, Sol Lewitt. Bern, Switzerland; Kunsthalle & Paul Biancini, 1972. Sol LeWitt: Wall Drawings, Damiani, 2006. The Location of Eight Points, Washington, D.C.; Max Protech, 1974. Autobiography, Sol LeWitt. New York and Boston; Multiple, inc. and Lois and Michael K. Torf, 1980. Busch, Julia M., A Decade of Sculpture: the New Media in the 1960s [9] (The Art Alliance Press: Philadelphia; Associated University Presses [10]: London, 1974 ISBN 0-87982-007-1 Cross, Susan (ed.) Sol LeWitt: 100 Views, Yale University Press, 2009 ISBN 0-300152-82-5 Gale, Peggy (ed.) Artists Talk: 1969-1977, Halifax: The Press of the Nova Scotia College of Art and Design, 2001 ISBN 0-919616-40-2

External links
Oral history interview with Sol LeWitt [11], 1974 July 15, Archives of American Art, Smithsonian Institution The Pace Gallery [12] In vast LeWitt show, absurdity and beauty [13] Boston Globe, Boston, MA Now in Residence: Walls of Luscious Austerity [14] New York Times, NY Sol LeWitt's Dazzling Line Drawings [15] Time magazine Exhibition at the Cincinnati Art Museum in 2008 [16] Thomas Dreher: Sol LeWitt: The two Series "Forms derived from a Cube" and "Pyramids" [17] (PDF file, 8 p., ca. 10 MB) Thomas Dreher: Sol LeWitt: Structures 1962-1993 [18] (German, illustrated review of an exhibition in 1993 at the Villa Stuck in Munich) Thomas Dreher: Sol LeWitt: "Pyramids" for Joseph Beuys, Munich 1986 [19] (illustrations of a room in the Lenbachhaus in Munich with four wall drawings realized by LeWitts crew in 1986. Comments in German) Crown Point Press [20] LeWitt's prints http://www.fundacionnmac.org/english/coleccion.php?id=71 [Sol LeWitt at NMAC Foundation] Subway Riders Are Greeted by a Blast of Sol LeWitt Color [21] New York Times Sol LeWitt, Master of Conceptualism, Dies at 78 [22] New York Times, NY Obituary [23] in the Connecticut Post Sol LeWitt, American master of conceptual art, dies at 78 [24] (International Herald Tribune obituary)

Conceptualist pioneer Sol LeWitt dies aged 78 [25] - Independent, UK Art: Sol LeWitt 1928-2007 [26] - Eye Weekly, Toronto, Canada

Sol LeWitt Sol LeWittt [27] on ArtNet.

245

References
[1] Kennedy, Randy (June 26, 2009). "A Round Peg" (http:/ / www. nytimes. com/ 2009/ 06/ 28/ arts/ design/ 28kenn. html). The New York Times (The New York Times Company). . Retrieved 2009-06-07. [2] Danielle O'Steen (October 11, 2006), The Writing on the Walls: Sol LeWitt at Dia:Beacon (http:/ / www. artinfo. com/ news/ story/ 21215/ the-writing-on-the-walls-sol-lewitt-at-diabeacon/ ), ARTINFO, , retrieved 2008-04-29 [3] Adam D. Weinberg (August 21, 2007), Backstage Stars (http:/ / www. artinfo. com/ news/ story/ 25514/ backstage-stars/ ), CULTURE+TRAVEL, , retrieved 2008-04-29 [4] Sol LeWitt: A Jewish Artists Leap Into the Unknown, Benjamin Ivry, Forward, May 08, 2009 (http:/ / forward. com/ articles/ 105238/ ) [5] ART; Art Takes a Prominent Spot In Chester's New Synagogue, By WILLIAM ZIMMER, New York Times, December 9, 2001 (http:/ / www. nytimes. com/ 2001/ 12/ 09/ nyregion/ art-art-takes-a-prominent-spot-in-chester-s-new-synagogue. html) [6] http:/ / www. donaldyoung. com/ lewitt/ lewitt_index. html [7] http:/ / www. lissongallery. com/ #/ artists/ sol-lewitt/ [8] [www.yvon-lambert.com Yvon Lambert] [9] http:/ / www. worldcatlibraries. org/ wcpa/ ow/ 4ed0b0bd878eaf2a. html [10] http:/ / www. aupresses. com/ [11] http:/ / www. aaa. si. edu/ collections/ oralhistories/ transcripts/ lewitt74. htm [12] http:/ / thepacegallery. com [13] http:/ / www. boston. com/ ae/ theater_arts/ articles/ 2008/ 11/ 16/ in_vast_lewitt_show_absurdity_and_beauty/ [14] [15] [16] [17] [18] [19] [20] [21] [22] [23] [24] [25] [26] [27] http:/ / www. nytimes. com/ 2008/ 12/ 05/ arts/ design/ 05lewi. html?_r=2& scp=1& sq=lewitt& st=cse http:/ / www. time. com/ time/ arts/ article/ 0,8599,1859612,00. html http:/ / www. cincinnatiartmuseum. org/ absolutenm/ templates/ ArtTempNews. aspx?articleid=523& zoneid=90 http:/ / dreher. netzliteratur. net/ 3_LeWitt. pdf http:/ / dreher. netzliteratur. net/ 3_Konzeptkunst_SolLeWitt2. html http:/ / dreher. netzliteratur. net/ 3_Konzeptkunst_SolLeWitt3. html http:/ / www. crownpoint. com/ artists/ lewitt/ http:/ / www. nytimes. com/ 2009/ 09/ 14/ arts/ design/ 14lewitt. html http:/ / www. nytimes. com/ 2007/ 04/ 09/ arts/ design/ 09lewitt. html http:/ / www. legacy. com/ CTPost/ DeathNotices. asp?page=lifestory& personid=87165940 http:/ / www. iht. com/ articles/ ap/ 2007/ 04/ 09/ arts/ NA-A-E-ART-US-Obit-LeWitt. php http:/ / news. independent. co. uk/ world/ americas/ article2437331. ece http:/ / www. eye. net/ daily/ ?p=176 http:/ / www. artnet. com/ artist/ 10484/ sol-lewitt. html

John McCracken

246

John McCracken
John McCracken
Birth name Born Nationality Field Movement Influenced by Influenced John Harvey McCracken 1934 American Sculpture Minimalism John McLaughlin Roni Horn, Greg Colson, Anish Kapoor

John McCracken (born 1934 in Berkeley, California) is a contemporary artist who lives and works in Santa Fe, New Mexico. He is represented by David Zwirner, New York.

Education/teaching
Attended California College of Arts and Crafts, Oakland Taught 1965-66 University of California, Irvine 1966-68 University of California, Los Angeles 1968-69 School of Visual Arts, New York 1971-72 Hunter College, New York 1972-73 University of Nevada, Reno 1973-75 University of Nevada, Las Vegas 1975-76 University of California, Irvine 1975-85 College of Creative Studies, University of California, Santa Barbara

Work
John McCracken developed his earliest sculptural work while studying painting at the California College of Arts and Crafts in the 1960s. While experimenting with increasingly three-dimensional canvases, the artist began to produce objects made with
Untitled slab painting, resin and fiberglass sculpture by John McCracken, 1981, Smithsonian American Art Museum

industrial

techniques

and

materials,

John McCracken

247

including plywood, sprayed lacquer, and pigmented resin, creating the highly-reflective, smooth surfaces that has gained him international recognition. He applied similar techniques which are used in surfboard construction - pervasive in his Southern California environment - to his artistic production. In 1966, McCracken generated his signature sculptural form: the plank, a narrow, monochromatic, rectangular board format that leans at an angle against the wall (the site of painting) while simultaneously entering into the three-dimensional realm and physical space of the viewer. As the artist notes, "I see the plank as existing between two worlds, the floor representing the physical world of standing objects, trees, cars, buildings, [and] human bodies, ... and the wall representing '23', oil on canvas painting by John McCracken, 1964, Smithsonian American Art the world of the imagination, illusionist Museum painting space, [and] human mental space." [1] In addition to the planks, the artist also creates wall pieces and free-standing sculptures in varying geometrical shapes and sizes, ranging from smaller forms on pedestals to large-scale, outdoor structures. For him, color is also used as "material." Bold solid colors with their highly polished finish reflect the unique California light or mirror the observer in a way that takes the work into another dimension.

Exhibitions
Since the 1960s, McCracken has exhibited steadily in the United States and abroad, and his early work was included in ground-breaking exhibitions such as Primary Structures at the Jewish Museum, New York (1966) and American Sculpture of the Sixties at the Los Angeles County Museum (1967). McCracken will be the subject of a solo exhibition at David Zwirner, New York from September to October 2010. A major museum retrospective of the artist's work will be hosted by the Castello di Rivoli - Museo d'Arte Contemporanea, Turin from November 2010 to March 2011. Other recent solo exhibitions include David Zwirner, New York (1997, 2004, 2006, 2008), Inverleith House at the Royal Botanic Garden, Edinburgh (2009), Zwirner & Wirth, New York (2000 and 2005), Hauser & Wirth, Zurich (1999 and 2005), and the Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Ghent (2004). Over the past decade, McCracken's work has been shown internationally in group shows at prominent art galleries and museums including National Museum of Art, Architecture, and Design, Oslo (2010), Kunsthalle Bielefeld, Bielefeld, Germany (2009), P.S.1 Contemporary Art Center, Long Island City, New York (2009), Santa Barbara Museum of Art, Santa Barbara, California (2009), Hamburger Bahnhof Museum fur Gegenwart - Berlin (2005 and 2009), Peggy Guggenheim Collection, Venice (2009), Musee d'art contemporain de Bordeaux, Bordeaux, France (2007 and 2008), Museum of Contemporary Art, Sydney, Australia (2008), Museum of Contemporary Art, Los Angeles (2004 and 2008), Moderna Museet, Stockholm (2008), documenta 12, Kassel, Germany (2007), Krannert Art Museum, Urbana, Illinois (2007), Oakland Museum of Art, Oakland, California (2007), Solomon R. Guggenheim Museum, New York (2004 and 2007), Los Angeles County Museum of Art (2007), Orange County Museum of Art, Newport Beach, California (2006), ZKM | Center for Art and Media Karlsruhe, Germany (2005 and

John McCracken 2006), Centre Georges Pompidou, Paris (2006), Las Vegas Art Museum, Nevada (2006), Albright-Knox Gallery, Buffalo, New York (2005), Musee Cantonal des Beaux-Arts, Lausanne, Switzerland (2005), Tate Liverpool, Liverpool, England (2005), Schirn Kunsthalle Frankfurt, Germany (2005), Whitney Museum of American Art, New York (2005), Vancouver Art Gallery, Canada (2004), Contemporary Art Museum Houston, Texas (2004), Norton Museum of Art, West Palm Beach, Florida (2003), Yale University Art Gallery, New Haven, Connecticut (2001), and Cleveland Center for Contemporary Art, Ohio (2000).

248

Works in permanent collections United States

California No. 25, 1964, University Art Museum, University of California, Berkeley Nine Planks V, 1974, Laguna Art Museum, Laguna Beach Blue Column, 1967, Los Angeles County Museum of Art Plank, 1976, Los Angeles County Museum of Art Don't Tell Me When to Stop, 1967, Los Angeles County Museum of Art Untitled, 1982, Los Angeles County Museum of Art Mykonos, 1965, Newport Harbor Art Museum, Newport Beach Plank I, 1974, Newport Harbor Art Museum, Newport Beach Pyramid, , Newport Harbor Art Museum, Newport Beach Red Cube, 1971, Newport Harbor Art Museum, Newport Beach Untitled, , Newport Harbor Art Museum, Newport Beach Blue Post and Lintel I, 1965, Norton Simon Museum, Pasadena Le Baron, , Oakland Museum, Oakland Love in Italian, 1967, Oakland Museum, Oakland Nine Planks, IV, 1974, San Diego Museum of Contemporary Art, La Jolla Painting, 1974, San Diego Museum of Contemporary Art, La Jolla Right Down, 1967, San Francisco Museum of Modern Art, San Francisco University Art Museum, University of California, Santa Barbara Santa Barbara Museum of Art, Santa Barbara

Hawaii Blue Post and Lintel, 1970, Honolulu Academy of Arts, Honolulu, Hawaii Chimu, 1965, Honolulu Academy of Arts, Honolulu, Hawaii Yellow Pyramid, 1965, Honolulu Advertiser, Honolulu, Hawaii Louisiana Plank, 1980, K & B Corporation, New Orleans, Louisiana New York The Absolutely Naked Fragrance, 1967, Museum of Modern Art, New York, New York Naxos, 1965, Solomon R. Guggenheim Museum, New York, New York Untitled (Pink Box), 1970, Solomon R. Guggenheim Museum, New York, New York Untitled, 1969, Solomon R. Guggenheim Museum, New York, New York Violet Block in Two Parts, 1966, Whitney Museum of American Art, New York, New York

Rhode Island Untitled (Grey Plank), 1978, Rhode Island School of Design Museum, Providence, Rhode Island

John McCracken Washington, D.C. 23, 1964, Smithsonian American Art Museum Untitled slab painting, resin and fiberglass sculpture, 1981, Smithsonian American Art Museum Wisconsin You Won't Know Which One Until You've Been to All of Them, 1967, Milwaukee Art Museum, Milwaukee, Wisconsin Illinois "Red Plank", 1969. The Art Institute of Chicago

