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Art Art and Technology Performance and Conceptual

Conceptual Art…it’s alive…it’s ALIVE!

Few artistic movements are surrounded by so much debate and controversy as conceptual art. For conceptual art has a tendency to provoke intense and perhaps even extreme reactions in its audiences. After all, whilst some people find conceptual art very refreshing and the only kind of art that is relevant to today’s world, many others consider it shocking, distasteful, skill-less, downright bad, or, and most importantly, not art at all. Conceptual art, it seems, is something that we either love or hate.

~ Stanford Encyclopedia of Philosophy

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After attending the Spread opening night exhibition at the SOMArts Cultural Center (San Francisco, CA), there’s a lot of reflection (and reading) I’ve got to do. There’s so much to say!! For your viewing pleasure, I posted a slideshow of some photos I took during the opening. I will, certainly, return with a deeper, lengthier piece (or several posts) on the entire show. Initial reaction: an incredible showcase of established and emerging conceptual artists. The overall conversation between the pieces was present and enthralling. Lastly, amazing use of the space.

Deeper reflections to follow…

By Dorothy R. Santos

Dorothy R. Santos (b. 1978) is a Filipina American writer, artist, and educator whose academic and research interests include feminist media histories, critical medical anthropology, race and technology. Born and raised in San Francisco, California, she holds Bachelor’s degrees in Philosophy and Psychology from the University of San Francisco and received her Master’s degree in Visual and Critical Studies at the California College of the Arts. She is a Ph.D. student in Film and Digital Media at the University of California, Santa Cruz as a Eugene V. Cota-Robles fellow. Her work as been exhibited at Ars Electronica, Fort Mason Center for Arts & Culture, Yerba Buena Center for the Arts, and the GLBT Historical Society.

Her writing appears in art21, Rhizome, Hyperallergic, Ars Technica, Vice Motherboard, and SF MOMA’s Open Space. Her essay “Materiality to Machines: Manufacturing the Organic and Hypotheses for Future Imaginings,” was published in The Routledge Companion to Biology in Art and Architecture. She is a co-founder of REFRESH, a politically-engaged art and curatorial collective and serves as the program manager for the Processing Foundation.

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