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digital art

You Say You Want “A Static Revolution” At One Art Space

by Emily Colucci on August 15, 2016

Is digital art alone a complex and multifaceted enough curatorial theme for a group exhibition in 2016?

The medium has undergone a lot of changes in the last few years. The employment of digital methods is now so widespread that it’s almost unavoidable in the contemporary art field. Perhaps because of this, an exhibition based solely on the use of digital manipulations seems redundant.

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GIF of the Day: Resurrecting Warhol’s Unknown Digital Art

by Michael Anthony Farley on March 30, 2016

The above GIF [h/t Science Sparks Art] shows four rarely-seen experiments with digital art made by Andy Warhol in the mid-1980s as a promotion commissioned by the Commodore computer manufacturer to promote its Amiga model. These, and other early piece of digital art created in the last years of Warhol’s life, were discovered and extracted from deteriorating floppy disks by artist Cory Arcangel and a team from Carnegie Mellon. Now, they’ll be on display in a restored Commodore Amiga at the Andy Warhol Museum in Pittsburgh:

This is so cool. As Corey Archangel says in the video below, “that’s a Warhol that nobody has ever seen before. That’s what I think that is.”

The Invisible Photograph: Part 2 (Trapped) from Carnegie Museum of Art on Vimeo.

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Electric Objects Announces $100,000 Fund for Commissioning New Digital Art

by Michael Anthony Farley on March 11, 2016

Electric Objects, makers of an internet-connected digital art display that can be hung like a painting, have announced a new fun for commissioning digital artworks. The Electric Objects Art Club Fund will provide $100,000 for new projects in 2016.

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The Blockchain and Digital Art: On ascribe, and its New Form of Art Authentication

by Paddy Johnson and Rea McNamara on October 22, 2015

Trying to understand blockchain technology is a bit like trying to wrap your head around the subprime mortgage crisis: It may take more than a lifetime to fully grasp the concepts. In a nutshell, the blockchain is a distributed database—think a living, breathing spreadsheet operating in real-time—that audits itself every ten minutes and can’t be tampered with. An entire bitcoin network, for instance, relies on the blockchain as a shared public ledger. Every transaction of the cryptocurrency then is unalterably recorded.

Turns out this is the equivalent of digital provenance, so it’s very important to art. We talked to ascribe, a company that is using Blockchain technology for art authentication and contracts.

While in Berlin, we had the chance to speak with their creative team—including co-founders Trent and Masha McConaghy—to get a better sense as to what exactly ascribe offers to artists, and delve further into how it plans to specifically address the ongoing issues around the ownership, loaning and consigning of digital art.

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Should Location Determine Artist Pay Grade?

by Corinna Kirsch on March 18, 2015

Working Artists and the Greater Economy (W.A.G.E.) and the online publication art-agenda have announced a payment tool for online commissions and digital artworks, set to debut this spring. Where you live might determine how much you should get paid.

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Wednesday Links: Non-lubed Relations With the English Language

by Corinna Kirsch on February 18, 2015

TACO BAE

Dear Artforum Editors: Can you please explain what this means in your 50 Shades of
Grey review? “James’s own voice and writing tics…suggest nothing so much as a non-lubed and nonconsensual fist fuck of the English language.” [Artforum]
Miss P, a 15-inch beagle from Canada, won best in show at the Westminster Kennel Club Show. [The New York Times]
What “real dogs” look like after a thorough brushing. [Imgur]
Unsurprisingly, the vast majority of Bitcoins go unused every day. Most Bitcoiners sit on their investments—like hens waiting for their money to hatch. [MIT Technology Review]
What’s wrong with “Taco Bae”? [Topical Cream]
“Why is art so expensive?” [Slate]
The Soap Factory, one of the largest non-profit spaces in Minneapolis, has been selected to create a work at this year’s Art Basel, in conjunction with Kickstarter and the Walker Art Center. That’s a quartet of names I never expected to hear mentioned together. [The Soap Factory]
I’m always amazed by the number of animals who donate works of art to auction every year. Seriously, Jett the Dolphin, Azy the orangutan, and Tomby the elephant all donated finger-paintings to benefit the Riley Hospital for Children at Indiana University. [Indiana University-Purdue University Indianapolis]
“My work isn’t your clip art dude.” First part of this story: Mega-famous DJ Diplo used artist Rebecca Mock’s GIF without properly attributing the work to her. Then, second part: sexism ensues! [Dazed via Canvas]
Not another article that claims, in 2015, that museums and galleries are finally “starting to take digital art seriously”! [Dezeen]

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Who Benefits from Reselling Art Online?

by Corinna Kirsch on September 10, 2013

While online edition companies have the potential to grow a market for digital art, how can reselling a work just months after purchase benefit an artist’s career?

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Monday Links: I Can Manipulate That Universe Just By Flushing

by Paddy Johnson and Corinna Kirsch on June 10, 2013

Comedian Louis C.K. was doing his bit in the 90’s to keep art stereotypes alive. Here he is, playing a swirling-paint-in-toilet-bowl-photographer, addressing his critics and stating his goals. [Gizmodo]
Big news this weekend: the United States government is spying on everyone, and social media companies like Google, Apple, and Facebook are providing the bulk of the information. Whistleblower Edward Snowden leaked a bevy of National Security Agency (NSA) documents to The Guardian, who interviewed him while he’s holed up in a Hong Kong hotel. Gawker has a great guide to knowing the extent of what was leaked, and uncloaking the legalese of Facebook’s response. [The Guardian, Gawker]
Here’s a dose of future shock: Cisco and iRobot have developed a 5’5” robot with a video conferencing monitor in place of a head. At a $70,000 price tag, it’s being developed for companies with employees who work from home. Not only will this make working from home less fun, it means you’ll never be alone again. [TechCrunch]
A message from Michigan State House of Representatives: We’d like to make sure that a law is passed that will keep the city of Detroit from selling off the museum’s assets, but first things first. Vacation ‘til the fall! [Hyperallergic]
Here’s a video by Richard Prince burning one of his disputed Canal Zone paintings. [Gallerist]
The Hirshhorn’s plans to construct an architectural bubble have been scrapped, but that won’t stop the museum’s resigning director Richard Koshalek from keeping his dream alive. The Los Angeles Times reports that Koshalek wants to move back to California at the end of the year, and hopes to shop around a version of the “tech tent” bubble to an institution out there. Just like a traveling salesman. [Los Angeles Times]
Tyler Green has been to see Richard Serra’s Shift in Ontario, Canada! He’s written about the contested piece in depth, and explains its significance in a mix of reporting and criticism. Read this. [MAN]
The Whitney just restored Douglas Davis’ The World’s First Collaborative Sentence (1995), the museum’s first digital acquisition. Nobody’s really sure of the best way to restore online works, the Whitney included. Speaking to this, there’s versions on the Whitney’s site: one that’s new and functional, and then another, “historic” one with broken links. [The New York Times]

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digital art

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