249

International
Canada Ontario Black Box #2, 1971, Art Gallery of Ontario, Toronto France Wing (Aile), 1999, French National Art Collection (FNAC)

Bibliography
Heroic Stance: The Sculpture of John McCracken. Newport Harbor Art Museum. ISBN0-917493-09-5. Research Information System - John McCracken [2] Busch, Julia M., A Decade of Sculpture: the New Media in the 1960s [9] (The Art Alliance Press: Philadelphia; Associated University Presses [10]: London, 1974) ISBN 0-87982-007-1

External links
John McCracken at David Zwirner [3] Selected Press at David Zwirner [4] John McCracken on Artnet [5] John McCracken: Sketchbook published by Radius Books, Santa Fe, New Mexico [6] Minimalism: On Objects and Things [7]

References
[1] John McCracken, cited in Thomas Kellein, "Interview with John McCracken, August 1995," in John McCracken published by Kunsthalle Basel, 1995, pp. 21-39, p. 32. [2] http:/ / siris-artinventories. si. edu/ ipac20/ ipac. jsp?session=1163C8G229372. 10595& profile=ariall& uri=link=3100006~!200962~!3100001~!3100002& aspect=Browse& menu=search& ri=1& source=~!siartinventories& term=McCracken%2C+ John%2C+ 1934-+ %2C+ sculptor. & index=AUTHOR#focus|Smithsonian [3] http:/ / www. davidzwirner. com/ artists/ 7/ [4] http:/ / www. davidzwirner. com/ artists/ 7/ press. htm [5] http:/ / www. artnet. com/ artist/ 11460/ john-mccracken. html [6] http:/ / store. radiusbooks. org/ product/ john-mccracken-sketchbook-signed [7] http:/ / blog. eca. ac. uk/ exploringintermedia/ 2010/ 01/ 06/ minimalism-on-things-and-objects/

Josiah McElheny

250

Josiah McElheny
Josiah McElheny
Born United States Nationality American Field Training Sculpture, Assemblage Rhode Island School of Design

Josiah McElheny (born in 1966, United States) is an artist who lives and works in New York. He has exhibited his work at national and international venues including the Museum of Modern Art, Orchard, and Andrea Rosen Gallery in New York, Donald Young Gallery in Chicago, Institut im Glaspavillon in Berlin, the Moderna Museet in Stockholm, White Cube in London, and the Museo Nacional Centro de Arte Reina Sofa in Madrid.

Work
Josiah McElheny's work addresses history, modernism, cosmology, reflection, infinity, purity and utopia, and has clear links to the work of the American abstract artist Donald Judd. His work also sometimes deals with issues of museological displays and one's attempts to derive inferences about historical peoples from their household possessions and objects. The artist has also expressed interest in glassblowing as part of an oral tradition handed down generation to generation. One of the artist's ongoing projects has been characterized as an "investigation into the origins of the universe." "An End to Modernity" (2005), a twelve-foot-wide by ten-foot-high chandelier of chrome and transparent glass modeled on the 1960s Lobmeyr design for the chandeliers found in Lincoln Center, and evoking as well the Big Bang theory, was commissioned by the Wexner Center for the Arts at Ohio State University. "The End of the Dark Ages," again inspired by the Metropolitan Opera House chandeliers and informed by logarithmic equations devised by the cosmologist David H. Weinberg was shown in New York City in 2008. Later that year, the series culminated in a massive installation titled "Island Universe" at White Cube in London[1] and in Madrid.[2] In earlier works, the artist has played with notions of "history" and "fiction." Examples of this are works that recreate Renaissance glass objects pictured in Renaissance paintings and modern (but lost) glass objects from documentary photographs (such as works by Adolf Loos). McElheny has mentioned the influence of the writings of Jorge Luis Borgesin his work.

Education
McElheny received his B.F.A. from the Rhode Island School of Design in 1988. As part of that program, in 1987 he trained under Master Glassblower Ronald Wilkins in London, England, and also studied at Rome, Italy in the Rhode Island School of Design European Honors Program. After graduating, he was an apprentice to Master Glassblower Jan-Erik Ritzman and Sven-Ake Caarlson (in Transj, Sweden) from 19891991; and an apprentice to Master Glassblower Lino Tagliapietra (various locations: Seattle, Washington, New York, New York, Switzerland) from 1992-1997.

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Teaching and professional experience

2004-2010 - Yale University School of Art - Senior Critic 2003 - Dia Center (Chelsea, New York) - Artists on Artists Lecture Series featured speaker on Donald Judd. 2001-2003- Yale University School of Art - visiting critic 2000 - University of Nevada, Las Vegas - artist-in-residence and visiting faculty 1998 - The Isabella Stewart Gardner Museum, Boston, Massachusetts - artist-in-residence

Solo exhibitions
2009 - "Proposal for a Chromatic Modernism," Andrea Rosen Gallery, New York 2009 - "A Space for an Island Universe," Museo Nacional Centro de Arte Reina Sofia, Madrid 2008 - "Island Universe," White Cube, London 2008 - "The End of the Dark Ages," Andrea Rosen Gallery, New York 2008 - "The Light Club of Batavia," Donald Young Gallery, Chicago 2008 - "Das Lichtklub von Batavia/The Light Club of Batavia," Institut im Glaspavillon, Berlin 2008 - "The Last Scattering Surface," Henry Art Gallery, University of Washington, Seattle and Rochester Art Center, Rochester, Minnesota 2007 - "The 1st at Moderna: The Alpine Cathedral and the City-Crown," Moderna Museet, Stockholm 2007 - "Projects 84: The Alpine Cathedral and the City-Crown," The Museum of Modern Art, New York 2007 - "Cosmology, Design, and Landscape, Part II," Donald Young Gallery, Chicago 2006 - "Cosmology, Design, and Landscape, Part I," Donald Young Gallery, Chicago 2006 - "Modernity 19291965," Andrea Rosen Gallery, New York 2005 - "An End to Modernity," Wexner Center for the Arts at Ohio State University, Columbus, Ohio 2004 - "Total Reflective Abstraction, " Donald Young Gallery, Chicago 2003 - Antipodes: Josiah McElheny, White Cube, London 2003 - Theories About Reflection, Brent Sikkema Gallery, New York 2002 - Centro Galego de Arte Contempornea, Santiago de Compostela, Spain 2001 - Johnson County Community College, Overland Park, Kansas 2001 -Metal Party, Yerba Buena Center for the Arts, San Francisco 2001 -Metal Party, Public Art Fund, New York 2000 - "Christian Dior, Jorges Luis Borges, Adolf Loos," Donald Young Gallery, Chicago and Brent Sikkema, New York 1999 - The Isabella Stewart Gardner Museum, Boston 1999 - The Henry Art Gallery, University of Washington, Seattle 1997 - "Three Alter Egos," Donald Young Gallery, Seattle 1997 -"Non-Decorative Beautiful Objects," AC Project Room, New York 1996 - Barbara Krakow Gallery, Boston 1995 - Donald Young Gallery, Seattle 1995 - Installation with Ancient Roman Glass, Ancient Mediterranean and Egypt Gallery, Seattle Art Museum, Seattle, 1995 - Stephen Friedman Gallery, London 1994 -"Authentic History," Robert Lehman Gallery, Brooklyn, New York 1993 - "originals, fakes, reproductions," William Traver Gallery, Seattle 1990 - "Jgarens Glasmuseet" (The Hunter's Glass Museum), Arnescruv, Sweden,

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Group exhibitions
2010 - "Josiah McElheny, Blinky Palermo, Heimo Zobernig," Andrea Rosen Gallery, New York 2010 - "Redi-Mix, Kathleen Cullen Fine Arts, New York 2009 - "Allan Kaprow YARD," Queens Museum of Art, Queens, New York 2009 - "Universal Code," The Power Plant, Toronto 2009 - "Sense and Sentiment," Augarten Contemporary, Vienna 2009 - "Innovations in the Third Dimension: Sculpture of our Time," Bruce Museum, Greenwich, Connecticut 2008 - "Multi-Part Art," Museum of Art, Rhode Island School of Design, Providence 2008 - "Mildreds Lane," Alexander Gray, New York 2008 - "Spring-Wound," Orchard, New York 2008 - "Beyond Measure: Conversations Across Art and Science," Kettles Yard, Cambridge, UK 2008 - "Sensory Overload: Light, Motion, Sound, and the Optical in Art Since 1945," Milwaukee Art Museum, Milwaukee, Wisconsin 2007 - "Viewfinder," Henry Art Gallery, University of Washington, Seattle 2007 - "Sparkle Then Fade," Tacoma Art Museum, Tacoma, Washington 2007 - "Cosmologies," James Cohan Gallery, New York 2007 - "Accumulations: More Than the Sum of Their Parts," Institute of Contemporary Art, Boston 2007 - "Museo de reproducciones fotograficas," Rutgers University Gallery, Newark 2006 - "The Bong Show (or This is Not a Pipe)," Leslie Tonkonow, New York 2006 - "Transitional Objects: Contemporary Still Life," Neuberger Museum of Art, Purchase, New York 2006 - "Dynasty," Gallery MC, New York 2006 - "Super Vision," Institute of Contemporary Art, Boston 2006 - "Shiny," Wexner Center for the Arts, Columbus, Ohio 2005 - "Part Object Part Sculpture," Wexner Center for the Arts, Columbus, Ohio 2005 - "Faith," Real Art Ways, Hartford, Connecticut 2005 - "Spectrum," Galerie Lelong, New York 2005 - "Bottle: Contemporary Art and Vernacular Tradition," Aldrich Contemporary Art Museum, Ridgefield, Connecticut 2005 - "View Eight: A Few Domestic Objects Interrogate a Few Works of Art," Mary Boone, New York 2005 - "Extreme Abstraction," Albright-Knox Art Gallery, Buffalo, New York 2004 - "The Cobweb," Centro Galego de Arte Contempornea, Santiago de Compostela, Spain 2004 - "Printemps de septembre Toulouse: In Extremis," Les Abbatoirs, Toulouse, France 2004 - "Glass," Rhode Island School of Design Museum, Providence, Rhode Island 2004 - "Signs of Being," The Foundation To-Life, Inc., Mount Kisco, New York 2003 - "Books and Manuscripts," Volume Gallery, New York 2003 - "Warped Space," CCA Wattis Institute for Contemporary Arts, San Francisco, 2002 - Family, The Aldrich Contemporary Art Museum, Ridgefield, Connecticut 2002 - Keep in touch, Brent Sikkema, New York 2002 - View Six: Surface to Surface, Mary Boone Gallery, New York 2001 - "Musings: Contemporary Tradition," Gallery 312, Chicago 2001 - 4th International Biennial Beau Monde: Toward a Redeemed Cosmopolitanism, SITE Santa Fe, Santa Fe, New Mexico 2001 - House Guests: Contemporary Artists in The Grange, Art Gallery of Ontario, Toronto 2001 - Donald Young Gallery, Chicago

2001 - Body Space, The Baltimore Museum of Art, Baltimore, Maryland 2000 - Whitney Biennial, Whitney Museum of American Art, New York

Josiah McElheny 2000 - "Three Summer Shows: Francis Cape, Josiah McElheny, and Yinka Shonibare," Real Art Ways, Hartford, Connecticut 1999 - "Patentia," Nordic Institute of Contemporary Art, Stockholm 1998 - "At Home in the Museum," The Art Institute of Chicago, Chicago 1998 - "Usefool," Postmasters Gallery, New York 1998 - "Personal Touch," Art in General, New York 1998 - "Inglenook," Feigen Contemporary, New York (travelled to Illinois State University Galleries, Normal, Illinois) 1998 - "Interlacings," Whitney Museum of American Art at Champion, Stamford, Connecticut 1998 - "Young Americans: Part II," Saatchi Gallery, London 1997 - "Paul Bloodgood, Paula Hayes, Josiah McElheny, Sandra Vallejos," AC Project Room, New York 1997 - "Living Room," Barbara Westerman Gallery, Newport, Rhode Island 1996 - "A Labor of Love," The New Museum of Contemporary Art, New York 1996 - "Whats Love Got to Do With It?" Randolph Street Gallery, Chicago 1996 - "The Last Supper," Donald Young Gallery, Seattle 1996 - "Drawings from the MAB Library," AC Project Room, New York 1995 - "VER-RCKT," Kulturstiftung Schloss Agathenburg, Agathenburg, Germany (traveled to: Art Museum of Arolsen, Arolsen, Germany) 1995 - "For Victoria," Andrea Rosen Gallery, New York (with Dan Peterman) 1995 - "For Victoria," Grazer Kunstverein, Graz, Austria (with Dan Peterman) 1995 - "Holding the Past," Seattle Art Museum, Seattle 1994 - First Fundraising Exhibition, American Fine Arts Company, New York 1994 - "Wunderkammer," Rena Bransten Gallery, San Francisco 1994 - "Are You Experienced?" Andrea Rosen Gallery, New York

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Awards and fellowships

2006 - MacArthur Fellows Program 2000 - The 15th Rakow Commission, Corning Museum of Glass, Corning, New York 1998 - Bagley Wright Fund Award, Seattle, Washington 1996 - Artist Grant, Art Matters, Inc., New York, New York 1995 - Award Winner, 1995 Biennial Competition of The Louis Comfort Tiffany Foundation, New York, New York 1993 - Betty Bowen Special Recognition Award, Seattle Art Museum, Seattle, Washington 1989 - Fellowship for study in Sweden, American-Scandinavian Foundation

Books
Josiah McElheny: A Prism (Skira Rizzoli International Publications, Inc., 2010) ISBN 9780847834150 The Light Club: On Paul Scheerbart's 'The Light Club of Batavia' (University of Chicago Press, 2010) ISBN 9780226514574

External links
Biography, interviews, essays, artwork images and video clips [3] from PBS series Art:21 -- Art in the Twenty-First Century - Season 3 (2005). Josiah McElheny bio [4] at the MacArthur Foundation. Josiah McElheny bio and pics [5] at the Donald Young gallery (Chicago) Josiah McElheny bio and pics [6] at the Andrea Rosen Gallery (New York)

Josiah McElheny review [7] New York Times, March 17, 2000.

