SAN FRANCISCO — Recently, I stumbled upon the Descriptive Camera, a project by artist Matt Richardson that harkens back to the days when we could simply describe an image without showing it.
Continue Reading →An Xiao
Artist An Xiao (aka An Xiao Mina) looks at the intersection of the digital and analog in the 21st century. She photographs, installs, performs and tweets and has shown her work in publications and galleries internationally, including the Brooklyn Museum, Winkleman Gallery, The New York Times and Art in America. She founded and directs @Platea, a global social media art collective. In addition to writing for Hyperallergic, she serves as a contributing columnist for PBS-affiliate Art21. Find her online at @anxiaostudio and anxiaostudio.com.
All articles by An Xiao
An Xiao
SAN FRANCISCO — Pollution and health have been on the Chinese mind as of late. From dead pigs in Shanghai to tips for avoiding bad air in Beijing, a clean environment can be difficult to find. Smog and water pollution have become a feature of China’s urban landscape, creating a hazard not just for Chinese citizens but people all over the world.
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SAN FRANCISCO — Many artists I know are incredibly ambitious. They want to be the best, the most effective artist they can be. And if they move to a large city with a supportive gallery and museum system, they can turn that ambition into career success.
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SAN FRANCISCO — Just as design is often seen as an afterthought for new technologies, art is often seen as superfluous to the more quantifiable work behind social change and the rhetorical and charismatic qualities of change leaders.
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SAN FRANCISCO — As interest in China grows, so does interest in its art scene. And while I’ve met countless artists in the US who have wanted to travel to China, the barriers to access remain high, due to language, culture, and cost.
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Editor’s note: This is the second in a series of commissioned essays for The World’s First Tumblr Art Symposium on Saturday, March 9, 2013.
When I sent my first email in the 1990s, the internet was just beginning to hit the mainstream. The idea that we would use the internet to talk to friends we knew offline had yet to take off. Most of the nascent social web culture, from usenet to telnet to AOL chat rooms, consisted of socializing largely with strangers. These strangers might eventually become friends, of course, but they’d start out as strangers in the purest sense of that word. At the outset, you didn’t even know their name, age, location, perhaps not even their gender.
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LOS ANGELES — Games are everywhere these days. We keep them in our phones, our computers, our television sets. Where once we could content ourselves with a small selection of board games and a pack of cards, we now have a myriad of games at our fingertips, ready to download or purchase at a moment’s notice.
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LOS ANGELES — In places like the US and Korea, it can be easy to rely entirely on the internet. Upload something to Dropbox, download it to your server, let it live on the cloud. But in many parts of the world with unreliable or censored internets, people rely on USB sticks and SD cards to transfer information.
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LOS ANGELES — A few weeks ago, I wrote a bit about the potential for open arts journalism, asking if it’s a trend to watch. Journalists and those interested in the field have been discussing openness for a while now, but I’ve not seen as much discussion in terms of the arts. What could an open journalistic process look like in the arts?
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LOS ANGELES — As 3D printing creeps into more and more projects, making product production more accessible, I’ve always wondered how we can make product design more accessible. How can the average person take advantage of the plethora of resources out there for creating new objects? While open-source tools like Audacity and Open Office have made music and word processing easier and more affordable to engage with, the resources surrounding 3D printing and design are steadily growing.
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