Bigindicator

tagged: digital
20170322113925-hellovatican02

Wednesday Web Artist of the Week: Tea Strazicic

by Christian Petersen
Tea Strazicic is a Croatian new media artist currently based in Los Angeles. Much of her work is heavily influenced by Japanese popular culture but distorted through a tripped-out lens of western internet art youth culture. The cuteness of the Kawaii influences is generally offset by a subversive tension that is further explored in her more sculptural digital creations. Strazicic’s feverish visions collide slick digital surfaces with alien cyber organics and contemporary emoji culture. Her... [more]
Posted by Christian Petersen on 3/22
20170321103736-digital_rietveld

Can Collecting Digital Art Make Museums More Competitive?

by Edo Dijksterhuis
Exactly one hundred years after Hugo Ball and Emmy Hennings started Cabaret Voltaire, Zürich was once again the stage of an art revolution. This time it wasn’t Dada, however, but data. On February 13, 2016, The Museum of Digital Art opened its doors on the ground floor of the monumental Herdern Hochhaus. It’s the first physical and virtual museum dedicated to digital art in Europe. Worldwide, there are only a few institutions like it, most of them American. There is, of course, the pioneering... [more]
Posted by Edo Dijksterhuis on 3/24
20170308092806-sofia

Wednesday Web Artist of the Week: Sofía Córdova

by Christian Petersen
Sofía Córdova is a Puerto Rican multi-media artist and musician currently based in Oakland, California. Her work collides the sacred, mystical, and ancient with the disposable obsessions of our consumer age. These juxtapositions are not arbitrary, though; Córdova draws distinct lines between the ultra-traditional and the hyper-modern to tell a deeply engaging story mediated through the lens of a Puerto Rican artist living in the United States. Córdova frequently reflects on her Caribbean... [more]
Posted by Christian Petersen on 3/8
20170306083712-rafman_vanderbeek_install_sm_la_2017_02

They Had Whole Buildings For That (Now We Use Diapers)

by Christina Catherine Martinez
Only 90s kids would know. Only 80s kids would know. Only Gen-X or Y or Z-ers would know. Jon Rafman might know, but he also knows that prolepsis, anachronism, and non-location are more suitable benchmarks for this twisted ouroboros we’ve made of time. At Sprüth Magers in Los Angeles, the juxtaposition of immersive films by Rafman and Stan VanDerBeek, made decades apart, charts a rising threshold of popular vision that correlates to a kind of political decline—the history of cinema as... [more]
Posted by Christina Catherine Martinez on 3/6
20170303025600-eject

Bex Ilsley Answers 5 Questions

by The Artslant Team
Bex Ilsley received an ArtSlant Prize 2016 Honorable Mention. We’re presenting Bex’s work this week at SPRING/BREAK Art Show.   What are you trying to communicate with your work? Something about what it’s like to always live one step removed from yourself. I experience this sensation of always watching myself while I perform the person I am. I had built this largish following on social media and the sensation became stronger. I started to try and embrace that sensation through... [more]
Posted by The Artslant Team on 3/3
20170227165927-_0003846_cropped-l

Sterling Crispin: Begin at the End

by Joel Kuennen
  What does the end, The End, look like? Is it a transcendent experience like the religious and singularitarians believe? Will humans transform into iridescent angels of ethereal nature, timeless in their march towards oneness? Will the end look like an episode of The Walking Dead? Like an episode of Doomsday Preppers? Will the remnants of society scrabble together the few resources left to find baseline survival the underlying truth of excess? Does the end resemble a person sitting in a... [more]
Posted by Joel Kuennen on 2/26
20170221084728-liuc_transmediale_hkw_149__1_

Transmediale’s Revolution from Within

by Benjamin Busch
What are the implications of media in today’s so-called post-truth society? Mediating technologies permeate everyday life, and rather than serving an emancipatory agenda, they tend to reinforce baked-in prejudices and ideological assumptions. Global media corporations like Google and Facebook extract billions of dollars of surplus value by exploiting their users’ self-generated, cultural and biometric information. Positive feedback loops like “fake news” emerge as the expression of such... [more]
Posted by Benjamin Busch on 2/20
20170208115852-room_three

Wednesday Web Artist of the Week: Emilie Gervais

by Christian Petersen
Emilie Gervais is a Canadian artist living in France. Her early recognition of the profound, universal impact of the internet on all our lives has made her a vital voice in new wave of new media art. Gervais reveals the true soul of the internet in her hyper-saturated explosion of glitching colors, vintage computer graphics, and disposable internet ephemera. The spectacle of her sensory overload does not diminish the deeply intelligent heart beating at the center of all her work. The... [more]
Posted by Christian Petersen on 2/8
20170207142639-31538274845_69876392a9_h

With Climate Under Threat, Artists Look to Virtual Reality

by Antonia Ward
The Sundance Film Festival opened its 33rd annual edition in Park City, Utah, on January 19, under one presidential administration. It closed 10 days later under another, very different one. In those portentous intervening days Donald Trump’s White House reforms reverberated across the U.S. and beyond—from an executive order on immigration to the whitewashing of climate change and moves designed to incapacitate environmental agencies. Within moments of Trump’s inauguration virtually all... [more]
Posted by Antonia Ward on 2/7
20170203164518-lorna

Digital Pioneer Lynn Hershman Leeson Walks Us Through Her Groundbreaking “Firsts”

by Olivia B. Murphy
I recently met with septuagenarian artist Lynn Hershman Leeson just after the opening of her latest solo show, , at Bridget Donahue Gallery. Her first solo with the gallery in 2015 sparked something of a rediscovery of her groundbreaking work, even though she has spent her decades-long career pioneering in the realm of technology in visual art. In 2016, a comprehensive retrospective entitled Civic Radar at ZKM in Karlsruhe, Germany, charted her career from its early performative days in the 70s... [more]
Posted by Olivia B. Murphy on 2/3