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References
[1] "The Big Picture" (http:/ / www. nytimes. com/ 2008/ 09/ 28/ magazine/ 28Style-t. html?fta=y) by Alex Browne, The New York Times, September 26, 2008. Retrieved 4 August 2009. [2] "Josiah McElheny and David Weinberg: From the Big Bang to Island Universe" (http:/ / www. wexarts. org/ ed/ index. php?eventid=3905) Wexler Center press release on a joint conversation May 6, 2009. Retrieved 4 August 2009. [3] http:/ / www. pbs. org/ art21/ artists/ mcelheny/ [4] http:/ / www. macfound. org/ site/ c. lkLXJ8MQKrH/ b. 2070789/ apps/ nl/ content2. asp?content_id={472A3EE9-E6E2-40A7-9A6C-3B1CE16FDCB4}& notoc=1 [5] http:/ / www. donaldyoung. com/ mcelheny/ josiah_mcelheny_index. html [6] http:/ / www. andrearosengallery. com/ artists/ josiah-mcelheny/ [7] http:/ / query. nytimes. com/ gst/ fullpage. html?res=9806EFDE143AF934A25750C0A9669C8B63

Robert Mangold

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Robert Mangold
Robert Mangold

X Within X Orange, 1981 Born October 12, 1937 North Tonawanda, New York

Nationality American Field Painting, Printmaking

Movement Minimal Art

Robert Mangold (born October 12, 1937 in North Tonawanda, New York) is an American minimalist artist.

Works
Robert Mangolds paintings, wrote Michael Kimmelman in the New York Times in 1997, are more complicated to describe than they seem, which is partly whats good about them: the way they invite intense scrutiny, which, in the nature of good art, is its own reward. His works are comprised often of simple elements which are put together through complex means. Mangold's work challenges the typical connotations of what a painting is or could be, and his works often appear as objects rather than images. Elements refer often to architectural elements or have the feeling of an architect's hands. In 1965, the Jewish Museum in New York held the first major exhibition of what was called Minimal art and included Robert Mangold. In 1967, he won a National Endowment for the Arts grant and in 1969, a Guggenheim Fellowship. In 1971, he had his first solo museum exhibition at the Guggenheim Museum. He has been featured in the Whitney Biennial four times, in 1979, 1983, 1985, and 2004. Mangolds paintings, quiet and restrained on the surface, are much admired by artists. In a 1994 review in Art in America, Robert Kushner wrote that underneath the composure of their execution, there is an almost romantic vividness of experience. The contrast of this veiled undercurrent and the Apollonian restraint of the presentation make these new paintings both powerful and poignant. Mangold made his first prints in 1972 at Crown Point Press and has made prints throughout his career, working with Pace Editions and Brooke Alexander Editions. His work is in many museum collections, including the Museum of Modern Art and the Whitney Museum of American Art in New York, the San Francisco Museum of Modern Art, and the Tate Collection in London. He is represented by The Pace Gallery in New York and lives in Washingtonville, New York with his wife Sylvia Plimack Mangold, who is also an artist. They are the parents of film director and screenwriter James Mangold.

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External links
Robert Mangold paperback book and biography at Amazon.com [1] The Pace Gallery [2] interview with the artist [3]

References
[1] http:/ / www. amazon. com/ dp/ 0714844489 [2] http:/ / thepacegallery. com/ [3] http:/ / www. brooklynrail. org/ 2009/ 03/ art/ in-conversation-robert-mangold-with-john-yau

Brice Marden

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Brice Marden
Brice Marden

Born Nationality Field Training

October 15, 1938 American Painter BFA, Boston University, School of Fine and Applied Arts,1961 MFA, Yale School of Art and Architecture,1963 Minimalism Cold Mountain series Jasper Johns, Robert Rauschenberg Member, American Academy of Arts and Letters

Movement Works Influenced by Awards

Brice Marden (born October 15, 1938), is an American artist, generally described as Minimalist, although his work defies specific categorization. He is represented by the Matthew Marks Gallery.

Life
Marden was born in Bronxville, New York and grew up in nearby Brice Marden, The Dylan Painting, 1966/1986, Briarcliff Manor. He attended Florida Southern College, Lakeland San Francisco Museum of Modern Art (1957 to 1958), receiving his BFA from the Boston University, School of Fine and Applied Arts in 1961. Marden earned his MFA from the Yale School of Art and Architecture (1963), where he studied with Esteban Vicente, Alex Katz, Jon Schueler, Jack Tworkov, Reginald Pollack, Philip Pearlstein, and Gabor Peterdi. Among his fellow students were the future artists Richard Serra, Chuck Close, Nancy Graves, and Robert Mangold. It was at Yale that Marden developed the formal strategies that would characterize his drawings and paintings in the proceeding decades: a preoccupation with rectangular formats, and the repeated use of a muted, extremely individualized palette. In his early work of the 1960s

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and 1970s, he used simplified means, typically monochrome canvases either alone or in series of panels, diptychs or triptychs. He thereby achieved what he considered highly emotional and subjective representations. These include the noted works The Dylan Painting, 1966; "1986" (now in the collection of San Francisco Museum of Modern Art); 1969's Fave (the Jack S. Blanton Museum of Art, University of Texas at Austin); and Lethykos (for Tonto), 1976 (The Museum of Modern Art, New York).

Career
Early years
Marden relocated to New York in 1963, where he came into contact with the work of Jasper Johns, an artist whom he studied in depth while employed as a guard at the Jewish Museum, New York during the museum's Johns's 1964 retrospective. The following summer Marden traveled to Paris where he began to make compressed charcoal and graphite grid-patterned drawings. Marden's graphic works have always constituted an important corollary to his paintings, and he would transfer ideas ignited by these early works into even his most recent paintings and drawings. It was also in Paris that he admired the work of Alberto Giacometti and Jean Fautrier, although masters such as Francisco de Zurbarn, Diego Velzquez, and Edouard Manet have also informed Marden's artistic practice.
Brice Marden, Vine, 1992-93, oil on linen, 8 x 8.5 feet, Museum of Modern Art, New York Brice Marden, For Pearl, 1970, 8 x 8 feet, Private Collection

In 1966, at Dorothea Rockburne's suggestion, Marden was hired by Robert Rauschenberg to work as his assistant. That same year he had his first solo show in New York at the Bykert Gallery, which exhibited the first of his classic oil-and-beeswax paintings.

Mature work
Marden's paintings are often born from a particular experience, or in reaction to having spent time in a specific place. In 1971, he and his wife, Helen Harrington, visited the Greek island of Hydra, to which they have returned every year since, and the light and landscape have greatly influenced his work (see, for instance, the five Grove Group paintings, 19721980; Souvenir de Grce works on paper, 19741996). In 1983, Marden and family traveled to Thailand, Sri Lanka, and India; the artist became fascinated by the art, landscape, and culture of Asia. Marden has subsequently incorporated numerous elements of these traditions into his work, making them one key to his process (the Shell Drawings, 198587). A visit in 1984 to the exhibition Masters of Japanese Calligraphy, 8th-19th Century, encouraged Marden to master the form, a predominant influence in his recent workwhich can be seen in his acclaimed Cold Mountain series, both paintings and works on paper, 1989-1991. In 2000, Marden embarked on the most ambitious paintings of his career: The Propitious Garden of Plane Image, the longest two of which measure 24 feet. Marden is considered to rank among the most important American painters of contemporary period. Writing in The New Yorker in 2006, the critic Peter Schjeldahl described him as "the most

Brice Marden profound abstract painter of the past four decades."[1] .

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Collections, retrospectives, honors

Marden has participated in hundreds of group exhibitions, and has also been the subject of numerous one-person shows and retrospectives. His first museum show was the 1975 retrospective at the Solomon R. Guggenheim Museum, in New York. In the fall of 2006, New York's Museum of Modern Art, New York, presented "Brice Marden: A Retrospective of Paintings and Drawings". The MoMA called the exhibition "an unprecedented gathering of [Marden's] work, with more than fifty paintings and an equal number of drawings, organized chronologically, drawn from all phases of the artist's career."[2] The show traveled to the San Francisco Museum of Modern Art in early 2007, and finally to Berlin's Hamburger Bahnhof, Museum fr Gegenwart in the summer of that year. Originally, Marden was not enthusiastic about the idea. The works were divided into two periods: from the mid-sixties to the mid-eighties and then the mid-eighties up to the present. It allowed the artist to reasses his previous works and focus on future works.[3] In 1988, Marden became a member of the American Academy of Arts and Letters. In 2000, Brown University awarded the artist an honorary degree of Doctor of Fine Arts.

Personal
His daughter, Mirabelle Marden, is a proprietor of Rivington Arms, an art gallery in New York. She is also a photographer.[4] His son, Nick Marden, by his first wife, Pauline Baez (sister of Joan), is a punk musician who participated in the New York punk scene of the 1970s and '80s.

External links
Brice Marden at the Matthew Marks Gallery [5] Brice Marden on Cezanne and Asian Art in FLYP Media [6] Biography and images at the Guggenheim Website [7] Charlie Rose #12233 An Hour with Brice Marden, 17 November 2006 [8] at Google Video (Adobe Flash video) Brice Marden's Cold Mountain at the Dia Center [9] Brice Marden bio at Crown Point Press [10] Peter Schjeldahl on Brice Marden at the MoMA, 6 November, 2006 [11]

References
[1] Schjeldahl, Peter. The New Yorker. "True Colors." 6, November, 2006. [2] Brice Marden: A Retrospective (http:/ / www. moma. org/ exhibitions/ 2006/ BriceMarden. html/ MoMA,) [3] Robert Ayers (October 31, 2006), A Resistant Brice Marden Agrees to Major Retrospective (http:/ / www. artinfo. com/ news/ story/ 22718/ a-resistant-brice-marden-agrees-to-major-retrospective/ ), ARTINFO, , retrieved 2008-04-16 [4] Sokol, Brett (2006-12-17), "The Marden Family". The New York Obsever, (http:/ / www. observer. com/ node/ 36413). [5] http:/ / www. matthewmarks. com/ index. php?n=1& a=111& im=1 [6] http:/ / www. flypmedia. com/ issues/ 28/ #5/ 1 [7] http:/ / www. guggenheimcollection. org/ site/ artist_bio_101. html [8] http:/ / video. google. com/ videoplay?docid=983257097746078134 [9] http:/ / www. diacenter. org/ exhibs/ marden/ coldmountain/ [10] http:/ / www. magical-secrets. com/ artists/ marden [11] http:/ / www. newyorker. com/ archive/ 2006/ 11/ 06/ 061106craw_artworld

Agnes Martin

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Agnes Martin
Agnes Martin (March 22, 1912 December 16, 2004) was a Canadian-American painter, often referred to as a minimalist; Martin considered herself an abstract expressionist.

Life and career

Agnes Martin was born in Macklin, Saskatchewan, grew up in Vancouver,[1] and moved to the United States in 1931, becoming a citizen in 1950. Martin studied at Western Washington University College of Education, Bellingham, WA, prior to receiving her B.S. (1942) from Teachers College, Columbia University. A few years following graduation, Martin matriculated at the University of New Mexico, Albuquerque, where she also taught art courses before returning to Columbia University to earn her M.A. (1952). Her work is most closely associated with Taos, New Mexico, although she moved to New York City after being discovered by the artist/gallery owner Betty Parsons in 1957. According to a filmed interview with her which was released in 2003, she moved from New York City only when she was told her rented loft/workspace/studio would be no longer available because of the building's imminent demolition. She goes on further to state that she could not conceive of working in any other space in NY and consequently left the city for other places and ended up in Taos, NM. Since her first solo exhibition in 1958, Martins work has been the subject of more than 85 solo shows and two retrospectives including the survey Agnes Martin organized by the Whitney Museum of American Art, New York, which later traveled to Milwaukee, Miami, Houston and Madrid (199294) and Agnes Martin: Paintings and Drawings 19741990 organized by the Stedelijk Museum, Amsterdam, with subsequent venues in France and Germany (199192). In 2002, the Menil Collection, Houston, mounted Agnes Martin: The Nineties and Beyond. That same year, The Harwood Museum of Art at the University of New Mexico, Taos, organized Agnes Martin: Paintings from 2001, as well as a symposium honoring Martin on the occasion of her 90th birthday. In addition to participating in an international array of group exhibitions such as the Venice Biennale (1997, 1980, 1976), the Whitney Biennial (1995, 1977), and Documenta, Kassel, Germany (1972), Martin has been the recipient of multiple honors including the Lifetime Achievement Award on behalf of the Womens Caucus for Art of the College Art Association (2005); the Governors Award for Excellence and Achievement in the Arts given by Governor Gary E. Johnson, Santa Fe, New Mexico (1998); the National Medal of Arts awarded by President Bill Clinton and the National Endowment for the Arts (1998); the Distinguished Artist Award for Lifetime Achievement by the College Art Association (1998); the Golden Lion for Contribution to Contemporary Art at the Venice Biennale (1997); the Oskar Kokoschka Prize awarded by the Austrian government (1992); the Alexej von Jawlensky Prize awarded by the city of Wiesbaden, Germany (1991); and election to the American Academy and Institute of Arts and Letters, New York (1989). The Agnes Martin Estate is represented by The Pace Gallery, New York.

