-
I feel it necessary that art continues to be involved in a critical engagement with the symbolic production of other professions because I see the danger of art leaving a lot of terrain to the, less critical symbolic producers. Jeff Wall mentions the example of activist art in the 20s leaving the field of the symbolic image production unoccupied and thus easily appropriatted by the fascists; Benjamin Buchloch focuses on identity politics and subjectivity in the 80s as responsible for leaving the public sphere to grand speculations of the capitalist media and real estate conglomerates. I feel those two strategies shouldn’t be played out against one another, but the consequences of placing the focus on one or the other have to be taken seriously.
I don’t see the significance of art in those administrative/preserving activities that provide jobs for many graduates. Of course, I basically agree on the necessity of art historians and art museums, but why do I always get so bored with it ? In Europe at least the most interesting art activities are taking place outside of established art institutions, building their own networks, and I’m worried that if institutions are not able to adjust to what I call major changes in the symbolic economy, they might find themselves offside.
-
The essence of Modernism lies… In the use of characteristic methods of a discipline to criticize the discipline itself, not in order to subvert it but in order to entrench it more firmly in its area of competence. Although Young-Hae Chang Heavy Industries’ work fails the Greenberg test, it exemplifies many of the historical and relational dynamics of new media art: an experimental engagement with emerging media technologies; the use of new media to reach audiences directly, without art-world intermediaries; collaborative production; and a global perspective.
-
As Ursula Biemann reminds us, artists were never really able to access broadcast space as a medium. The possibilities of broadcast intervention were simply incorporated as « video art » and safely ensconced within the museum. Will »net art» meet the same fate ? With the Internet, we have a vehicle of artistic production and distribution on a scale we have never known before. Its relationship to the museum /gallery system is not as urgent as the need for the continual development of inclusive platforms that take full advantage of networks- especially since, with media consolidation and rampant commercialization, those platforms are endangered. At the same time the relevence of art must be debated in a US-dominated, globalized culture that, on the one hand has no use of art, and on the other hand regards everyone as an artist who can take advantage of digital tools.
At least in the wealthy countries, the tools are in the hands of more people. One could celebrate this situation and say that, since there are more venues for creative expression on a global scale, the beleaguered context of art is rapidly expanding to a much more inclusive and democratic realm. Even buisness people- intoxicated with the revolutionary spirit arguably lost by the avant garde and the creative impulse for «thinking outside the box»- consider themselves artists today. While no one would deny the need for creative outlets, there is a danger in subsuming all artistic activity into a vast expressionistic soup. If everything is art—design, business, streamed videos, advertising, lifestyle (« the art of living »)—what exactly does it mean ?
On the one hand, as a cutlure of specialization, one could certainly see the context of art as rapidly diminishing. It is under siege as its western bias is undermined through the hard-won inclusion of alternate histories and as its elitist underpinnings are attacked in a consumer culture ever more hostile to the humanities and to intellectual pursuits. Just what is relevance at this moment ? What is the difference between expressive work and critical work ? Between art work and « media practice » ? Should these differences be fought for? How do we evaluate what is meaningful ? In whose terms ?
- En positionant l'art en dehors ou par dessus les engagements politiques et aussi indépendement de la pérpétuation des conditions économiques et des relations sociales existantes, l'art sert en quelque sorte aux forces sociales et politiques conservatrices, quelque soit la radicalité qui puisse apparaître d´un point de vue esthetique. Comme résultat, les artistes travaillant dans la sphère de l'art moderne, en poursuite d´un engagement contre les paradigmes établits et en poursuite d'un désir de changement social, les a conduits à s'aligner à des mouvements sociaux étendus ou à rompre avec les institutions établies de l'art.
-
Although in it’s earliest stages some artists saw the Net as little more than a telephone directory it would benefit their career to be listed in, the Net has also provided the artist with an unprecedented opportunity to be their own publisher, curator and gallerist, as well as opening up a new creative space to explore. The term ‘Internet Art’ will be used throughout this piece to describe those works which exist primarily in the Internet. Although they may have involved a gallery experience at some point, these works deal with and are embedded in the specific possibilities that the Internet offers, and are unthinkable without it.
Commentaire posté par Gary Owens, aujourd’hui à 20h42 How has Internet Art dealing with the theme of identity challenged the notion of authorship and the traditional artist/audience relationship? MA uclan, 2003. www.gdowens.com/madis/text.htm
-
I feel it necessary that art continues to be involved in a critical engagement with the symbolic production of other professions because I see the danger of art leaving a lot of terrain to the, less critical symbolic producers. Jeff Wall mentions the example of activist art in the 20s leaving the field of the symbolic image production unoccupied and thus easily appropriatted by the fascists; Benjamin Buchloch focuses on identity politics and subjectivity in the 80s as responsible for leaving the public sphere to grand speculations of the capitalist media and real estate conglomerates. I feel those two strategies shouldn’t be played out against one another, but the consequences of placing the focus on one or the other have to be taken seriously.
