New Media in Art

New Media in Art

references

 http://www.medienkunstnetz.de/mediaartnet/

 http://www.diacenter.org

 http://rhizome.org

 http://on1.zkm.de/zkm/e/

 http://www.montevideo.nl

Dan Graham

 °1942, USA

 art & culture theorist

 performance

 video art

 installation art

 active engagement of the

viewer Fun House for Münster, 1987

 deconstruction of the phenomenology of viewing

Time Delay Room 1, 1974

Dan Graham's description:

«On monitor l a spectator from audience A can see himself only

after an 8 second delay. While he views audience B (in the

other room) on monitor 2, this audience sees him live on the

monitor whose image can also be seen by audience A. The

same Situation is true for audience B. A spectator may

choose to pass from one room and audience to the other. To

walk the passage-way takes about 8 seconds. A member of

audience A entering audience B's room would now see the

view of audience B that he had just seen 8 seconds previous

when leaving the other room: but he is now part of that

audience 8 seconds later. As 8 sec-onds have passed, the

composition of the continuum which makes up audience B,

has shifted äs a function of time - he has joined it while

other present members have arranged their relative

positions within it or left and joined the other room.»

Marie Sester

 Transparency

 Visibility

 Access





« Transparency is the name given to the

control of visibility, and surveillance is the

technique that Western world enterprise

developed to control the quality of

transparency. »

(www.sester.net)

Access



 Access, 2003

 anonymous tracking of

individuals in public spaces

 robotic spotlight and accoustic

beam

 paradoxical communication

loop

 http://www.accessproject.net/

« When Duchamp suggested that the

work of art depended on the viewer to

complete the concept, little did he know

that by the end of the century some

works of art (such as interactive films)

would literally depend on the viewer;

not only to complete them, but to

initiate them and give them content. »



Rush, New Media in Art, 183

« In her book Digital Art (2003), curator

and media historian Christiane Paul

distinguishes between art that uses

digital technology ‘as a tool for the

creation of traditional art objects –

photography, print, sculpture, or music

– and art that employs these

technologies as its very own medium.’ »



Rush, New Media in Art, 211

« Interactivity, art that requires viewer

participation to be complete, has

emerged as a new medium. The

immediate danger here is that such

interaction can degenerate into mere

pastimes or diversions. »



Rush, New Media in Art, 213

« The computer forces us tho re-invent

every one of the traditional aesthetic

concepts, forms and techniques. What

used to be a well-mapped territory now

has become one big white spot. Image

and viewer, narrative and montage,

illusion and representation, space and

time – everything needs to be re-

defined again. »



Lev Manovich, « The Camera and the World » (rhizome.org)

Steina and Woody Vasulka



 Steina °1940,

Iceland

 Woody °1937,

Czechoslovakia



http://www.vasulka.org/









Steina and Woody

Vasulka, 1987

Steina and Woody Vasulka



 prominent among early

technological innovators of

video art

 creation of devices for artists

 understandig the tools of the

new medium

 1971: foundation of The

Kitchen

 extension to installation art and

interactive performances

Steina and Woody Vasulka









Warp, 2000

Bill Viola



 °1951, USA

 very influential video

(installation) artist

 tendency towards the lyrical in

art

5 Angels for the Millenium, 2005









Stations, 1996

Matthew Barney



 °1967, USA

 surrealistic explorations of

(male) identity, sexual activity,

fantasy and desire

 art with Baroque proportions

 mimicking large screen

experience of cinema

 fusion of video, sculptural

installations and performance

Cremaster 3

Cremaster



 cycle of videos and

installations

 start 1994

 not in chronological order

 The cremaster is the

muscle in the male

genitals from which the

testicles are suspended

(and which retracts them

in cold or fear).

Cremaster 5

 http://www.cremaster.net/

Cremaster 4

William Latham



 °1961, GB

 researcher at IBM

 founded the firm Computer Artworks,

which produces software for the

entertainment industry

 hyper-reality vs. abstraction

 ‘computer sculpture’

 Biogenesis, 1993

John Simon



 °1963, USA

 the computer as medium

 no input from outside the computer



 Every Icon, 1997

http://www.numeral.com/everyicon.html





 grid

 first row: 16 months

 second row: 6 billion years

Every Icon, 1997



« While Every Icon is resolved conceptually,

it is unresolvable in practice. In some ways

the theoretical possibilities outdistance the

time scales of both evolution and

imagination. It posits a representational

system where computational promise is

intricately linked to extraordinary duration

and momentary sensation. »



Parachute Magazine

MTAA



 founded 1996, New York

 conceptual and net art

collaboration between 2 artists

 http://www.mteww.com

1 Year Performance Video, 2004



 Sam Hsieh’s One Year Performance 1978-1979

(aka Cage Piece)

 Cage Piece: locked in a cage in his loft with nobody to

talk to, nothing to read or listen to, nothing to do,

except thinking and counting the days; each day he

made a mark on the wall and took a photograph of

himself (cf. Roman Opalka, On Kawara)

 artists perform daily activities in two matching rooms

in front of a video camera

 viewer is meant to watch this activity for one year

 fake endurance

 seamless multiplication of (limited) footage to

31,536,000 seconds

®™ark



 American web-based collective

 subversive interventions

 link with early avant garde

movements, Fluxus

 « Protester™ is designed for

those who understand the

need for creative approaches

to the world’s social justice

issues. »

 http://www.rtmark.com

Tamás Waliczky



 °1959, Hungary

 first computer works in 1983

 The Way, 1994

Jeffrey Shaw



 °1944, Australia

 pioneer in interactive VR

installations

 The Legible City, 1989

 Disappearance, 1993

 virtual representation of a larger than

life size ballerina

 monitor reveals the virtual presence of

the dancing ballerina

 closed circuit, small ballerina and

camera are visible inside the fork-lift

truck

The Legible City, 1989  http://www.jeffrey-shaw.net/

Disappearance, 1993

 Frank Fietzek, Tafel, 1993

 Andrea Zapp, A Body of Water, 1999

 Malcolm Le Grice, Digital Still Life