Artistic style
Her signature style is defined by an emphasis upon line, grids, and fields of extremely subtle color. While minimalist in form, these paintings were quite different in spirit from those of her other minimalist counterparts, retaining small flaws and unmistakable traces of the artist's hand; she shied away from intellectualism, favoring the personal and spiritual. Her paintings, statements, and influential writings often reflect an interest in Eastern philosophy, especially Taoist. Because of her work's added spiritual dimension, which became more and more dominant after 1967, she preferred to be classified as an abstract expressionist. She consciously distanced herself from the social life and social events that brought other artists into the public eye. When she died at age 92, she was said to have not read a newspaper for the last 50 years. The book dedicated to the exhibition of her work in New York at The Drawing Center in 20053 X Abstraction (Yale University Press) analyzes the spiritual dimension in Martin's work. She

Agnes Martin then moved onto working with shoes, shirts and other clothing. She blended these into paintings through a technique she called 'clothed spacing.' Martin worked only in black, white, and brown before moving to New Mexico. During this time, she introduced light pastel washes to her grids, colors that shimmered in the changing light.

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Cultural references
Composer John Zorn's Redbird (1995) was inspired by and dedicated to Martin. Sister Wendy Beckett, in her book American Masterpieces, said about Martin: "Agnes Martin often speaks of joy; she sees it as the desired condition of all life. Who would disagree with her?... No-one who has seriously spent time before an Agnes Martin, letting its peace communicate itself, receiving its inexplicable and ineffable happiness, has ever been disappointed. The work awes, not just with its delicacy, but with its vigor, and this power and visual interest is something that has to be experienced." Frida Hyvnen's song "Straight Thin Line" was inspired by Agnes Martin. In 1998, she was awarded the National Medal of Arts.[2]

Bibliography
Martin, Agnes, Writings, edited by Dieter Schwarz, Winterthur: Ostfildern, Cantz Verlag, 1991. Krauss, Rosalind E., "Agnes Martin: The/Could/", in :Inside the Visible, edited by Catherine de Zegher, MIT Press, 1996. Pollock, Griselda, "Agnes Dreaming: Dreaming Agnes", in 3 X Abstraction, edited by Catherine de Zegher and Hendel Teicher, New Haven: Yale University Press and NY: The Drawing Center, 2005. ISBN 0-300-10826-5. Fer, Briony, "Drawing Drawing: Agnes Martin's Infinity", in: 3 X Abstraction, edited by Catherine de Zegher and Hendel Teicher, New Haven: Yale University Press and NY: The Drawing Center, 2005. Reprinted in Women Artists at the Millennium, edited by Carol Armstrong and Catherine de Zegher, MIT Press / October Books, 2006. Haskell, Barbara, "Agnes Martin," New York: Whitney Museum of American Art, 1992 Martin, Agnes, "The Untroubled Mind," in Theories and Documents of Contemporary Art, edited by Kristine Stiles and peter Selz, Berkeley: University of California Press, 1996 , pp. 128-137. ISBN 0-520-20253-8

External links
[3] The Pace Gallery [12] Guggenheim Bio [4] MOMA Biography and Online Gallery [5] Zwirner & Wirth: Agnes Martin [6] Images [7] Washington Post Obituary [8] The Times Obituary [9] Michael Govan Essay [10] Chuck Smith & Sono Kuwayama Interview [11]

Agnes Martin

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References
[1] http:/ / www. moma. org/ collection/ browse_results. php?criteria=O%3AAD%3AE%3A3787 [2] Lifetime Honors - National Medal of Arts (http:/ / www. nea. gov/ honors/ medals/ medalists_year. html#98) [3] http:/ / www. harwoodmuseum. org/ gallery4. php?tag=about [4] http:/ / www. guggenheimcollection. org/ site/ artist_bio_103. html [5] http:/ / www. moma. org/ collection/ browse_results. php?criteria=O%3AAD%3AE%3A3787 [6] http:/ / www. zwirnerandwirth. com/ exhibitions/ 2003/ 022003Martin/ [7] http:/ / artnet. com/ artist/ 641822/ agnes-martin. html [8] http:/ / www. washingtonpost. com/ wp-dyn/ articles/ A9391-2004Dec17. html [9] http:/ / www. timesonline. co. uk/ article/ 0,,60-1407212,00. html [10] http:/ / www. diacenter. org/ exhibs_b/ martin/ essay. html [11] http:/ / www. youtube. com/ watch?v=_-JfYjmo5OA

Franois Morellet
Franois Morellet (born 1926, Cholet, Maine-et-Loire) is a contemporary French painter, engraver, sculptor and light artist. His early work prefigured Minimal art and Conceptual art, and he has played an important role in geometrical abstraction over the past half century.

Career
After a short period of figurative/representational work, Morellet turned to abstraction in 1950 and he adopted a pictorial language of simple geometric forms: lines, squares and triangles assembled into two-dimensional compositions. In 1961, he was one of the founders of the "Groupe de Recherche dArt Visuel" (GRAV), with fellow artists Francisco Sobrino, Horatio Garcia-Rossi, Hugo DeMarco, Julio Le Parc, Jean-Pierre Yvaral (the son of Victor Vasarely) and Jol Stein, Franois Molnar and Vera Molnar (the last two left the group shortly after) [1]. Morellet began at this time to work with neon tubes. Since the 1960s, Morellet has worked in various materials (fabric, tape, neon, walls...) and has investigated the use of the exhibition space in terms similar to artists of installation art and environmental art. He has gained an international reputation, especially in Germany and France, and his work has been commissioned for public and private collections in Switzerland, Great Britain, Italy, the Netherlands, and the U.S.A.

Work
For Morellet, a work of art refers only to itself. His titles are generally sophisticated, show some word play, and describe the "constraints" or "rules" that he used to create them. Like other contemporary artists who use constraints and chance (or the aleatory) in their works (John Cage in music, the Oulipo group in literature), Morellet uses rules and constraints established in advance to guide the creation of his works, and he also allows chance to play a role in some of his compositions. His rigorous use of geometry tends to create emotionally neutral work, and has placed him close to Minimal art and Conceptual art in his aims. He shares a particular affinity to the American artists Ellsworth Kelly, Frank Stella and Sol LeWitt. Series: Rpartitions alatoires ("Chance divisions") from the 1950s Rpartition de 16 formes identiques - painted after his visit to the Alhambra of Grenada Series: Trames from the 1950s Series: Dsintgrations architecturales ("Architectural disintegrations") from 1971 Series: Gomtres from 1983 Series: Dfigurations from 1988

Franois Morellet Series: Dclinaisons de pi ("Versions of pi") from 1998

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References
Lemoine, Serge (2000) (in French). Art Concret. Paris: Espace de lArt Concret/Runion des muses nationaux. ISBN2-7118-4069-7. Carrment - Discrtement. Exhibition catalogue. Text by Christian Skimao. Montpellier, 2001. Lemoine, Serge. Franois Morellet. Waser Verlag: Zurich, 1986. Lemoine, Serge. Franois Morellet. Flammarion: Paris, 1996. Morellet. Exhibition catalogue. Essays by Dominique Bozo, Bernard Blistne, Catherine Millet, Rudi Oxenaar, Alain Coulange, Johannes Cladders; Interview with Christian Besson. Muse national dart moderne, Centre Georges Pompidou, Paris, 1986. Morellet. Exhibition catalogue. Essays by Jean-Franois Groulier, Jacqueline Lichtenstein, Thomas McEvilley, Arnauld Pierre; Chronology by Stphanie Jamet. Galerie nationale du Jeu de Paume/Runion des Muses Nationaux, Paris 2000. Morellet, Franois. Mais comment taire mes commentaires Collections: Ecrits dartistes. Ecole nationale suprieure des beaux-arts, Paris, 1999.

References
[1] http:/ / www. fondation-salomon. com/ molnarknifer2. php

Robert Morris (artist)

Robert Morris (born 9 February 1931, Kansas City, Missouri) is an American sculptor, conceptual artist and writer. He is regarded as one of the most prominent theorists of Minimalism along with Donald Judd but he has also made important contributions to the development of performance art, land art, the Process Art movement and installation art. Morris studied at the University of Kansas, Kansas City Art Institute, and Reed College [1]. Initially a painter, Morris work of the 1950s was influenced by Abstract Expressionism and particularly Jackson Pollock. While living in California, Morris also came into contact with the work of La Monte Young and John Cage. The idea that art making was a record of a performance by the artist (drawn from Hans Namuths photos of Pollock at work) in the studio led to an interest in dance and choreography. Morris moved to New York in 1960 where he staged a performance based on the exploration of bodies in space in which an upright square column after a few minutes on stage falls over. Morris developed the same idea into his first Minimal Sculptures Two Columns shown in 1961, and L Beams (1965).

The "infamous" 1974 self-constructed body art poster of Robert Morris.

Robert Morris (artist)

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In New York, Morris began to explore the work of Marcel Duchamp making pieces that directly responded to Duchamps (Box with the Sound of its Own Making (1961), Fountain (1963)). In 1963 he had an exhibition of Minimal sculptures at the Green Gallery in New York that was written about by Donald Judd. In 1964 Morris devised and performed two celebrated performance artworks 21.3 in which he lip syncs to a reading of an essay by Erwin Panofsky and Site with Carolee Schneemann. Morris enrolled at Hunter College in New York (his masters thesis was on the work of Brancusi) and in 1966 published a series of influential essays "Notes on Sculpture" in Artforum. He exhibited two L Beams in the seminal 1966 exhibit, "Primary Structures" at the Jewish Museum in New York.

Bronze Gate (2005) is a cor-ten steel work by Robert Morris. It is set in the garden of the dialysis pavilion in the hospital of Pistoia, Italy.

In 1967 Morris created Steam, an early piece of Land Art. By the late 1960s Morris was being featured in museum shows in America but his work and writings drew criticism from Clement Greenberg. His work became larger scale taking up the majority of the gallery space with series of modular units or piles of earth and felt. In 1971 Morris designed an exhibition for the Tate Gallery that took up the whole central sculpture gallery with ramps and cubes. He published a photo of himself dressed in S&M gear in an advertisement in Artforum, similar to one by Lynda Benglis, with whom Morris had collaborated on several videos.[2] He created the Robert Morris Observatory in the Netherlands, a "modern Stonehenge", which identifies the solstices and the equinoxes. It is at coordinates 5232'58"N 533'57"E.[3] During the later 1970s Morris switched to figurative work, a move that surprised many of his supporters. Themes of the work were often fear of nuclear war. During the 1990s returned to his early work supervising reconstructions and installations of lost pieces. Morris currently lives and works in New York. In 1974, Robert Morris advertised his display at the Castelli Gallery Untitled of 1967/1986, steel and steel mesh, in the National Gallery of Art with a poster showing him bare-chested in sadomasochistic garb. Critic Amelia Jones argued that the body poster was a statement about hyper-masculinity and the stereotypical idea that masculinity equated to homophobia.[4] Through the poster, Morris equated the power of art with that of a physical force, specifically violence.[5] Robert Morris's art is fundamentally theatrical. (...) his theater is one of negation: negation of the avant-gardist concept of originality, negation of logic and reason, negation of the desire to assign uniform cultural meanings to diverse phenomena; negation of a worldview that distrusts the unfamiliar and the unconventional. (Maurice Berger, Labyrinths: Robert Morris, Minimalism, and the 1960s, p.3.)

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References
Berger, Maurice. Labyrinths: Robert Morris, Minimalism, and the 1960s, New York: Harper & Row, 1989 Busch, Julia M., A Decade of Sculpture: the New Media in the 1960s (The Art Alliance Press: Philadelphia; Associated University Presses: London, 1974) ISBN 0-87982-007-1

Further reading
Nancy Marmer, "Death in Black and White: Robert Morris," Art in America, March 1983, pp.129-133.