I don’t see the significance of art in those administrative/preserving activities that provide jobs for many graduates. Of course, I basically agree on the necessity of art historians and art museums, but why do I always get so bored with it ? In Europe at least the most interesting art activities are taking place outside of established art institutions, building their own networks, and I’m worried that if institutions are not able to adjust to what I call major changes in the symbolic economy, they might find themselves offside.
Commentaire posté par Ursula Biemann, aujourd’hui à 20h26
Interaction: Artistic Practice in the Network, D.A.P./Distributed Art Publishers, 2001.
books.google.com/books?id=IlEEAAAACAAJ&dq=interaction+artistic+practice
-
The essence of Modernism lies… In the use of characteristic methods of a discipline to criticize the discipline itself, not in order to subvert it but in order to entrench it more firmly in its area of competence. Although Young-Hae Chang Heavy Industries’ work fails the Greenberg test, it exemplifies many of the historical and relational dynamics of new media art: an experimental engagement with emerging media technologies; the use of new media to reach audiences directly, without art-world intermediaries; collaborative production; and a global perspective.
Commentaire posté par Mark Tribe, aujourd’hui à 20h30
An Ornithology of Net Art, intermedia art, Tate online, 2006.
www.tate.org.uk/intermediaart/entry15274.shtm
-
As Ursula Biemann reminds us, artists were never really able to access broadcast space as a medium. The possibilities of broadcast intervention were simply incorporated as « video art » and safely ensconced within the museum. Will »net art» meet the same fate ? With the Internet, we have a vehicle of artistic production and distribution on a scale we have never known before. Its relationship to the museum /gallery system is not as urgent as the need for the continual development of inclusive platforms that take full advantage of networks- especially since, with media consolidation and rampant commercialization, those platforms are endangered. At the same time the relevence of art must be debated in a US-dominated, globalized culture that, on the one hand has no use of art, and on the other hand regards everyone as an artist who can take advantage of digital tools.
At least in the wealthy countries, the tools are in the hands of more people. One could celebrate this situation and say that, since there are more venues for creative expression on a global scale, the beleaguered context of art is rapidly expanding to a much more inclusive and democratic realm. Even buisness people- intoxicated with the revolutionary spirit arguably lost by the avant garde and the creative impulse for «thinking outside the box»- consider themselves artists today. While no one would deny the need for creative outlets, there is a danger in subsuming all artistic activity into a vast expressionistic soup. If everything is art—design, business, streamed videos, advertising, lifestyle (« the art of living »)—what exactly does it mean ?
On the one hand, as a cutlure of specialization, one could certainly see the context of art as rapidly diminishing. It is under siege as its western bias is undermined through the hard-won inclusion of alternate histories and as its elitist underpinnings are attacked in a consumer culture ever more hostile to the humanities and to intellectual pursuits. Just what is relevance at this moment ? What is the difference between expressive work and critical work ? Between art work and « media practice » ? Should these differences be fought for? How do we evaluate what is meaningful ? In whose terms ?
Commentaire posté par Jordan Crandall aujourd’hui à 20h35
Interaction: Artistic Practice in the Network, D.A.P./Distributed Art Publishers, 2001.
books.google.com/books?id=IlEEAAAACAAJ&dq=interaction+artistic+practice
-
En positionant l'art en dehors ou par dessus les engagements politiques et aussi indépendement de la pérpétuation des conditions économiques et des relations sociales existantes, l'art sert en quelque sorte aux forces sociales et politiques conservatrices, quelque soit la radicalité qui puisse apparaître d´un point de vue esthetique. Comme résultat, les artistes travaillant dans la sphère de l'art moderne, en poursuite d´un engagement contre les paradigmes établits et en poursuite d'un désir de changement social, les a conduits à s'aligner à des mouvements sociaux étendus ou à rompre avec les institutions établies de l'art.
Commentaire posté par
Art and Social Change: A Critical Reader
http://www.tate.org.uk/shop/product.do?id=34613
-
Although in it’s earliest stages some artists saw the Net as little more than a telephone directory it would benefit their career to be listed in, the Net has also provided the artist with an unprecedented opportunity to be their own publisher, curator and gallerist, as well as opening up a new creative space to explore. The term ‘Internet Art’ will be used throughout this piece to describe those works which exist primarily in the Internet. Although they may have involved a gallery experience at some point, these works deal with and are embedded in the specific possibilities that the Internet offers, and are unthinkable without it.
Commentaire posté par Gary Owens, aujourd’hui à 20h42
How has Internet Art dealing with the theme of identity challenged the notion of authorship and the traditional artist/audience relationship? MA uclan, 2003.
www.gdowens.com/madis/text.htm