Thursday, July 23, 2015

Defining Net Art, a Thread on Rhizome.org a Response


Defining Net Art, a Thread on Rhizome.org a Response 


An interesting thread has been popping up on my email these days. I guess there is a sort of ongoing conversation about the defining of Net Art. It's based around the application process for Net Prix. Which last year attempted to ask for that very definition. I have been carefully listening for my opportunity to chime in.

The thread on Rhizome.org adds valuable a perspectrive about the limitations of previous Net Art definitions. Leading to the interpretation of a need for Net Art to have a greater resemblance to Art in general. The Art and Artist must take into a account the viewer's responses, reactions and interactions. "I agree with this. Art and Artist's should utilize responses, reactions and interactions of the viewers as a basis for conceiving and creating Net Art". This is where I define Net Art, Alter Art(alter-ism), Conceptual Art and Particularly Dada Style Performance Art which when executed online as Net Art can hope to fulfill these issues.

Immersion Journalism and Social Networks have provided a natural progression in Net Performance Art(Alter Art) .

as

Friday, July 10, 2015

Blog Art, Blogger Artist a Letter to Paddy Johnson by DS Pollack








If a Blog
is the Art
the Blogger
becomes
the Artist


Just like Seth Siegelaub was to Conceptual Art and Artists. And how we now realize his exhibition and influence make him one of the greatest conceptual artists of his time. Perhaps the Art bloggers and their blogs are in fact creating the most pertinent art of our time.


That's exactly the way I create my work and Art. I also believe that you, Paddy Johnson are, or at least have the ability to be, the Seth Siegelaub of our time. Take that as you will. However, to me Art is in everything we create. The digital critic holds immense power. Those bold enough to state, that what they create, "is Art" are the "now".


There is, and will forever be, a contradiction in any contemporary art movement. Particularly when it comes to New Media, Conceptual and Performance Art. Just realize, that mere existence of contrasting perspectives is exactly how we can tell where Art lives.


Sincerely,


Paddy Johnson (Artist)
unnamed.jpg

Friday, January 30, 2015

Who Defines Conceptual Art : DS Pollack : Alterism

Sol Lewitt is seen as the father of Conceptual Art with his "Sentences on Conceptual Art"

1.Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach.
2.Rational judgments repeat rational judgments.
3.Irrational judgments lead to new experience.

to read more visit:  http://www.altx.com/vizarts/conceptual.html


Marcel Duchamp would then be perhaps be considered the true founder or Grandfather.  His formation of Dada and it's Ideas regarding the Ready made helps form the core of Concept driven Art.

MARCEL DUCHAMP SYNOPSIS
Few artists can boast having changed the course of art history in the way that Marcel Duchamp did. Having assimilated the lessons of Cubism and Futurism, whose joint influence may be felt in his early paintings, he spearheaded the American Dada movement together with his friends and collaborators Picabia and Man Ray. By challenging the very notion of what is art, his first readymades sent shock waves across the art world that can still be felt today. Duchamp's ongoing preoccupation with the mechanisms of desire and human sexuality as well as his fondness for wordplay aligns his work with that of Surrealists, although he steadfastly refused to be affiliated with any specific artistic movement per se. In his insistence that art should be driven by ideas above all, Duchamp is generally considered to be the father of Conceptual art. His refusal to follow a conventional artistic path, matched only by a horror of repetition which accounts for the relatively small number of works Duchamp produced in the span of his short career, ultimately led to his withdrawal from the art world. In later years, Duchamp famously spent his time playing chess, even as he labored away in secret at his last enigmatic masterpiece, which was only unveiled after his death in 1968.
http://www.theartstory.org/artist-duchamp-marcel.htm

Laurie Anderson is key in New Media Conceptual Art:

Synesthesia: Laurie Anderson
Tony Oursler
1997-2001, 47:07 min, color, sound
Tony Oursler's Synesthesia project features interviews with twelve legendary figures in the downtown music, performance and art scenes: John Cale, Thurston Moore, Dan Graham, Genesis P-Orridge, Kim Gordon, Glenn Branca, Laurie Anderson, Tony Conrad, David Byrne, Lydia Lunch, Alan Vega, and Arto Lindsay. These works were originally included as one element of Oursler and Mike Kelley's multimedia installation The Poetic s Project. These conversations reveal fascinating insights and anecdotes from some of the most influential figures in the experimental rock and art underground of the 1970s and '80s, from pre-punk innovators to post-punk icons, from industrial and avant-garde music to noise bands and "no wave."

