Post by Black Feathered Crown on Dec 17, 2013 3:49:41 GMT
TERMS INCLUDED: Internet art, net art, new media art, electronic art, generative art
Internet art is rooted in disparate artistic traditions and movements, ranging from Dada to Situationism, conceptual art, Fluxus, video art, kinetic art performance art, telematic art and happenings.
As the art form develops, its historical context is continually re-evaluated. Amsterdam-based critic Josephine Bosma defines Internet art as having "five generations", where the first generation of artists did not work with the Internet proper, but with electronic interconnectivity—precursors to the Internet, such as fax, slow scan television and videotex. These earlier forms are often defined more broadly as Networked art.
In 1958 Wolf Vostell becomes the first artist who incorporates a television set into one of his works. „Deutscher Ausblick“/„German View“-„Black Room Cycle“, Environment, 1958, is part of the collection of the Berlinische Galerie. During the 1960s the development of then new technologies of video produced the new media art experiments of Nam June Paik, and Wolf Vostell with the installation „6 TV De-coll/age“, 1963, A. Michael Noll, and multimedia performances of E.A.T., Fluxus and Happening. The development of computer graphics at the end of the 1980s and real time technologies then in the 1990s combined with the spreading of the Web and the Internet favored the emergence of new and various forms of interactivity art by Lynn Hershman Leeson, David Rokeby, Perry Hoberman; telematic art by Roy Ascott; Internet art by Vuk Ćosić, Jodi; virtual and immersive art by Jeffrey Shaw, Maurice Benayoun and large scale urban installation by Rafael Lozano-Hemmer.
Electronic art is often, but not always, interactive. Artists make use of technologies like the Internet, computer networks, robotics, wearable technology, digital painting, wireless technology and immersive virtual reality. As the technologies used to deliver works of electronic art become obsolete, electronic art faces serious issues around the challenge to preserve artwork beyond the time of its contemporary production. Currently, research projects are underway to improve the preservation and documentation of the fragile electronic arts heritage (see DOCAM - Documentation and Conservation of the Media Arts Heritage).
Source: Wikipedia
Lorna Mills
Jeremiah Johnson
NETARTNET DIRECTORY
Internet art is rooted in disparate artistic traditions and movements, ranging from Dada to Situationism, conceptual art, Fluxus, video art, kinetic art performance art, telematic art and happenings.
As the art form develops, its historical context is continually re-evaluated. Amsterdam-based critic Josephine Bosma defines Internet art as having "five generations", where the first generation of artists did not work with the Internet proper, but with electronic interconnectivity—precursors to the Internet, such as fax, slow scan television and videotex. These earlier forms are often defined more broadly as Networked art.
In 1958 Wolf Vostell becomes the first artist who incorporates a television set into one of his works. „Deutscher Ausblick“/„German View“-„Black Room Cycle“, Environment, 1958, is part of the collection of the Berlinische Galerie. During the 1960s the development of then new technologies of video produced the new media art experiments of Nam June Paik, and Wolf Vostell with the installation „6 TV De-coll/age“, 1963, A. Michael Noll, and multimedia performances of E.A.T., Fluxus and Happening. The development of computer graphics at the end of the 1980s and real time technologies then in the 1990s combined with the spreading of the Web and the Internet favored the emergence of new and various forms of interactivity art by Lynn Hershman Leeson, David Rokeby, Perry Hoberman; telematic art by Roy Ascott; Internet art by Vuk Ćosić, Jodi; virtual and immersive art by Jeffrey Shaw, Maurice Benayoun and large scale urban installation by Rafael Lozano-Hemmer.
Electronic art is often, but not always, interactive. Artists make use of technologies like the Internet, computer networks, robotics, wearable technology, digital painting, wireless technology and immersive virtual reality. As the technologies used to deliver works of electronic art become obsolete, electronic art faces serious issues around the challenge to preserve artwork beyond the time of its contemporary production. Currently, research projects are underway to improve the preservation and documentation of the fragile electronic arts heritage (see DOCAM - Documentation and Conservation of the Media Arts Heritage).
Source: Wikipedia
Lorna Mills
Jeremiah Johnson
NETARTNET DIRECTORY