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Is this site still a going concern?
Jul - 23 - 2007 9:03am
(Fran Tick)
How come there haven't been any comments on this forum since 2005? This site sounds like such an interesting idea, it is surprising that there isn't an active community of users.
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Holger Maass wins in “Nikon International Photo Contest 2004 – 2005”
Sep - 01 - 2005 8:01pm
(Comments)
ArtLexis artist Holger Maass' image “My Best friends Eye” was voted 2nd prize from over 31,000 entries from 10,000 photographers worldwide in the “Nikon International Photo Contest 2004 – 2005”
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John Vega in Expose 3
Jul - 18 - 2005 7:07pm
(Comments)
VEGA IN EXPOSÉ 3
http://dancingimage.com/JV_Expose03_PR.htm
EXPOSÉ 3 the Definitive Collection of Digital Art is Published.
Soft Cover | Hard Cover | Limited Edition
Includes the work of John Vega and a host of other acclaimed digital artists from all over the globe.
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INTERNATIONAL OPEN CALL - Digital Prints - New York Hall of Science
Jul - 11 - 2005 11:25am
(Comments)
DEADLINE AUGUST 1, 2005
INTERNATIONAL OPEN CALL - Digital Prints - New York Hall of Science
Juried Exhibition - DIGITAL'05: "E X Q U I S I T E" is the 7th Annual
International Digital Print Competition & Exhibition organized by Art &
Science Collaborations, to be held Oct. 1, 2005 - Jan. 15, 2006 at The New
York Hall of Science, NYC. Digital'05 invites an examination of the nature
of "exquisite" in all of its ramifications. This year's juror is Lynn
Gamwell, Director of the Binghamton University Art Museum, Binghamton, New
York, and Curator of the Gallery of Art and Science at the New York Academy
of Sciences, New York City. See Prospectus for full details & Online Entry
Form: http://www.asci.org/artikel685.html
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CALL FOR PARTICIPATION SIGGRAPH 2005 ART GALLERY
Dec - 29 - 2004 6:45pm
(Comments)
Submission Deadline: Jan 19, 2005
(No submission fees)
For submission details, visit:
http://www.siggraph.org/s2005/main.php?f=cfp&p=art
The internationally recognized ACM SIGGRAPH Conference is seeking today's
most innovative digital artwork for the SIGGRAPH 2005 Art Gallery. The 2005
SIGGRAPH Art Gallery will be content driven. The technology will be in the
service of the art.
We are looking for artwork that traces threads through time and space,
figurative and abstract, linear and non-linear, moving and still. We are
particularly interested in 2D, 3D, and screen-based work that examines how
the use of computer graphics relates to the form and content of the artwork.
The exhibit will include media such as, new narrative forms, generative
works, game art, and book arts as well as 2-D and 3-D media.
We invite Art Papers submissions that engage in critical discourse about
digital art and culture.
The submissions will be judged by a pre-eminent group of artists, curators
and critics.
The ACM SIGGRAPH Conference will be held in Los Angeles, CA from July 31 -
August 4, 2005.
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Michael Wright: Hacking the Timeline @ EZTV and CrazySpace
Dec - 13 - 2004 1:15pm
(Comments)
EZTV and Crazy Space
Present
Hacking The Timeline
A non-definitive history of digital art
OPENING RECEPTION: SATURDAY, DECEMBER 11, 6-10PM
PANEL DISCUSSION: SUNDAY DECEMBER 19, 3-5PM
EZTV and Crazy Space
18th Street Art Center
1629 18th St., #2 and #6, Santa Monica (1/4 block north of Olympic)
Crazy Space: 310-829-7989
EZTV: 310-829-3389
Crazy Space and EZTV address the dialogue between digital art cultures
with historical documentation, performances, and a panel discussion
that includes major pioneers in the history of digital art.
Join us for cocktails at the opening reception.
OPENING RECEPTION SATURDAY DECEMBER 11, 6-10PM: Documentation of works
by REBECCA ALLEN, NANCY BUCHANAN AND BARBARA SMITH, JEFF BURK and RUTH
WEST/Ecce Homology and hypermedia studio, JOHN CRAWFORD, LOS CYBRIDS,
THE ELECTRIC CAFÉ, DAVID EM, and SCOTT HESSELS of the Damaged
Californians, OSMAN KHAN, TIMOTHY LEARY, TONY LONGSON, CYTHNIA MAUGHAN,
ANNE NIEMETZ, CASEY REAS of Group C, EDDO STERN, DANIEL SAUTER, MICHAEL
WRIGHT, and others. PLUS! LIVE PERFORMANCES! by KADET KUHNE, J. FREDE
and DAVID BRADY. From visually controlled sound to corrupted video to
untreated repetitive motion, these artists combine sound and video
media in their idiosyncratic styles. Show times: 7PM AND 9M.