Laurie Anderson successfully works across cultural lines and disciplines, fusing a conceptual art framework with a firm grasp of popular aesthetics. In addition to exhibitions at word-class venues, she has produced commercial albums (garnering a hit single along the way), released a feature film, and created pieces for radio. Her large-scale theatrical productions, such as 1983's United States, synthesize visual effects, performance, music, and video.
Produced by Tony Oursler. Questions: Tony Oursler, Mike Kelley, David West, Linda Post. Camera: Linda Post, Tony Oursler. Editing: Tony Oursler, Elizabeth Kading.

http://www.eai.org/title.htm?id=8763

Vito Accouncie is key in:

Vito Acconci, Following Piece, between October 3 and 25, 1969, performance, photograph © Vito Acconci 2008, shown courtesy of Vito Acconci
Vito Acconci, Following Piece, between October 3 and 25, 1969, performance, photograph © Vito Acconci 2008, shown courtesy of Vito Acconci
Conceived by performance and conceptual artist Vito Acconci, Following Piece was an activity that took place everyday on the streets of New York, between October 3rd and 25th, 1969. It was part of other performance and conceptual events sponsored by the Architectural League of New York that occurred during those three weeks. The terms of the exhibition “Street Works IV” were to do a piece, sometime during the month, that used a street in New York City. So Acconci decided to follow people around the streets and document his following of them. But why would he do this? Why would Acconci follow random people around New York?

Read More Here:  https://www.khanacademy.org/humanities/global-culture/conceptual-performance/a/vito-acconci-following-piece

Chris Burden Played a Big Part with:

Performance
Chris Burden and the limits of art.

BY PETER SCHJELDAHL

      Email Print
 2007_05_14
TABLE OF CONTENTS
Documentation of two of Burden’s early pieces: “Shoot,” top, from 1971, and “Trans-fixed,” from 1974.
Documentation of two of Burden’s early pieces: “Shoot,” top, from 1971, and “Trans-fixed,” from 1974.
CREDIT TOP: COURTESY GAGOSIAN GALLERY; BOTTOM: COURTESY LOCUS+ARCHIVE/CHRIS BURDEN
An efficient test of where you stand on contemporary art is whether you are persuaded, or persuadable, that Chris Burden is a good artist. I think he’s pretty great. Burden is the guy who, on November 19, 1971, in Santa Ana, California, produced a classic, or an atrocity (both, to my mind), of conceptual art by getting shot. “Shoot” survives in desultory black-and-white photographs with this description: “At 7:45 P.M. I was shot in the left arm by a friend. The bullet was a copper jacket .22 long rifle. My friend was standing about fifteen feet from me.” Why do such things? “I wanted to be taken seriously as an artist,” Burden explained, when I visited him recently at his studio in a brushy glen of Topanga Canyon, where he lives with his wife, the sculptor Nancy Rubins. “The models were Picasso and Duchamp. I was most interested in Duchamp.” Burden is a solidly fleshy, amicable man, given to arduous enthusiasms. Arrayed in ranks outside the vast, tidy studio building were more than a hundred and forty handsomely restored antique lampposts, units of an ongoing sculptural project. (Many are intended for the grounds of the Los Angeles County Museum of Art, when its present expansion is completed, in 2008.) Reinstallations of two major Burdens are now on view in Southern California: “A Tale of Two Cities” (1981), a room-filling fantasy tableau of miniature metropolises at war, incorporating about five thousand toys, at the Orange County Museum of Art, in Newport Beach; and, at the Museum of Contemporary Art, in Los Angeles, “Hell Gate” (1998), a twenty-eight-foot-long scale model, in Erector and Meccano pieces and wood, of the dramatic steel-and-concrete railroad bridge that crosses the Hell Gate segment of the East River, between Queens and Wards Island. Like most things by Burden, they are powerful works that deal ingeniously with aesthetics and ethics of power. You needn’t like them to be impressed.

Read More Here:  http://www.newyorker.com/magazine/2007/05/14/performance-2

Don't forget, Damien Hirst:
‘The Physical Impossibility of Death in the Mind of Someone Living’ has become embedded in popular culture as one of the most iconic images of contemporary art. Conceived by Hirst in 1989 whilst at Goldsmiths, the ‘Natural History’ work consists of a thirteen-foot tiger shark preserved in a tank of formaldehyde, weighing a total of 23 tons. The shark is contained within a steel and glass vitrine three times longer than high and divided into three cubes.

