[-empyre-] 'real' networked art
willpap at gmail.com
Sat Oct 17 13:13:51 EST 2009
Some lurker thoughts-
It is interesting to see a reference to 'art ghetto', since may of us
practitioners are so keenly aware of a "technology art ghetto" (or
should I say being ghettoized by the mainstream art world?). Art
history, art as a category, is a contested space which, as Duchamp
demonstrated, is designated, not only by artists but by institutions
in power. I can remember when one of my favorite critics, Rosalind
Krauss, attacked digital multimedia as not having a recursive history,
a strangely conservative attack, which is now nolonger true for an
aging net art. Another attack came from Nicolas Bourriaud, who
outlined I think a very important theoretical model for net art in
relational aesthetics. Painting makes no excuses for self-reference
since it is, along with other media, firmly in the elite.
Assistant Professor, Digital Art
Pace University, New York
wpappenheimer at pace.edu
On Oct 16, 2009, at 8:24 PM, Anna Munster wrote:
> Ok - got it!
> Kazys wrote:
> <Both High-low/internal vs. Cool/Uncool/transdisciplinarity are
> reflections of the same transition to network culture.>
> however, I would still ant to maintain that relative to the period
> in which they ere working, '90s net artists were not necessarily
> elite. I don't think small or niche = elite. The question of access
> and mass has taken on a renewed medial push in the age of 'hits' and
> their registering. This links up to Anne's points about the ways in
> which search engines produce forms of identity. Likewise algorithms.
> One thing we might be forgetting about that early net art was its
> internationalism - alot of it came out of eastern europe and the
> balkans especialy and was very much connected with early net radio
> and its relations to Dutch net culture. A number of people,
> Stallabrass included, have remarked on the net art movement as one
> of the truly international art movements of the late 20th century.
> For me, this alone takes that work out of some 'art ghetto' and
> makes it concerned with a lot more than avant-gardism...
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