PANEL DISCUSSION SUNDAY DECEMBER 19, 3-5PM: DAVID EM, one of the
earliest pioneers in the field, TONY LONGSON, internationally collected
and exhibited British born pioneer, and MICHAEL WRIGHT, co-founder of
the LA Digilantes movement. The panel will discuss the history of
computer-based art, and the development of an aesthetic tradition in
the digital arts, as well as the major international movements to
create an accurate history of the field, including both institutional
and independent movements.
Directions from L.A: Take the 10 fwy West, exit Cloverfield, right on
Cloverfield, Left on Olympic, Right on 18th St. Park in the lot or on
the street. Minutes from Bergamot Station.
#####
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Artist Residency Opportunity
Oct - 06 - 2004 11:32am
(Comments)
Announcement of 2005 Residency Season –
The Artists’ Enclave at I-Park
Application Deadline: January 22, 2005
I-Park announces its fifth season hosting The Artists’ Enclave. Artists’ residencies, self-directed/project oriented, are offered from May through October 2005. Most sessions are four weeks, with a six-week session planned for October-November. Residencies offered to visual (including digital) artists, music composers, environmental artists, landscape and garden designers and architects ($20 application processing fee required). Accommodations include comfortable private living quarters in an 1850’s farmhouse, shared bath and a private studio on the grounds. An electric kiln and modest music and library facilities are provided. I-Park is a 450-acre natural woodland retreat in rural East Haddam, Connecticut. International applicants welcome. For additional project information, go to www.i-park.org. Application materials for 2005 can be downloaded directly from the website AFTER October 1, 2004. E-mail: ipark2002@ureach.com. Phone: 860-873-2468.
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Michael Wright Exhibition
Oct - 04 - 2004 3:57pm
(Comments)
Michael Wright is currently exhibiting work as part of the ACM SIGGRAPH Traveling Art Show at Ben Shahn Hall, Court Gallery of William Paterson University, Wayne New Jersy through October 15th. The exhibition is presented by William Paterson University Center for Computer Art and Animation and NYC ACM SIGGRAPH.
Wright was invited to exhibit work as part of the ACM SIGGRAPH traveling art show. The exhibition, curated by Huguette Chesnais from the 2003 SIGGRAPH Confrence Fine Art Gallery, is traveling for two years. In the past year the exhibition was shown at the 100th anniversary of the Porte d'Auteuil for the centennial of the Salon d'Autonne Paris, the Auditorium of the Ecole du Louvre, the Cleveland Museum of Art, University of Central Florida Media Arts Center in Orlando, Universidad Nacional Autonoma de Mexico in San Antonio, Texas and the Ewing Gallery of the University of East Tennessee.
Installation and opening pictures from the University of East Tennessee can be seen at http://east-tennessee.siggraph.org/images/2004openingnight/index.html
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Digital Giraffe
Sep - 28 - 2004 10:54am
(Comments)
Welcome to October's Digital Giraffe (www.giraffe.com). Our harvest special
has some surprises in store for you, so
surf on over to:
Meet the Giraffe: And she has a brand new appearance!
Electronic Quill: Genghis Khan't - The real McCoy, he of the late 12th
century, did some remarkable things, like
enacting laws that made all children legitimate regardless of their genes.
But now comes the latest version, and
the comparison falters.
Giraffe's Site of the Month: from the International Center for Photography
in New York, as well as the Warhol Museum,
a photographic exhibition that will shock you. Definitely not for young
children.
Readers Feast: "M'As tu Vu?", all about the indomitable Sophie Calle, she
of the intrusive eye.
ArtSmart Quiz: See what you really know about Roy Lichtenstein.
eMusings: "Just Poddling Along" - We take a look at the contemporary music
scene, and point you to some of our favorites.