External links
Guggenheim Robert Morris bio [6] Robert Morris, Publicportfolio at columbia.edu [7] Robert Morris [8] in the Video Data Bank [9] Land Reclamation und Erdmonumente [10] article in German by Thomas Dreher Observatory [11] near Lelystad/Oost Flevoland in Netherlands, illustrations Allan Kaprow versus Robert Morris. Anstze zu einer Kunstgeschichte als Mediengeschichte [12] article in German by Thomas Dreher on the competing theories on art by Allan Kaprow and Robert Morris

References
[1] [2] [3] [4] [5] http:/ / www. vdb. org/ nonframes/ smackn. acgi$artistdetail?MORRISR Taylor, Brandon (2005). Contemporary Art: Art Since 1970. London: Prentice Hall. pp.30. ISBN0131181742. This from http:/ / nl. wikipedia. org/ wiki/ Observatorium_Robert_Morris Jones, Amelia (1998). Body Art/Performing the Subject. University of Minnesota Press. pp.114115. Chave, Anne C. (1991). "Minimalism and the Rhetoric of Power". in Holliday T. Day. Power: Its Myths and Mores in American Art, 1961-1991. pp.134. [6] http:/ / www. guggenheimcollection. org/ site/ artist_bio_115. html [7] http:/ / www. mcah. columbia. edu/ cgi-bin/ dbcourses/ publicportfolio?portfolioid=209& x=19& y=18 [8] http:/ / www. vdb. org/ smackn. acgi$artistdetail?MORRISR [9] http:/ / www. vdb. org/ [10] http:/ / dreher. netzliteratur. net/ 6_LandArt_Morris. pdf [11] http:/ / dreher. netzliteratur. net/ 6_LandArt_Morris_Observatorium. html [12] http:/ / dreher. netzliteratur. net/ 1_Kaprow_vs_Morris. html

Michael Paul Oman-Reagan

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Michael Paul Oman-Reagan

Michael Paul Oman-Reagan (born 1976) is an American post-minimal conceptual artist and curator. Oman-Reagan is known for his work around socio-cultural and anthropological themes.[1] His most acclaimed series has been his "Communication Project," where Oman-Reagan communicated with gallerists, art institutions and dedicated cultural spaces through the installation of art objects on or near their buildings. Born in Columbia, Missouri, Oman-Reagan's parents moved the family to Baker City, Oregon, when he was five years old. Following studies at Reed College in Portland, Oregon, he lived and worked in Park City, Utah, Pocatello, Idaho, Paris, France and Nantucket, Massachusetts.

LA Bruise, created by Oman-Reagan in 2005, Private Collection Los Angeles, California.

He has mentioned his participation in the realization of a Sol LeWitt wall drawing as a strong early influence on his work. Oman-Reagan founded Field (Field Gallery) in Portland, Oregon, and as the founder and curator of a gallery for emerging contemporary art, he was part of Portlands millennial art renaissance. The artist currently lives and works in New York City. His "Communication Project" has included installations in the public space surrounding or inside galleries, institutions and art neighborhoods including PDX Contemporary Art, Portland Institute for Contemporary Art, Portland Art Museum, Chelsea, The New Museum, Museum of Modern Art, Whitney Museum of American Art, Solomon R. Guggenheim Museum, Palais de Tokyo, Art Chicago and Art|Basel.

Quotes
"The art-world is rife with politicking. Ostensibly curators engage in acts of selection for the welfare of the artist. The act of selection, however, often creates a transformative rather than a transactional relationship between artist and exhibition space. A curator should be a conduit for democratic dialogue, not a "decider". -Michael Paul Oman-Reagan [2]

Quotes about
"He and I talk[ed] about anthropology, Gerhard Richter and the question of whether artists should strive for a recognizable style (I say yes; he says no)." - Author Richard Speer[3] "This is by Michael Oman-Reagan, Engelman says. She sums up the works appeal: Its part of the quietness of fluorescence. Theres another in the main hallway of her home. People would walk by it and walk by it and all of a sudden notice it, probably because of the way the light was shining and it would glow a little bit. And once you notice it you never could walk by that wall without seeing that stick. That to me is fascinating, the impact it has." Collector Sylvia Engelman[4]

Michael Paul Oman-Reagan

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Trivia
Oman-Reagan is a descendant of Angelina Morgan, relative of Henry Morgan through the Oman family of the Orkney Islands. Notable Omans include Charles Oman and Oman-Reagan's grandfather, the entomologist Paul W. Oman.

External links
Official Michael Paul Oman-Reagan web site [5]

References
[1] Jeff Jahn (2003-01-01). "Eyeing the Portland art scene Potential hullabaloo in 2003?" (http:/ / www. nwdrizzle. com/ drizzle/ 0301/ ci. html). . Retrieved 2007-02-17. [2] T.J. Norris (2006-05-01). "The Oregonian" (http:/ / www. oregonlive. com/ weblogs/ isitart/ index. ssf?/ mtlogs/ olive_isitart/ archives/ 2006_05. html). . Retrieved 2006-05-01. [3] Richard Speer (2003-11-12). "FIRST THURSDAY'S FIRST IMPRESSIONS: Romping through the Pearl in search of good art and good vibes." (http:/ / www. wweek. com/ story. php?story=4536). . Retrieved 2007-02-17. [4] Joseph Gallivan (2005-05-21). "The accidental collector: A contemporary art lover puts her money where her heart is" (http:/ / www. portlandtribune. com/ features/ story. php?story_id=30153). . Retrieved 2008-07-17. [5] http:/ / www. michaelomanreagan. com

Fred Sandback

268

Fred Sandback
Fred Sandback

Fred Sandback print Born Died Nationality Field Training Movement Influenced by August 29, 1943 Bronxville, New York June 23, 2003
United States

Sculpture, Printmaking Yale University Minimalism Donald Judd, Robert Morris

Fred Sandback (August 29, 1943 June 23, 2003) was a minimalist conceptual-based sculptor known for his yarn sculptures, drawings, and prints.

Life and work

Fred Sandback was born in Bronxville, New York where, as a young man, he made banjos and dulcimers. He majored in philosophy at Yale University (BA, 1966) before studying sculpture at Yale School of Art (MFA, 1969) where he met Donald Judd and Robert Morris. Sandback's first one-person exhibitions were at the Galerie Konrad Fischer, Dsseldorf, and the Galerie Heiner Friedrich, Munich, both in 1968. Following this debut, Sandback exhibited widely his minimalist sculptures and prints in the United States, Europe and elsewhere. His artwork was included in the 1968 Annual Exhibition at the Whitney Museum of American Art, the Biennale of Sydney in 1976, and the Seventy-third American Exhibition at the Art Institute of Chicago in 1979. In 1981 the Dia Art Foundation initiated and maintained a museum of his work, The Fred Sandback Museum in Winchendon, Massachusetts, which was closed in 1996. Dia presented exhibitions of his works in 1988 and in 199697. In 2003, several large Sandback sculptures were permanently installed at Dia's museum in Beacon, New York. Sandback's yarn, elastic cord, and wire sculptures define edges of virtual shapes that ask the viewer's brain to perceive the rest of the form. In that way his work can be considered visionary or imaginative, as well as minimal and literal. Indeed Sandback was fond of installing "corner" pieces whose shadows assist with this form completion process. In describing his work he stated, "It's a consequence of wanting the volume of sculpture without the opaque mass that I have the lines." and "I did have a strong gut feeling from the beginning though, and that was wanting to be able to make sculpture that didn't have an inside." [1]

Fred Sandback In 2007 the Fred Sandback Archive, a non-profit organization was established primarily to create and maintain an archival resource on Sandback's work.

269

Selected Bibliography and References

Fred Sandback: Installations. Krefeld: Museum Haus Lange, 1969. Text by Paul Wember. Fred Sandback. Munich: Kunstraum, 1975. Texts by Hermann Kern and Fred Sandback. 74 Front Street: The Fred Sandback Museum, Winchendon, Massachusetts. New York: Dia Art Foundation, 1982. Text by Fred Sandback. Fred Sandback. Zrich: Kunsthaus Zrich, 1985. Texts by Gianfranco Verna, Lisa Liebmann, and Toni Stooss. Fath, Manfred, ed. Fred Sandback: Sculpture, 19661986. Munich: Galerie Fred Jahn, 1986. Texts by Manfred Fath, Fred Jahn, and Fred Sandback. Fred Sandback: Diagonal Constructions/Broken Lines. Skulpturen und Zeichnungen. Hannover: Kestner-Gesellschaft, 1987. Texts by Carsten Ahrens, Carl Haenlein, and Fred Sandback. Fred Sandback: Die gesamte Grafik. Munich: Galerie Fred Jahn in co-production with Stdtisches Museum Leverkusen, Schloss Morsbroich, 1987. Texts by Rolf Wedewer and Fred Jahn. Another edition, without the text of Rolf Wedewer, was published as Fred Sandback: Werkverzeichnis der Druckgrafik, 19701986. Munich: Galerie Fred Jahn, 1987. Fred Sandback: Vertical Constructions. Mnster: Westflischer Kunstverein, 1987. Texts by Marianne Stockebrand and Fred Sandback. Fred Sandback: Sculpture. New Haven, Conn.: Yale University Art Gallery, in association with Contemporary Arts Museum, Houston, 1991. Texts by Suzanne Delehanty, Richard S. Field, Sasha M. Newman, and Phyllis Tuchman. Fred Sandback. Stockholm: Magasin 3, Stockholm Konsthall, 1991. Text by Sasha M. Newman. von Drathen, Doris. Fred Sandback. Knstler: Kritisches Lexikon der Gegenwartskunst, vol. 23, 1993. Fred Sandback: Sculpture. Exh. brochure. New York: Dia Center for the Arts, 1996. Text by Lynne Cooke. Lines of Inquiry: Interview by Joan Simon. Art in America 85, no. 5 (May 1997), pp.8693, 143. Fetz, Wolfgang, ed. Fred Sandback. Bregenz: Bregenzer Kunstverein, Palais Thurn und Taxis, 1997. Interview with Fred Sandback by Joan Simon. Mavridorakis, Valrie. Fred Sandback ou le fil dOccam. Brussels: La Lettre vole, 1998. Fred Sandback: Escultura. Mexico City: Museo Tamayo, 2002. Texts by Sari Bermdez, Saul Suarez, Lynne Cooke, and Fred Sandback. Interview with Fred Sandback by Joan Simon. Mark C. Taylor. "Apprehension." In Robert Lehman Lectures on Contemporary Art, vol. 2. Ed. Lynne Cooke and Karen Kelly. New York: Dia Center for the Arts, 2003. Stephanie Cash, David Ebony, Obituaries: Fred Sandback. Art in America 91, no. 9 (September 2003), p.142. Fred Sandback. New York: Zwirner & Wirth, Lawrence Markey Gallery, 2004. Texts by Fred Sandback. Fred Sandback, 19432003. Zrich: Annemarie Verna Galerie, 2004. Text by Gianfranco Verna. Fred Sandback Prints: A Survey. Exh. brochure. New York: Susan Sheehan Gallery, 2004. Text by Andrew Ehrenworth. Fred Sandback. Vaduz: Kunstmuseum Liechtenstein; Edinburgh: Fruitmarket Gallery; Graz: Neue Galerie am Landesmuseum Joanneum; Bordeaux: capcMuse dart contemporain; Ostfildern-Ruit: Hatje Cantz, 2005. Texts by Christiane Meyer-Stoll, Yve-Alain Bois, Thomas McEvilley, Thierry Davila, et al., ISBN 3-7757-1720-X Fred Sandback. Cambridge, England: Kettles Yard, 2005. Texts by Elizabeth Fisher, Michael Harrison, Lynne Cooke, and Fred Sandback. Published with separate insert documenting the exhibition. Fred Sandback: Drawings/Zeichnungen, 19682000. Zrich: Annemarie Verna Galerie; Dsseldorf: Richter Verlag, 2005. Text by Gianfranco Verna. Fred Sandback: Sculpture and Related Works. Exh. brochure. Sioux City: Sioux City Art Center, 2005. Text by David Raskin.

Fred Sandback Fred Sandback: Sculpture and Related Works. Laramie: University of Wyoming Art Museum, 2006. Texts by Susan Moldenhauer and David Raskin. David Raskin, Art That Just Goes Ping: Sandbacks Vibration. Apollo 165 (March 2007): 72-77. Fred Sandback. Exh. cat. (New York: Zwirner & Wirth, 2007). Texts by Pamela M. Lee and Fred Sandback. Fred Sandback. Exh. cat. (Goettingen and New York: Steidl/David Zwirner, 2009). Text by John Rajchman [2] Fred Sandback. Auckland: Jensen Gallery, 2009. Text by Leonhard Emmerling.

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External links
Sandback's work at Dia [3] Notes from 1975 [4] Many examples at the Barbara Krakow Gallery [5] Essay on Fred Sandback by [[Lynne Cooke [6]] ] Remarks on my Sculpture 1966-86 by Fred Sandback [7] Examples of the artist's work and exhibitions at Zwirner & Wirth, New York [8] and David Zwirner, New York [9] David Raskin on Fred Sandback in Apollo March, 2007 [10]

References
[1] * Remarks on my Sculpture 1966-86 by Fred Sandback (http:/ / www. fredsandbackarchive. org/ atxt_1986remarks. html) [2] http:/ / www. steidlville. com/ books/ 922-Fred-Sandback. html [3] http:/ / www. diabeacon. org/ exhibitions/ main/ 95 [4] http:/ / www. fredsandbackarchive. org/ atxt_1975. html [5] http:/ / www. barbarakrakowgallery. com/ contentmgr/ showdetails. php/ id/ 353 [6] http:/ / www. diabeacon. org/ exhibitions/ introduction/ 95 [7] http:/ / www. fredsandbackarchive. org/ atxt_1986remarks. html [8] http:/ / www. zwirnerandwirth. com/ exhibitions/ 2009/ 0109Sandback/ index. html [9] http:/ / www. davidzwirner. com/ exhibitions/ 175/ [10] http:/ / www. highbeam. com/ doc/ 1G1-160712011. html

Richard Serra

271

Richard Serra
Richard Serra

Fulcrum 1987, 55-foot freestanding sculpture of Cor-ten steel near Liverpool Street station, London Born Nationality Field Training Movement Influenced by November 2, 1939 San Francisco, California American minimalist sculptor Yale University Process Art Robert Smithson

Richard Serra (born November 2, 1939) is an American minimalist sculptor and video artist known for working with large-scale assemblies of sheet metal. Serra was involved in the Process Art Movement.

