Recently, I had a conversation with someone about new media not being able to escape language, which is one of the reasons why painting is not going anywhere. It’s reliance on the artist’s gesture and capacity to visually problem solve make it an admirable art form (still). An aspect of New Media Art that fascinates me is the dependence on language (yes, programming is language) even if the result is to represent or create something organic looking. I’m working on a piece at the moment and will delve deeper into this topic. For now, I’ll just let you, dear friend, enjoy Ferd and company. Thanks for indulging me. 🙂
Daily bread is the sustenance I’ve given my brain for the past eight months around all things art, specifically, New Media. Daily bread includes all the little bits to the gargantuan bits of information I’ve taken in since the beginning of the year. Daily bread equates to the art knowledge, writing practice, and mental agility its taken to wrap my head around concepts and ideas I wouldn’t have touched a few years ago.
At first, it was a challenge to keep an online (daily) inventory of my reflections on art. With new projects and a lot of experience under my belt, this year has been phenomenal. I’ve learned a lot from my mentors, artists, and fellow writers. Daily bread has turned into extraordinary (daily) art feasts with Chimay and the best veggie fare you can imagine, which is just as amazing as that original hipster carpenter turning water into wine. 😉
Exploration of new forms has been a modus operandi of the avant garde for over a century, and New Media is doubly implicated in this gesture of praxis. New Media implicitly signifies novelty by virtue of its name alone, but also through its definition that includes emergent (but primarily digital) artforms. As a subset of this, one could recurse by saying that art in virtual worlds could be a “New” New Media. Before devolving into satirical discussions of comparative novelty, it’s notable that “new” media are a locus of expansion of art praxis for centuries, including oil, print, and photography. However, is novelty sufficient cause to merit the consideration of virtual art? Beyond the maxim of “Art for Art’s Sake”, virtual world art is part of a historical arc of work that engages social relations.
I have no idea the mastermind behind the Covers & Citations blog but it’s pretty, well, as the young kids say (okay, young kids in the 1980s), RAD! I discovered it looking for Eve Babitz and Marcel Duchamp’s famous chess match photograph and found a bevy of art re-makes/mixes/interpretations. You get the idea. I’m sure there are tons of virtual spots on the internet where you can find such a catalog but this is an easy-to-view and search, minimalist presentation of some famous artworks and predecessors.
Why do I love collections and catalogs?
I love collections and catalogs because they show what’s been done and how it’s been re-done and re-contextualized. It’s far too easy to say art is derivative. Art stems from experiences. Experiences, from artist to artist, are singular and not like the other. In any case, Covers & Citations, whoever you are, thanks for doing this. You may have been around for ages and I just not know it but I’m glad I found you…
This will be casual write-up much like my friday evening at Wire + Nail gallery in the Mission. It was a fun event of affordable art (everything under $100) and naked chess play. Yes, folks, performance art at its best with some exceptional chess players evoking the spirit of a similar chess match between Marcel Duchamp and Eve Babitz.
You would think that a naked chess match would be a spectacle but the attention was more focused on the art on the walls and the mingling between Wire + Nail artists and visitors. Here’s the great thing about affordable art nights and fairs, they’re the only events that allow the public to look at art, engage with artists and gallerists and become a collector. Granted, there are many ideas of what an art collector is but think about it. You’ve probably got two or three pairs of shoes and/or clothes in your closet that equate to the amount of three (maybe four) art works from the Wire + Nail affordable art night.
My point: You don’t have to collect blue chip art to be an art collector!
Overall, the evening was both fun and entertaining and filled with some wonderful artwork at reasonable prices! Definitely hoping Wire + Nail has more of these affordable art nights for the public. It’s a great new space nestled off Mission Street showcasing phenomenal emerging artists.
Here’s a bit more on the micro gallery…
Wire & Nail was founded in 2011 by Tricia Rampe, proprietor of Artcrush.Me; a San Francisco art sourcing and consulting firm. Wire & Nail seeks to re-define the commercial gallery space by utilizing 21st Century mobile and Web technologies. We will provide interactive experiences that support and showcase emerging artists whose practices embrace both traditional and new media. Wire & Nail is open by appointment and exhibitions are available for viewing 24 hours a day 7 days a week via mobile and Web technology and street level display.
Associated with the sixth edition of Yerba Buena Center for the Arts’ triennial exhibition “Bay Area Now” — a varied roundup showcasing artists inspired by the region and beyond — is a presentation by the performance troupe Big Art Group called “The People: San Francisco.” The site-specific outdoor extravaganza, which loosely recreates the story of Aeschylus’ “Oresteia,” combines live theater with real-time, large-scale video projection and features interviews with locals who voice their thoughts about democracy, war, terrorism and justice. The production happens at street level at Z Space (450 Florida Street, San Francisco, CA 94110) on Sept. 16-17 at 8 PM. Admission will be $10.