New Digital Images: "The Grump", "Fright", "Bad Guy" - Sounds like the mood
is pretty somber this month. Plus you
may want to compare "Fright" with a similar image done eleven years ago
under "Image of the Month" and titled
"Facing the Future".
With new digital images: three interesting sites for you to explore,
showing Whitaker's images, her sculptures,
and the work of other digital sculptors as well.
Solid Sculpture: You won't want to miss "ArchiBlob", a new form in a new
plexi presentation.
New Digital Blobs: Four new renderings, plus an announcement of the birth
of The Intrepids.
World Art News: Flash mobs in Britain; Broadway on Times Square in New
York; cell phone movies; portrait eyes;
and new benefits for artists in New York State.
Blob of the Month: this one from two years ago.
Our "Just Desserts" page has been redesigned. As always it has a fresh blob
each month. And don't forget the
continuous feed of news headlines on art and technology, updated throughout
the day from our front page.
Have a great October! And remember: this election is probably the most
important one of our lifetime.
From your friend the Giraffe
C O R I N N E W H I T A K E R
The Digital Giraffe
giraffe@giraffe.com
www.giraffe.com
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Rant from John Vega
Sep - 10 - 2004 5:38pm
(Comments)
Artist Rant (with regard to digital art and ArtLexis)
I have considered your model carefully and I am very interested in many of your ideas. As an artist and educator; I and my colleagues have chewed on many of the issues you bring up and I must say the talks here go round and round. I have delved deeply into your manifesto and message board and I must say the ideas relating to mass distribution of digital art objects is very interesting to me. It seems to me a logical end point of the process that these digital forms could extrude from any number of output devices anywhere in the world and potentially assist in dissolving the grip of the art-world religion on our collective idea of what art is.
As you may know, I have collaborated and taught with Mark Amerika and achieved some notoriety as a net artist. In fact, the Rhizome piece you speak of in your rap on net art sounds very much like it could be my Wirescapes project (that would be a trip). Anyway, one of the things students and traditional artists seem very concerned with is how to make a living selling net art or digital art. Endless discussions ensue and it goes on an on with one underlying theme – how to retrofit digital art into the old art-commerce models. Although the net art trip has been a valuable experience for me as an artist (and has opened many doors for me), I like you have found I am not much interested in the (dead?) movement overall or the endless self referencing loop of the resulting clever “thinking art”. Not that I attack it; I am simply becoming indifferent to it. I am starting to look at the net not so much as the topic for art but as the conduit to an endless expansion of the art idea. For me, it is time to reconsider beauty and to stop examining my thinking mind. I am most excited to see that you recognize these old models will be unable to support this art revolution in which barriers to the art idea are lifted via digital pathways.
I am most interested in fulfilling the idea behind my work which is to stimulate different ways of seeing and to share this idea with as many interested parties as possible. In its final, binary form my work is essentially nothing (zeros and ones) until it is interpreted by screen or printer. I do not necessarily feel that part of my practice should include the desperate struggle to maintain ownership. This seems especially ridiculous with regard to net art although I did make a handsome sum from the sale of FILMTEXT as a collaborator with Mark Amerika. It is not for me to judge who is right and wrong with regard to this struggle but I for one am more interested in channeling my energy into honoring and sharing my work. I would not have the opportunity to work on the projects I have or have my work exhibited in so many places if it were not for my letting go of this idea of ownership and letting my work live “out there”. I have seen my work used on book covers, rave fliers, and posters “illegally” and when this happens I have found it more valuable to let the work expand than to try to limit its distribution and cry for ownership. I am of course very interested in a fair exchange of value and I think that new approaches like yours are worth experimenting with as we see how this new model evolves.
One of my heroes is Keith Herring whose “direct to the streets” method of bypassing the art world “hoops” has inspired me in my own practice and some of your ideas remind me of his (initial) desire to give the art directly to the people – bypassing the bishops of art. Although I do not share all of your perceptions regarding digital art, I find it refreshing that these areas are being examined from differing points of view. I am most interested in working with people who are willing to take risks and help find the ways to break the grip of art-world dogma that has conditioned us to believe what art is, what art is important, what value is, who goes to heaven, who goes to hell, and on and on. I have had fair amount of experience with traditional gallery and museum system and I am really beginning to sense that for the most part this is not where my work is going to live – and, thank God! Your model is most appealing to me and your enthusiasm and determination to demystify the art-world religion and explore new paths is totally in line with my practice.
John Vega
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