Early life and education

Serra was born in San Francisco and he went on to study English literature at the University of California, Berkeley and later at the University of California, Santa Barbara between 1957 and 1961. He then studied fine Bramme for the Ruhr-District, 1998 at Essen art at Yale University between 1961 and 1964. While on the West Coast, he helped support himself by working in steel mills, which was to have a strong influence on his later work. He is the brother of famed San Francisco trial attorney Tony Serra. Serra lives outside of New York and in Nova Scotia. In June, 2008, Williams College conferred upon Serra the honorary degree of Doctor of Fine Arts.

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Sculpture
Serra's earliest work was abstract and process-based made from molten lead hurled in large splashes against the wall of a studio or exhibition space. Still, he is better known for his minimalist constructions from large rolls and sheets of metal (COR-TEN-Steel). Many of these pieces are self-supporting and emphasize the weight and nature of the materials. Rolls of lead are designed to sag over time. His exterior steel sculptures go through an initial oxidation process, but after 810 years, the patina of the steel settles to one color that will remain relatively stable over the piece's life. Serra often constructs site-specific installations, frequently on a scale that dwarfs the observer.

Sea Level (South-West part), Zeewolde, Netherlands

Serra was one of the four performers in the premiere of the Steve Reich piece Pendulum Music on May 27, 1969 at the Whitney Museum of American Art. The other performers were Michael Snow, James Tenney and Bruce Nauman. In 1981, Serra installed Tilted Arc, a gently curved, 3.5 meter high arc of rusting mild steel in the Federal Plaza in New York City. There was controversy over the installation from day one, largely from workers in the buildings surrounding the plaza who complained that the steel wall obstructed passage through the plaza. A public hearing in 1985 voted that the work should be moved, but Serra argued the sculpture was site specific and could not be placed anywhere else. Serra famously issued an often-quoted statement regarding the nature of site-specific art when he said, "To remove the work is to destroy it." Eventually on 15 March 1989, the sculpture was dismantled by federal workers and taken for scrap. William Gaddis satirized these events in his biting 1994 novel A Frolic of His Own. In 2002, a similar installation titled Vectors was to be built at the California Institute of Technology from the bequest of Eli Broad. The piece, to be four steel plates of similar material as Tilted Arc zig-zagging across one of the few green spaces at the university, met significant opposition by the student body and professors as being a "'derivative rehash of earlier works, or an 'arrogant' piece that [belied] Institute values."[1] The piece was never installed. Another famous work of Serra's is the mammoth sculpture Snake, a trio of sinuous steel sheets creating a curving path, permanently located in the largest gallery of the Guggenheim Museum Bilbao. In 2005, the museum mounted an exhibition of more of Serra's work, incorporating Snake into a collection entitled The Matter of Time. The whole work consists of eight sculptures measuring between 12 and 14 feet in height and weighing from 44 to 276 tons.[2]

Richard Serra

273 He has not always fared so well in Spain, however; also in 2005, the Centro de Arte Reina Sofa in Madrid announced that a 38-tonne sculpture of his had been "mislaid".[3] In a recent development, a duplicate copy is going to be made and displayed in Madrid.[4] In spring 2005, Serra returned to San Francisco to install his first public work in that city (previous negotiations for a commission fell through) two 50-foot steel blades in the main open space of the new University of California, San Francisco (UCSF) campus. Weighing 160 tons, placing the work in its Mission Bay location posed serious challenges, since it is, like many parts of San Francisco, built on landfill. In 2000 he installed 'Charlie Brown,' a 60-foot-tall sculpture in the new Gap Inc. headquarters in San Francisco. To encourage oxidation, or rust, sprinklers were initially directed toward the four German-made slabs of steel that make up the work (see External links).

At the 2006 Whitney Biennial, Serra showed a simple litho crayon drawing of an Abu Ghraib prisoner with the caption "STOP BUSH."[5] This image was later used by the Whitney Museum to make posters for the Biennial. The posters featured an altered version of the text that read "STOP B S ." Serra also created a variation on Goya's Saturn Devouring His Son featuring George W. Bush's head in place of Saturn's. This was featured prominently in an ad for the website pleasevote.com (now defunct) on the back cover of the July 5, 2004 issue of The Nation. In the summer of 2007 the Museum of Modern Art presented a retrospective of Serra's work in New York. Intersection II (19921993) and Torqued Ellipse IV (1998) were included in this show along with three new works.[6] The retrospective consisted of 27 of Serra's works, including three large new sculptures made specifically for the second floor of the museum, two works in the garden, and earlier pieces from the 1960s through the 1980s.[7] A retrospective is an occasion to reflect and take stock, but its double edged in that it puts me into a nostalgic relationship to my own history, which Id rather not dwell upon. The rearview mirror perspective is not one that Id take if there wasnt a retrospective pending. I would rather think about the work that I am doing and the work thats in front of me to do and not have to look over my shoulder. Its obvious to me that I am not the same person that I was 40 years ago, nor are the issues that I am concerned with the same. A retrospective might give the impression of a seamless linearity of development, but my work does not evolve that way. It evolves in fits and starts. Oftentimes, the solution to a problem leads to an altogether different idea.[7] Work similar to that of his in the Netherlands (pictured) can be found in Storm King Art Center in Upstate New York.[8] Colby College recently acquired 150 works on paper by Serra, making it the second largest collection of Serra's work outside of the Museum of Modern Art in New York. From May 7 to June 15, 2008 Richard Serra shows his installation "Promenade" at the Grand Palais, Paris. "A radical, poetic landscape of steel, minimalist yet full of movement." Serra is the second artist, after Anselm Kiefer, who was invited to fill the 13,500 m nave of the Grand Palais with a group of new works created specially for the event. His work was featured on BBC One in "Imagine...Richard Serra: Man of Steel" on Tuesday 25 November 2008 which described him as "Sculptor and giant of modern art Richard Serra discusses his extraordinary life and work. A creator of enormous, immediately identifiable steel sculptures that both terrify and mesmerise, Serra believes that each viewer creates the sculpture for themselves by being within it." Contributors include Chuck Close, Philip Glass

The Matter of Time at the Guggenheim Museum Bilbao

Richard Serra and Glenn D Lowry, Director of MoMA. He was interviewed at length by the BBC's Alan Yentob. Birmingham City Council is currently considering a proposal for an outdoor installation by Richard Serra in front of their new Library of Birmingham to replace the destroyed "Forward" sculpture by Raymond Mason in Centenary Square.[9] In December 2008, after almost 20 years in storage, his steel sculpture Slat was re-anchored in La Dfense, the Parisian business district. The sculpture spent five years in a nearby Paris suburb, Puteaux, but in 1989 vandalism and graffiti prompted that towns mayor to remove it. Slat has five 25-ton steel plates that lean on one another to form a tall, angular tepee. because of its weight, officials chose to ground it in a traffic island behind the Grande Arche.

274

Video art
Hand Catching Lead (1968) was Serra's first film and features a single shot of a hand in an attempt to repeatedly catch chunks of material dropped from the top of the frame.[10] In Boomerang (1974), Serra taped Nancy Holt as she talks and hears her words played back to her after they have been delayed electronically. Serra has made a number of films concerning the manufacture and use of his favorite material, steel. Steelworks is shot inside a German steelworks and includes an interview with a steelworker, while Richard Serra at Hallwalls, Buffalo, N.Y. Date Railroad Turnbridge is a series of shots taken on the Burlington and Unknown. Northern bridge over the Willamette River near Portland, Oregon, as it opens to let a ship pass. These films can be viewed in a room off the Arcelor gallery in the Guggenheim museum in Bilbao. He also produced the classic 1973 short film "Television Delivers People", a critique of the corporate mass media with elevator music as the soundtrack. Serra appears in Matthew Barney's 2002 film Cremaster 3 as Hiram Abiff ("the architect"), and later as himself in the climactic The Order section the only part of a Cremaster film commercially available on DVD. [11]

In popular culture
The drone band Sunn O))) used "Out-of-Round X" (1999) as the cover of their seventh studio album released in 2009, called Monoliths & Dimensions. "A Richard Serra skatepark" is mentioned in indie band Vampire Weekend's "White Sky".

See also
Robert Smithson Site-specific art Environmental sculpture Neo-minimalism

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External links
Richard Serra in Literal, Latin American Voices [12] A short documentary [13] by KQED-TV's Spark on a Serra's piece for UCSF. Biography, interviews, essays, artwork images and video clips [14] from PBS series Art:21 -- Art in the Twenty-First Century - Season 1 (2001). MoMA: Richard Serra Sculpture: Forty Years [15] PBS: Richard Serra [14] Richard Serra interviewed by Klaus Ottmann [16] Richard Serra at Gagosian Gallery [17] Robert Hughes: Richard Serra (22/06/05) [18] Television Delivers People (1973) [19] 1992 Richard Serra monograph by Adrian Searle [20] Richard Serra [21] in the Video Data Bank [9] BBC TV Imagine documentary on Richard Serra [22]. Charlie Brown, sculpture at The Gap HQ [23]. Richard Serra sculpture in Berlin, Germany [24] Richard Serra interviewed about Tilted Arc controversy [25], excerpt from "Public Sculpture" (ART/new york #14), video, 1982/83.

References
[1] Caltech (October 17, 2002), Serra sculpture debate continues (http:/ / pr. caltech. edu/ periodicals/ 336/ articles/ Volume 2/ 10-17-02/ serra. html), Caltech, , retrieved 2008-08-24 [2] Jeannie Rosenfeld (October 1, 2006), Artist's Dossier: Richard Serra (http:/ / www. artinfo. com/ news/ story/ 22801/ artists-dossier-richard-serra/ ), ARTINFO, , retrieved 2008-04-28 [3] Madrid 'mislays' Serra sculpture (http:/ / news. bbc. co. uk/ 2/ hi/ europe/ 4626502. stm), BBC, January 19, 2006, , retrieved 2008-12-11 [4] , The Art Newspaper, 2008, http:/ / www. theartnewspaper. com/ article. asp?id=16567, retrieved 2008-12-11 [5] Whitney Biennial 2006: Richard Serra (http:/ / www. whitney. org/ www/ 2006biennial/ artists. php?artist=Serra_Richard) [6] Details of 2007 Moma Retrospective (http:/ / moma. org/ exhibitions/ exhibitions. php?id=2866) [7] Robert Ayers (April 11, 2007), Richard Serra (http:/ / www. artinfo. com/ news/ story/ 24689/ richard_serra/ ), ARTINFO, , retrieved 2008-04-28 [8] Schunnemunk Fork details at Storm King (http:/ / www. stormking. org/ RichardSerra. html) [9] http:/ / www. birminghampost. net/ comment/ letters-to-the-editor/ 2008/ 11/ 28/ sculpture-by-serra-ideal-for-reference-library-65233-22363341/ [10] UbuWeb Film: Hand Catching Lead (1968) (http:/ / www. ubu. com/ film/ serra_lead. html) [11] http:/ / www. popmatters. com/ film/ reviews/ c/ cremaster3. shtml [12] http:/ / www. literalmagazine. com/ es/ archive-L10. php [13] http:/ / www. kqed. org/ arts/ programs/ spark/ profile. jsp?essid=4803 [14] http:/ / www. pbs. org/ art21/ artists/ serra/ [15] http:/ / www. moma. org/ serra [16] http:/ / www. jca-online. com/ serra. html [17] http:/ / www. gagosian. com/ artists/ richard-serra/ [18] http:/ / www. guardian. co. uk/ arts/ features/ story/ 0,11710,1511714,00. html [19] http:/ / www. youtube. com/ watch?v=nbvzbj4Nhtk [20] http:/ / www. frieze. com/ issue/ article/ justified_and_ancient/ [21] http:/ / www. vdb. org/ smackn. acgi$artistdetail?SERRAR [22] http:/ / www. bbc. co. uk/ imagine/ article/ man_of_steel. shtml [23] http:/ / www. artamble. com/ art/ miscpix/ serra. htm [24] http:/ / www. museumchick. com/ museum-chick/ 2010/ 06/ richard-serra-sculpture-berlin-germany. html [25] http:/ / 98bowery. com/ returntothebowery/ art-new-york-richard-serra-artist-interviews. php

Sally Sheinman

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Sally Sheinman
Sally Sheinman (born May 16, 1949) is an American painter and visual artist, now based in the UK. Sally was born in Watertown, New York. She studied painting at the State University of New York at Albany in Albany, New York and later studied art at Hunter College in New York, New York where her tutors included Tony Smith (sculptor) and Robert Morris. Sally has lived in Britain for over 20 years; and is currently working in Northampton. She is a prolific painter and committed to a rigorous work schedule. Her works have included an interactive touring exhibition in association with the University of Hertfordshire called the Wishing Ceremony. The Wishing Ceremony opened in six locations in Leicester City in 2005 and then traveled to the University of Hertfordshire and mac in Birmingham in 2006. The Wishing Ceremony is also available on-line as part of an interactive website. Her exhibitions include Sacred Vessels at the Rugby Art Gallery and Museum in Rugby, 2003); Days at The Gallery in Stratford-upon-Avon, 2002); The Naming Room at Roadmender, Northampton, 2001); Fragments of Time and Thought at Liberty (department store), London, 2000), Artjongg at the University College Northampton; Between the Lines (Ikon Touring, Birmingham 1997); and New Work (City Gallery, Leicester, 1995). Commissions include Non-Essential Signage for Arts Council England, Announcements for South and East Belfast Trust, Artkacina for firstsite in Colchester (2006) and ARTDNA for Towner in Eastbourne (2008). In 2010 Sally finished her latest work, Let's Celebrate - a new commission inspired by the London 2012 Olympic and Paralympic games. The work is touring to five National Trust properties across the East Midlands throughout 2010. Comprising over 250 exquisitely painted sculptures, this participatory artwork invites visitors to consider and record what they want to celebrate, adding their written celebrations to the installation. Let's Celebrate unites a celebration of the National Trust and its treasures with the mounting celebration and excitement surrounding the London 2012 Olympic and Paralympic Games. Sally highlights the national pride exemplified by both institutions and their success in welcoming visitors from around the world. 2010 venues for Let's Celebrate: 1 May 15 June Sudbury Hall, 17 June 13 July Staunton Harold Church, 17 July 1 August Longshaw Estate, 4 August 5 September The Workhouse,28 September 20 October Tattershall Castle Let's Celebrate is funded by the Legacy Trust UK, the European Regional Development Fund, Arts Council England and the National Trust. For opening days and times to see Let's Celebrate visit www.nationaltrust.org.uk

External links
Sally Sheinman Website [1]

References
[1] http:/ / www. SallySheinman. co. uk

Keith Sonnier

277

Keith Sonnier
Keith Sonnier (born 1941, Mamou, Louisiana) is a minimalist, performance, video and light artist. Sonnier was one of the first artists to use light in sculpture in the 1960s, and has been one of the most successful with this technique. Sonnier was a part of the Process Art Movement.

