[Date Prev][Date Next][Thread Prev][Thread Next][Date Index][Thread Index]

Re: <eyebeam><blast> The Net and the Art Media

3 messages, from Valery Grancher, Athena Tacha, and J. Thorn

Valery Grancher <diff-exp@imaginet.fr> writes:

Dear Ricardo

        I enjoy very much this contribution: I have to say as an artist
that I'm not able to define myself as an 'contemporary' artist,
'conceptual' artist, 'net' artist, 'computer' artist....
        I want that, because now aesthetism has gone through taxinomisn
to phenomenology based on language.
        If art is dealing all the time with art market, it is
prefiguration about what we can see now on network.
        Art is dealing with media and is trying to bring a new kind of
interstitial space and borders. Everything is becoming very fluctuative.
        To be an artist can not be an identity but a way to interact
with context, following to me it is a new way to be an operator in
aesthetism area.
        Historicism was sometimes a focus in conceptual art, performance
art, but now on networks and various media, the most important thing is
the present, is the moment when you are interacting with various
        Locus and time are disapearing as historicism.

Valery Grancher


Athena Tacha <rspear@ufl.edu> writes:

Good to hear art critical voices from your and Robert Atkins (especially
on the more practical side, and not talking just new criticism!).  It is
heartening that some of us still believe in "evaluation" of art. I agree
with both of your statements , with two reservations:

It is wonderful to have "niches" such as the net, but it may not last
too long.  Corporations are taking it over fast -- and may succeed. 
Like advertising took over the major art magazines.  You would enjoy
seeing my full page color ad AS CONCEPTUAL ART in Artforum of April 1994
(while I had an installation at Franklin Furnace).

"Consensus between people who have no or few shared interests" is
certainly important for making (or breaking) artists.  However, how much
is it influenced by connections or powerful dealers?  For instance, when
Pace or Paula Cooper take on artists (and they take good ones, I agree),
they vest interest in them, so they have to promote them.  They
advertise their shows in the main art mags, which means the shows get
reviewed, critics are encouraged to write articles (color reproductions
are supplied free), museum curators consult with such galleries when
they prepare shows (such as the Whitney Bienial, etc.), collectors buy
from such dealers, and European or Japanese critics, dealers, curators
and collectors are all influenced by the good/big New York galleries. 
So concensus may be only apparent, to a great extent.  Whom the
galleries choose is often a matter of chance and connections for young
artists -- what gallery had an opening when they peddled their work, or
who recommended them to whom.  I am sure that there are hundreds of
artists all over the US (and the world) who are as good as some of the
main gallery stars, but who never have had a chance to plug into the art
system.  At least that has been my experience as a veteran of the art
world (with ten years as museum curator and four NY one-artist shows in
the past).


"J. Thorn" jjthorn@sirius.com writes:

I teach an american cultures class in Northern Cal.  We are beginning to 
do some work with digital media and performance.  Next week I want to 
take my students into the web to Zone Zero/  and am looking for other 
recommended sites- preferably art sites. You can reply directly to me if 
you can help.  thanks judith    jjthorn@sirius.com

a critical forum for artistic practice in the network
texts are the property of individual authors
to unsubscribe, send email to eyebeam@list.thing.net
with the following single line in the message body:
unsubscribe eyebeam-list
information and archive at http://www.eyebeam.org
Eyebeam Atelier/X Art Foundation http://www.blast.org