CURRENTS New Media Festival has been bringing interactive art to Santa Fe for 20 years.
Simon Weckert’s conceptual Google Maps Hacks leads us to question the power of maps as a daily tool and control mechanism.
The first large-scale art and technology collaborations that occurred in the United States are not as legendary as, for example, the 9th Street Show that launched the New York School of Abstract Expressionism, but they should be.
Not long ago I wrote an article celebrating the work being done by cyberfeminist collective Deep Lab. After the piece was published, a writer, curator, and friend wrote to me to express concerns about the lack of women of color artists in the group.
It’s hard now to go more than a couple months without stumbling across another exhibition showing “artists [who] question the boundary between art and technology.” It’s enough to make you never give another crap about the boundary between art and technology. But I’m not sure the artists involved in such shows really do either — at least not the ones in Coded After Lovelace.
Julian Oliver and Danja Vasiliev, two artists participating in Berlin’s Transmediale 2014 (January 29–February 2), had an artwork summarily disabled at the festival last month because the piece uses the same technology as the National Security Agency (NSA) to hijack cell phone information.
BRIGHTON, UK — The difficulties facing post-war German artists can seem insurmountable. And it may not be fair to the likes of Beuys, Kiefer, or Richter to look for an adequate response to the worst atrocities of WWII; we should surely share the guilt around. But a lesser-known artist from Pforzheim has apparently cracked the worst dilemmas facing his countrymen. His name is Manfred Mohr and he has maneuvered German art out of its cul-de-sac with a healthy dose of logic and a working knowledge of early computer technology.
“What’s Wrong With Technological Art?” was the vexing question posed by the tony New Museum panel assembled by Megan Heuer featuring Heather Corcoran, the new executive director of Rhizome, and art historians Judith Rodenbeck, and Gloria Sutton. The event indadvertedly dove tailed with the recent September Artforum issue about the frayed divide between the art world and technological art. The bon mot award for the evening came from rehashing the 1967 quote of Philip Leider, editor of Artforum, who once penned the uber snarky statement, “I can’t imagine Artforum ever doing a special issue on electronics or computers in art, but one never knows.”