Materials and Techniques

Neon and Fluorescent Lights Reflective Materials Aluminum & Copper Glass & Wires

External links
Keith Sonnier's Web Site [1] Askart.com [2] Keith Sonnier [3] in the Video Data Bank [9]

References
[1] http:/ / www. keithsonnierstudio. com/ [2] http:/ / www. askart. com/ ask/ s/ keith_sonnier. aspx [3] http:/ / www. vdb. org/ smackn. acgi$artistdetail?SONNIERK

Frank Stella

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Frank Stella
Frank Stella

1964 photo of Frank Stella by Ugo Mulas Born Nationality Field Movement Influenced by Influenced Awards May 12, 1936 Malden, Massachusetts American Painting, Printmaking, Sculpture, Architecture Modernism, Minimal art, Abstract expressionism, Geometric abstraction, Abstract illusionism, Lyrical abstraction, Hard-edge painting, Shaped canvas painting, Color field painting Caravaggio, Jackson Pollock, Franz Kline, Barnett Newman, Jasper Johns Frank Gehry, several generations of Abstract painters 1984 Harvard University Charles Eliot Norton lectures

Frank Stella (born May 12, 1936) is an American painter and printmaker. He is a significant figure in minimalism and post-painterly abstraction. He was born in Malden, Massachusetts. After attending high school at Phillips Academy in Andover, Massachusetts, he went on to Princeton University, where he met Darby Bannard and Michael Fried; his work was influenced by the abstract expressionism of Jackson Pollock and Franz Kline, and majored in history. Early visits to New York art galleries influenced his artistic development. Stella moved to New York in 1958 after his graduation. He is one of the most well-regarded postwar American painters who still works today. Frank Stella has reinvented himself in consecutive bodies of work over the course of his five-decade career.[1]

Frank Stella La scienza della pigrizia (The Science of Laziness) 1984, oil, enamel and alkyd paint on canvas, etched magnesium, aluminum and fiberglass, National Gallery of Art Washington DC

Late 1950s and early 1960s

Upon moving to New York City, he reacted against the expressive use of paint by most painters of the abstract expressionist movement, instead finding himself drawn towards the "flatter" surfaces of Barnett Newman's work and the "target" paintings of Jasper Johns. He began to produce works which emphasized the picture-as-object, rather than the picture as a representation of something, be it something in the physical world, or something in the artist's emotional world. Stella married Barbara Rose, later a well-known art critic, in 1961. Around this time he said that a picture was "a flat surface with paint on it - nothing more". This was a departure from the technique of creating a painting by first making a sketch. Many of the works are created by simply using the path of the brush stroke, very often using common house paint.

Frank Stella This new aesthetic found expression in a series of paintings, the Black Paintings (60) in which regular bands of black paint were separated by very thin pinstripes of unpainted canvas. Die Fahne Hoch! (1959) is one such painting. It takes its name ("The Raised Banner" in English) from the first line of the Horst-Wessel-Lied, the anthem of the National Socialist German Workers Party, and Stella pointed out that it is in the same proportions as banners used by that organization. It has been suggested that the title has a double meaning, referring also to Jasper Johns' paintings of flags. In any case, its emotional coolness belies the contentiousness its title might suggest, reflecting this new direction in Stella's work. Stellas art was recognized for its innovations before he was twenty-five. In 1959, several of his paintings were included in "Three Young Americans" at the Allen Memorial Art Museum at Oberlin College, as well as in "Sixteen Americans" at the Museum of Modern Art in New York (60). Stella joined dealer Leo Castellis stable of artists in 1959. From 1960 he began to produce paintings in aluminum and copper paint which, in their presentation of regular lines of color separated by pinstripes, are similar to his black paintings. However they use a wider range of colors, and are his first works using shaped canvases (canvases in a shape other than the traditional rectangle or square), often being in L, N, U or T-shapes. These later developed into more elaborate designs, in the Irregular Polygon series (67), for example. Also in the 1960s, Stella began to use a wider range of colors, typically arranged in straight or curved lines. Later he began his Protractor Series (71) of paintings, in which arcs, sometimes overlapping, within square borders are arranged side-by-side to produce full and half circles painted in rings of concentric color. These paintings are named after circular cities he had visited while in the Middle East earlier in the 1960s. The Irregular Polygon canvases and Protractor series further extended the concept of the shaped canvas.

279

Late 1960s and early 1970s

Stella began his extended engagement with printmaking in the mid-1960s, working first with master printer Kenneth Tyler at Gemini G.E.L. Stella produced a series of prints during the late 1960s starting with a print called Quathlamba I in 1968. Stella's abstract prints in lithography, screenprinting, etching and offset lithography (a technique he introduced) had a strong impact upon printmaking as an art.

Frank Stella Harran II 1967

In 1967, Stella designed the set and costumes for Scramble, a dance piece by Merce Cunningham. The Museum of Modern Art in New York presented a retrospective of Stellas work in 1970, making him the youngest artist to receive one.[1] During the following decade, Stella introduced relief into his art, which he came to call maximalist painting for its sculptural qualities. Ironically, the paintings that had brought him fame before 1960 had eliminated all such depth. The shaped canvases took on even less regular forms in the Eccentric Polygon series, and elements of collage were introduced, pieces of canvas being pasted onto plywood, for example. His work also became more three-dimensional to the point where he started producing large, free-standing metal pieces, which, although they are painted upon, might well be considered sculpture. After introducing wood and other materials in the Polish Village series (73), created in high relief, he began to use aluminum as the primary support for his paintings. As the 1970s and 1980s progressed, these became more elaborate and exuberant. Indeed, his earlier Minimalism [more] became baroque, marked by curving forms, Day-Glo colors, and scrawled brushstrokes. Similarly, his prints of these decades combined various printmaking and

Frank Stella drawing techniques. In 1973, he had a print studio installed in his New York house. In 1976, Stella was commissioned by BMW to paint a BMW 3.0 CSL for the second installment in the BMW Art Car Project. He has said of this project, "The starting point for the art cars was racing livery. In the old days there used to be a tradition of identifying a car with its country by color. Now they get a number and they get advertising. Its a paint job, one way or another. The idea for mine was that its from a drawing on graph paper. The graph paper is what it is, a graph, but when its morphed over the cars forms it becomes interesting, and adapting the drawing to the racing cars forms is interesting. Theoretically its like painting on a shaped canvas."

280

1980s and afterward

From the mid-1980s to the mid-1990s, Stella created a large body of work that responded in a general way to Herman Melvilles Moby-Dick. During this time, the increasingly deep relief of Stellas paintings gave way to full three-dimensionality, with sculptural forms derived from cones, pillars, French curves, waves, and decorative architectural elements. To create these works, the artist used collages or maquettes that were then enlarged and re-created with the aid of assistants, industrial metal cutters, and digital technologies. In the 1990s, Stella began making free-standing sculpture for public spaces and developing architectural projects. In 1993, for example, he created the entire decorative scheme for Torontos Princess of Wales Theatre, which includes a 10,000-square-foot mural. His 1993 proposal for a kunsthalle and garden in Dresden did not come to fruition. In 1997, he painted and oversaw the installation of the 5,000-square-foot "Stella Project" which serves as the centerpiece of the theater and lobby of the Moores Opera Stella's Memantra in the Metropolitan House in Houston, TX.[2] His aluminum bandshell, inspired by a folding Museum of Art Roof Garden hat from Brazil, was built in downtown Miami in 2001; a monumental Stella sculpture was installed outside the National Gallery of Art in Washington, D.C. Stellas work was included in several important exhibitions that defined 1960s art, among them the Solomon R. Guggenheim Museums The Shaped Canvas (1965) and Systemic Painting (1966). His art has been the subject of several retrospectives in the United States, Europe, and Japan. Among the many honors he has received was an invitation from Harvard University to give the Charles Eliot Norton Lectures in 1984. Calling for a rejuvenation of abstraction by achieving the depth of baroque painting, these six talks were published by Harvard University Press in 1986 under the title Working Space.[3] Stella continues to live and work in New York. He also remains active in protecting the rights for his fellow artists. On June 6, 2008, Stella (with Artists Rights Society president Theodore Feder; Stella is a member artist of the Artists Rights Society[4] ) published an Op-Ed for The Art Newspaper decrying a proposed U.S. Orphan Works law which "remove[s] the penalty for copyright infringement if the creator of a work, after a diligent search, cannot be located." In the Op-Ed, Stella wrote,

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The Copyright Office presumes that the infringers it would let off the hook would be those who had made a "good faith, reasonably diligent" search for the copyright holder. Unfortunately, it is totally up to the infringer to decide if he has made a good faith search. Bad faith can be shown only if a rights holder finds out about the infringement and then goes to federal court to determine whether the infringer has failed to conduct an adequate search. Few artists can afford the costs of federal litigation: attorneys fees in our country vastly exceed the licencing fee for a typical painting or drawing. The Copyright Office proposal would have a disproportionately negative, even catastrophic, impact on the ability of painters and illustrators to make a living from selling copies of their work... It is deeply troubling that government should be considering taking away their principal [5] means of making ends meettheir copyrights.

In 2009, Frank Stella was awarded the National Medal of Arts by President Barack Obama.[6]

Gallery

1964 photo of Frank Stella by Ugo Mulas

1974 work of Frank Stella Tuftonboro

Interviews
Heti, Sheila (November/December 2008). "'I'm All in Favor of the Shifty Artist'". The Believer 6 (9): 4046. De Antonio, Emile (director), Painters Painting: The New York Art Scene: 1940-1970, 1973. Arthouse films [7]

References
[1] William Hanley (January 17, 2008). "Frank Stella" (http:/ / www. artinfo. com/ news/ story/ 25134/ frank-stella/ ). ARTINFO. . Retrieved 2008-04-17. [2] About the Stella Project in the Moores Opera House (http:/ / www. music. uh. edu/ art/ #moh) [3] Frank Stella, Working Space (Cambridge: Harvard University Press, 1986), ISBN 0674959612. Listing (http:/ / www. hup. harvard. edu/ catalog/ STEWOR. html) at Harvard University Press website. [4] Artists Rights Society's List of Most Frequently Requested Artists (http:/ / arsny. com/ requested. html) [5] Frank Stella, "The proposed new law is a nightmare for artists," (http:/ / www. theartnewspaper. com/ article. asp?id=8580) The Art Newspaper, June 6, 2008. [6] White House Announces 2009 National Medal of Arts Recipients (http:/ / www. nea. gov/ news/ news10/ Medals. html) [7] http:/ / www. arthousefilmsonline. com/ 2009/ 01/ painters-painting-new-york-sch. html

More references Busch, Julia M.: A decade of sculpture: the 1960s, Associated University Presses, 1974; ISBN 0-87982-007-1 Frank Stella and Franz-Joachim Verspohl: The Writings of Frank Stella. Die Schriften Frank Stellas, Verlag der Buchhandlung Knig, 2001; ISBN 3883754870, ISBN 978-3883754871 (bilingual) Frank Stella and Franz-Joachim Verspohl: Heinrich von Kleist by Frank Stella, Verlag der Buchhandlung Knig, 2001; ISBN 3883754889, ISBN 978-3883754888 (bilingual) (http://www.guggenheimcollection.org/site/artist_bio_148.html)

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External links
Frank Stella interviewed by Robert Ayers, March 2009 (http://www.askyfilledwithshootingstars.com/ wordpress/?p=638) Works of art, auction & sale results, exhibitions, and artist information for Frank Stella on artnet (http://www. artnet.com/artist/16079/frank-stella.html) (http://www.guggenheimcollection.org/site/artist_bio_148.html) Guggenheim Museum online Biography of Frank Stella Stella mural installation, Princess of Wales Theatre, Toronto (http://www.mirvish.com/OurTheatres/murals) (http://www.amazon.com/Frank-Stella-Illustrated-Sidney-Guberman/dp/0847818438) Frank Stella: An Illustrated Biography by Sidney Guberman Frank Stella Papers at the Smithsonian's Archives of American Art (http://www.aaa.si.edu/collections/ findingaids/stelfran.htm) Interview with Frank Stella (http://www.artinfo.com/news/story/25134/frank-stella/) Frank Stella: Scarlatti and Bali Sculpture Series / Paracelsus Building, St. Moritz. (http://vernissage.tv/blog/ 2008/09/02/frank-stella-scarlatti-and-bali-sculpture-series-paracelsus-building-st-moritz/) Video at VernissageTV. Frank Stella 1958 (http://www.brooklynrail.org/2006/03/art/frank-stella-1958) poet William Corbett writes about the exhibition titled Frank Stella 1958 at the Arthur M. Sackler Museum, Harvard University Cambridge, Massachusetts February 4May 7, 2006

Anne Truitt

283

Anne Truitt
Anne Truitt

A Wall for Apricots, 1968 Born March 16, 1921 Baltimore, Maryland, U.S. December 23, 2004 (aged83) Washington, DC, U.S.

