By Annmarie Chandler, Norie Neumark
Networked collaborations of artists didn't commence on the net. In this multidisciplinary examine the perform of paintings that happens throughout a distance -- geographical, temporal, or emotional -- theorists and practitioners study the ways in which artwork, activism, and media essentially reconfigured one another in experimental networked initiatives of the Nineteen Seventies and Nineteen Eighties. through supplying a context for this paintings -- exhibiting that it used to be formed by means of various mixes of social family, cultural ideas, and political and aesthetic issues -- At a Distance successfully refutes the generally permitted concept that networked paintings is technologically decided. Doing so, it offers the historic grounding wanted for a extra whole knowing of cutting-edge practices of web paintings and activism and indicates the chances inherent in networked practice.At a Distance lines the historical past and thought of such experimental paintings initiatives as Mail paintings, sound and radio artwork, telematic paintings, assemblings, and Fluxus. even supposing the initiatives differed, a conceptual wondering of the "art object," mixed with a political undermining of dominant artwork institutional practices, lively so much distance artwork. After a bit that units this paintings in ancient and important standpoint, the publication provides artists and others excited about this paintings "re-viewing" their paintings -- together with experiments in "mini-FM," telerobotics, networked psychoanalysis, and interactive booklet development. ultimately, the ebook recasts the heritage of networks from the views of politics, aesthetics, economics, and cross-cultural analysis.
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Extra info for At a distance : precursors to art and activism on the Internet
48. Giorgio Agamben, The Coming Community, trans. Michael Hardt (Minneapolis: University of Minnesota Press, 1993), 9. 49. , 1. Norie Neumark 24 Part I Critical Perspectives on Distance Art/Activist Practices This part of the volume provides critical frameworks for understanding distance art and activist projects. The authors approach their material from the point of view of cultural theorists or historians rather than involved artists (although, as pointed out in the volume’s introduction, some of the authors are artists and were involved in some of the projects).
Norie Neumark 22 31. , 12. 32. Quoted in Tilman Baumgärtel, “Net Art: On the History of Artistic Work with Telecommunications Media,” in net_condition_art and global media, ed. : MIT Press, and Karlsruhe, Germany: ZKM Center for Art and Media, 2001), 155. 33. , Henry M. : MIT Press, 2001), esp. chap. 1. 34. ” Sayre notes that as early as 1966, Harold Rosenberg published a collection of essays, The Anxious Object (2). On the “side” of hegemonic Greenbergian modernism was Michael Fried’s inﬂuential “Art and Objecthood” (Artforum 5, June 1967), which advocated formalist “presentness” of self-sufﬁcient object, immanentist aesthetics (6–9).
For Fluxus, too, according to Smith, art’s important transformative power lay in the way it was a participatory social act. Smith also shows how artists explored the transformative interconnections among collectivity, art, creative production, and networks. As Braun too argues, what is important is the way each medium transforms experience. Thus distance art/ activism is about the process of transformation rather than the end result of transformation. It is, Braun foregrounds, about “radical transformations of everyday and familiar cultural relationships and problems” (76).
At a distance : precursors to art and activism on the Internet by Annmarie Chandler, Norie Neumark