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“
Metascape 1”
Metascapes by
Natali Hromin
Making Art and Viewing Art
“Making art and viewing art are different at their core. The sane human being is satisfied that the best he/she can do at any given moment is the best he/she can do at any given moment. Such sanity is, unfortunately, rare. Making art provides uncomfortably accurate feedback about the gap that inevitably exists between what you intended to do, and what you did. In fact, if art-making did not tell you (the maker) so enormously much about yourself, then making art that matters to you would be impossible. To all viewers, but yourself, what matters is the product: the finished artwork. To you, and you alone, what matters is the process: the experience of shaping that artwork. The viewer’s concerns are not your concerns (although it’s dangerously easy to adopt their attitudes.) Their job is whatever it is: to be moved by art, to be entertained by it, to making a killing off it, whatever. Your job is to learn to work on your own.
For the artist, that truth highlights a familiar and predictable corollary: art-making can be a rather lonely, thankless affair…. The sobering truth is that the disinterest of others hardly ever reflects a gulf in vision. On fact there’s generally no good reason why others should care about most of any one artist’s work. The function of the overwhelming majority of your artwork is simply to teach you how to make a small fraction of your artwork that soars.”
Book Excerpt: “Art of Fear: Observations On The Perils (and Rewards) of Artmaking”
By David Bayles and Ted Orland at AMAZON
New York Times Announces “Places To Go In 2010”
Sri Lanka
Hey, if you can’t afford the time and or expense travel there virtually! See links at:
New York Times
Art could be a good bet as an investment in 2010
That's right, stop rubbing your eyes. The "Money Observer" reports that 'The early years of an upswing in the cycle are generally the best time to buy and recent sales of contemporary art have seen buoyant prices for iconic works' in its guide to smart investments for the coming year. The others include diamonds, rare coins and fine wines (investing in forestry is a no-no however).
Tibor Kovacs-Egri
Featured New Media/Video Link:
Tibor shares: "I was born in 1951. I live in Budapest. In the past years I have participated in different national and international exhibition.Affiliation: Association of Hungarian Creative Artist."
An excerpt from the catalogue of international exibition "Science Reflected in the Arts"(Hungarian Academy of Fine Arts, Budapest-1999) states: "In the last decades the development of electronical communication and computer technology have caused a revolution in the way images are produced in Euro-American culture. Kovacs-Egri takes full advantage of new technology in producing his works, while sticking faithfully to the aesthetic norms of traditional graphic art.Computer technology has multiplied the means of the artist, enabling him to realize his graphic concepts faster and more precisely than ever before, and bringin experiments in the world of forms and colors out of the restrictions of pencil or brush."
See more from Tibor at: MOCA
How Have We Failed…
In the 1970s digital or media art was discussed as a new momentum within the contemporary art movement. It was not long before other art mediums within the contemporary arts superseded the digital venue. Part of the reason for this failure in progressing the movement was in part due to being captured under the umbrella of another arts movement. Moreover, there was a failure to produce “quality” work; to exhibit the work as intended; there were artists refusing to collaborate with the “art industry” and institutions to realize projects and exhibitions; also suspicion of “systems” or cybernetic art forms; and finally difficulties in collecting, conserving, and the commercializing of the artwork. All of these factors did little to encourage technology based utopia in the art world.
In order to effect change we must look at our failures and meet them head-on. Consider for a moment how we can individually -- then as a unified body -- address these failures to assure that they are not replayed in the years to come. What have we learned? What do we need to change?
*Reference Charlie Gere, Institute for Cultural Research, Director of Computers Arts, Contexts, and History at the Lancaster University.
Constantly Evolving Visual Images
New media artists are used to the ferocious pace of media turnover, but unfortunately, the curators and archivists charged with capturing an artwork’s vital statistics are not. A digital image of an apartment building for example, launched on one date, may evolve or morph as the artists tweaks the earlier version after the launch. This is less of an issue with prints, however, a need for constancy in the description remains the same.
Jon Ippolito, an Associate Curator of Media Arts at the Guggenheim Museum, offers that one way to address this problem is to adapt a nuance edition numbering system. For instance the digital apartment building image would see its first public release as “variant I.I.” Each change thereafter would then be reflected in the edition number such as, “variant 2.I,” “variant 3.I,” and so on. Allowing for the artist to make digital changes to the same piece as he or she sees fit.
For interactive digital pieces Ippolito suggests that screenshots be taken of the images periodically as they evolve. Not all of the versions will be captured but it the only was to register and archive the piece by contemporary practices:
Title, Version Number (viewing/public display, date of exhibition)
Apartment VI.I (Turbulence.org, 12 Feb. 2001)
As the art recording and archiving practices by galleries and museums catches up with the need, you might vary well find that digital files will accompany the screenshot images. This, of course, requires a huge commitment to obtain and secure computer storage capabilities. An expensive proposition not yet fully embraced by most art institutions.
Reference: Jon Ippolito; Variable Media Network
Artist Calls:
Open Workshop: Projects for the Digital Façade of Medialab-Prado
MOCA’S DONNIE 2010 CONTEST AND EXHIBIT
The Donnie 2010 is still open for entries. You can still enter by January 17, 2010.
Don’t miss one of the most celebrated digital art events on the Web ~ Enter today!!
IN-BOX
Referencing Attracting Clients - Mary's Page 1.04.10:
"I also see this similarly, but I somehow earlier gave this no value."
In response to last week's commentary: "Can art change society?"
QUOTE
This page posted 11 January 2010
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