Died

Nationality American Field Sculpture, Color Field

Movement Minimalism

Anne Truitt (March 16, 1921 - December 23, 2004)[1] was a major American artist of the mid-20th century; she is associated with both minimalism and Color Field artists like Morris Louis and Kenneth Noland. She graduated from Bryn Mawr College with a degree in psychology in 1943. She was married to James Truitt in 1948 (they divorced in 1969), and she became a full-time artist in the 1950s. She made what is considered her most important work in the early 1960s anticipating in many respects the work of minimalists like Donald Judd and Ellsworth Kelly. She was unlike minimalists in some significant ways.[2] The sculpture that made her significant to the development of Minimalism were aggressively plain and painted structures, often large. The recessional platform under her sculpture raised them just enough off the ground that they appeared to float on a thin line of shadow. The boundary between sculpture and ground, between gravity and verticality, was made illusory. This formal ambivalence is mirrored by her insistence that color itself, for instance, contained a psychological vibration which when purified, as it is on a work of art, isolates the event it refers to as a thing rather than a feeling. The event becomes a work of art, a visual sensation delivered by color. Her first solo exhibition was in 1963 at the Andre Emmerich gallery, and in many senses her work also hews to what was emerging there. She was one of only three women included in the influential 1966 exhibition, Primary Structures at the Jewish Museum in New York. In Washington her work was represented by Pyramid Gallery which later became the Osuna Gallery. She is also known for three books she wrote, Daybook, Turn, and Prospect, all journals. For many years she was associated with the University of Maryland, College Park, where she was a professor, and the artists' colony Yaddo, where she served as interim president. The Estate of Anne Truitt is represented by Matthew Marks Gallery in New York.

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Works in Collections
Arizona 'Summer Treat', 1968, University of Arizona Art Museum, Tucson District of Columbia 'Pilgrim', 1979, Arnold & Porter LLC, Washington 'Flower', 1969, Corcoran Gallery of Art, Washington 'Insurrection', 1962, Corcoran Gallery of Art, Washington '13 October 1973', 1973, Hirshhorn Museum and Sculpture Garden, Washington 'Night Naiad', 1977, Hirshhorn Museum and Sculpture Garden, Washington 'Mid-Day', 1972, National Gallery of Art, Washington 'Spume', 1972, National Gallery of Art, Washington 'Summer Dryad', 1971, National Museum of Women's Art, Washington '17th Summer', 1974, Smithsonian American Art Museum, Washington 'Keep', 1962, Smithsonian American Art Museum, Washington

Maryland 'Ship-Lap', 1962, Baltimore Museum of Art, Baltimore 'Watauga', 1962, Baltimore Museum of Art, Baltimore 'Whale's Eye', 1969, Baltimore Museum of Art, Baltimore 'Three', 1962, Baltimore Museum of Art, Baltimore 'A Wall for Apricots', 1968, Baltimore Museum of Art, Baltimore 'Meadow Child', 1969, Baltimore Museum of Art, Baltimore 'Odeskalki', 1963/82, Baltimore Museum of Art, Baltimore 'Parva IV', 1974, Baltimore Museum of Art, Baltimore 'Lea', 1962, Baltimore Museum of Art, Baltimore 'Carson', 1963, Baltimore Museum of Art, Baltimore

Michigan 'Sandcastle', 1984, University of Michigan Art Museum, Ann Arbor Minnesota 'Australian Spring', 1972, Walker Art Center, Minneapolis Missouri 'Morning Choice', 1968, St. Louis Art Museum, St. Louis[3] 'Prima', 1978, Kemper Art Museum, St. Louis [4] Nebraska 'Still', 1999, Sheldon Memorial Art Gallery, University of Nebraska, Lincoln[5] New York 'Sentinel', 1978, Albright-Knox Art Gallery, Buffalo 'Carolina Noon', Michael C. Rockefeller Arts Center, New York 'Catawba', 1962, Museum of Modern Art, New York 'Twining Court I', 2001, Museum of Modern Art, New York 'Untitled', 1962, Museum of Modern Art, New York 'Desert Reach', 1971, Whitney Museum of American Art, New York

North Carolina 'Night Wing', 197278, Mint Museum, Charlotte

Anne Truitt Virginia 'Signal', 1978, Federal Reserve Bank of Richmond, Richmond Wisconsin 'Summer Sentinel', 196372, Milwaukee Art Museum, Milwaukee

285

Quotations
From a 2002 interview with James Meyer comes the following exchange: JM: How did Clement Greenberg come to see your work? Was it through Kenneth Noland? AT: Yes. First it was Ken, who told David Smith. David was the biggest, strongest supporter anybody could ever have. JM: So they were the first two people to see your work? AT: Yes; and then Clem. Clem said, "Now there will be three in Washington." JM: You, Noland, and Morris Louis, presumably. In his essay on Minimalism, "Recentness of Sculpture" (1967), Greenberg talks about how difficult your work was for him initially, how he had to go back again until he finally "saw" it. Yet you've said he was impressed right away. AT: Right away. There was no question about it. JM: He was particularly impressed by Hardcastle. AT: He backed away from it and said, "Scares the shit out of me." That's the only time I ever heard Clem swear. I remember being startled. JM: That essay and the one he wrote about you the next year, "Changer: Anne Truitt," marked you as "Greenberg's Minimalist." He characterizes your work as a welcome antidote to that of Judd, Morris, and Andre. He praises the handmade quality of your sculpture and its intuitive color and attacks the industrial look of "orthodox" Minimalism. But you've also said that you later felt Greenberg was disappointed in you. From Daybook, her first journal: There is a sort of shame in naked pain. I used to see it in my patients when I was working in psychology and nursing. They found it more seemly, more expedient to pull over themselves thin coverlets of talk. There is wisdom in this, an unselfish honor in bearing one's burdens silently. But Rembrandt found a higher good worth the risk and painted himself as he knew himself, human beyond reprieve. He looks out from this position, without self-pity and without flourish, and lends me strength. I sat for a long while in one of the rectangular courtyards, listening to the fountain. Feeling the artists all around me, I slowly took an unassuming place (for two of my own sculptures were somewhere in the museum) among the people whose lives, as all lives do, had been distilled into objects that outlasted them. Quilts, pin cushions, chairs, tables, houses, sculptures, paintings, tilled and retilled fields, gardens, poemsall of validity and integrity. Like earthworms, whose lives are spent making more earth, we human beings also spend ourselves into the physical. A few of us leave behind objects judged, at least temporarily, worthy of preservation by the culture into which we were born. The process is, however, the same for us all. Ordered into the physical, in time we leave the physical, and leave behind us what we have made in the physical.

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Sources
Anne Truitt, Acknowledgements by Roy Slade & Walter Hopps, Copyright 1974 The Corcoran Gallery of Art, Washington, D.C.: printed by Garamond/Pridemark Press, Baltimore, MD LCCC#75-78522

Bibliography
Daybook: The Journal of an Artist (1982) ISBN 0-14-006963-1 Turn: The Journal of an Artist (1986) Prospect: The Journal of an Artist (1996)

External links
Anne Truitt at the Matthew Marks Gallery [6] Anne Truitt website [7] Artforum James Meyer interview [8] Washington Post obituary [9] Artnet images of Truitt's work [10]

References
[1] Schudel, Matt (2004-12-23). "Minimalist Sculptor Anne Truitt, 83, Dies" (http:/ / www. washingtonpost. com/ wp-dyn/ articles/ A25222-2004Dec24. html). The Washington Post. . Retrieved 2008-03-22. [2] Biographical Sketch by Walter Hopps (http:/ / annetruitt. org/ biography/ essaybywalterhopps/ ) retrieved February 10, 2010 [3] "Saint Louis Art Museum: Collections - Modern Art" (http:/ / stlouis. art. museum/ emuseum/ code/ emuseum. asp?style=Browse& currentrecord=1& page=search& profile=objects& searchdesc=anne truitt& quicksearch=anne truitt& newvalues=1& newstyle=single& newcurrentrecord=1). eMuseum.com. . [4] "Collection" (http:/ / kemperartmuseum. wustl. edu/ collection/ explore/ artwork/ 2285). kemperartmuseum.wustl.edu. . [5] "Still" (http:/ / www. sheldonartgallery. org/ collection/ index. html?topic=detail& clct_id=6364). sheldonartgallery.org. . [6] http:/ / www. matthewmarks. com/ index. php?n=1& a=153& im=1 [7] http:/ / www. annetruitt. org/ [8] http:/ / www. findarticles. com/ p/ articles/ mi_m0268/ is_9_40/ ai_86647180 [9] http:/ / www. washingtonpost. com/ wp-dyn/ articles/ A28151-2004Dec26. html [10] http:/ / www. artnet. com/ artist/ 16826/ Anne_Truitt. html

Waltraut Cooper

287

Waltraut Cooper
Waltraut Cooper (born, 1937, Linz, Austria), is an Austrian artist, generally described as Minimalist, primarily concerned with light and space. Waltraut Cooper studied Mathematics and Art in Vienna, Paris, Lisbon and Frankfurt. She has participated twice in the Biennale in Venice and in Festivals and exhibitions in important galleries and museums in Vienna, Frankfurt, Bonn, Berlin, Copenhagen, Rome, Paris, Montreal, Boston and New York. She has received numerous award for her artistic achievements.

Exhibitions (Selection)
1986 Biennale Venice: Science and Art 1987 Wilhelm-Hack-Museum, Ludwigshaven, Mathematik in der Kunst der letzten 30 Jahren 1988 Montreal: Images du Futur 1988 Linz: Ars Electronica 1988 Toulouse: F.A.U.S.T. 1989 Boston: SIGGRAPH 1991 New York Bronx Museum: Third Emerging Expressions Biennale 1995 Biennale Venice: Arte Laguna 1996 Bonn Kunsthalle: Kunst aus sterreich 1896-1996 1999 Paris Medienfestival: Pour une ecologie des media 2001 Rom Galleria dArte Moderna: Diario 2002 Kopenhagen, Lux Europae 2004 Warsaw, Berlin, Rome, Vienna, Brussels, Moscow: Rainbow for Europe

Gallery

External links
Waltraut Cooper [1] Rainbow for Europe [2]

References
[1] http:/ / www. waltrautcooper. com [2] http:/ / www. regenbogen. at

John Wesley (artist)

288

John Wesley (artist)

John Wesley
Born 1928 Los Angeles, California
United States

Nationality Field

Painting

Movement Pop Art

John Wesley was born in Los Angeles, California, in 1928. He is a pop artist. After holding a series of odd jobs, he began painting at the age of 22. His first exhibition consisted mostly of large-format acrylic paintings of imaginary seals and stamps; he would retain the flatness and limited color range of these works, but would move into the depiction of bodies and cartoon characters, the latter of which led him to be grouped with Pop Art as the 1960s progressed. The spareness of his technique often seems more akin to the school known as Minimalism, however, and indeed his closest personal associations were with artists such as Dan Flavin and Donald Judd, the latter of whom wrote a praising essay on Wesley's early work and later set aside a space for him at his complex in Marfa, Texas. Wesley himself considers his work to be aligned with Surrealism, and many of his paintings since the 1960s have taken this dimension yet further, while retaining an extremely limited range of colors and a sign-like flatness. Several retrospectives of his work have been held, the most recent at the P.S.1 Contemporary Art Center in 2000. He was invited to design the cover for the catalogue of the 2006 Armory Show, and his recent paintings were given a substantial amount of space at the Fredericks and Freiser Gallery booth, which represents him. Replicas of his paintings were also featured in the window of the Herms boutique on Madison Avenue for the duration of the show.

Source
Heiss, Alanna (2000). John Wesley: Paintings 1961-2000 (1st ed.). New York: Distributed Art Publishers. ISBN 0-9704428-1-5.

External links
ArtNet page [1] 2006 Armory Show website [2] Wesley's page at Fredericks and Freiser [3]

References
[1] http:/ / www. artnet. com/ artist/ 17741/ john-wesley. html [2] http:/ / www. thearmoryshow. com/ info/ [3] http:/ / www. fredericksfreisergallery. com/ artists/ wesley/ index. html