According to the artist, the title was, “just a statement that I had used to describe the idea of death to myself”. Thought of prior to the sculpture, it was taken from Hirst’s student thesis on Hyperreality and the work of Robert Longo and Umberto Eco. Hirst recalls liking the title’s poetic clumsiness because of the way it expressed, “something that wasn’t there, or was there”.[1]

The sculpture, which successfully pushed the boundaries of contemporary art, generated colossal press attention when exhibited at The Saatchi Gallery’s ‘YBA 1’ at Boundary Road in London (1991). Explaining “I didn’t just want a lightbox, or a painting of a shark” Hirst’s intention was to force the viewer out of their element by introducing into a gallery setting, a shark that was “real enough to frighten you”.[2] By isolating the shark from its natural habitat, with the formaldehyde providing an illusion of life, the work explores our greatest fears, and the difficulty involved in adequately trying to express them. As Hirst states: “You try and avoid [death], but it’s such a big thing that you can’t. That’s the frightening thing isn’t it?”[3]

In 1997 ‘The Physical Impossibility of Death in the Mind of Someone Living’ was included in ‘Sensation: Young British Artists from the Saatchi Collection’ at the Royal Academy, London. A decade later, Hirst chose the work as the focal piece in ‘Re-Object’ (Kunsthaus Bregenz, 2007) – in which Hirst, Jeff Koons and Gerhard Merz each presented an artist’s statement in an exhibition exploring the influence of Marcel Duchamp.

See More:  http://www.damienhirst.com/the-physical-impossibility-of

Jeff Koon defines contemporary Conceptual art and crosses into Pop Art:

Jeff Koons
JEFF KOONS, Split-Rocker, 2000, stainless steel, geotextile fabric, internal irrigation system, live flowering plants, 446 7/8 x 483 1/8 x 427 5/8 inches (1,135.1 x 1,227.1 x 1,086.2 cm). Installation at Rockefeller Center®, New York © Jeff Koons. Photo by Tom Powel


Jeff Koons Listed Exhibitions (69 Kb)
Jeff Koons Bibliography (Selected) (148 Kb)

Jeff Koons was born in 1955 in York, Pennsylvania. He received his B.F.A. at the Maryland Institute College of Art in Baltimore and studied at the School of the Art Institute of Chicago. Since his emergence in the 1980s Jeff Koons has blended the concerns and methods of Pop, Conceptual, and appropriation art with craft-making and popular culture to create his own unique iconography, often controversial and always engaging. His work explores contemporary obsessions with sex and desire; race and gender; and celebrity, media, commerce, and fame. A self-proclaimed "idea man," Koons hires artisans and technicians to make the actual works. For him, the hand of the artist is not the important issue: "Art is really just communication of something and the more archetypal it is, the more communicative it is."

Read More:  http://www.gagosian.com/artists/jeff-koons

That Would Mean Andy Warhol Owes his success to/as a Conceptual Artyist,  Accepting that Pop Art is a Conceptual Art Form.

"How can you say one style is better than another? You ought to be able to be an Abstract Expressionist next week, or a Pop artist, or a realist, without feeling you've given up something.. I think that would be so great, to be able to change styles. And I think that's what's is going to happen, that's going to be the whole new scene."


ANDY WARHOL SYNOPSIS
Andy Warhol was the most successful and highly paid commercial illustrator in New York even before he began to make art destined for galleries. Nevertheless, his screenprinted images of Marilyn Monroe, soup cans, and sensational newspaper stories, quickly became synonymous with Pop art. He emerged from the poverty and obscurity of an Eastern European immigrant family in Pittsburgh, to become a charismatic magnet for bohemian New York, and to ultimately find a place in the circles of High Society. For many his ascent echoes one of Pop art's ambitions, to bring popular styles and subjects into the exclusive salons of high art. His elevation to the status of a popular icon represented a new kind of fame and celebrity for a fine artist.

Read More:  http://www.theartstory.org/artist-warhol-andy.htm

But Lets Not Exclude, Barbara Kruger:
"Do you know why language manifests itself the way it does in my work? It's because I understand short attention spans."

Barbara Kruger
BARBARA KRUGER SYNOPSIS
Barbara Kruger is best known for her silkscreen prints where she placed a direct and concise caption across the surface of a found photograph. Her prints from the 1980s cleverly encapsulated the era of "Reaganomics" with tongue-in-cheek satire; especially in a work like (Untitled) I shop therefore I am(1987), ironically adopted by the mall generation as their mantra. As Kruger's career progressed, her work expanded to include site-specific installations as well as video and audio works, all the while maintaining a firm basis in social, cultural, and political critique. Since the 1990s, she has also returned to magazine design, incorporating her confrontational phrases and images into a wholly different realm from the art world. Associated with postmodern Feminist art as well as Conceptual art, Kruger combines tactics like appropriation with her characteristic wit and direct commentary in order to communicate with the viewer and encourage the interrogation of contemporary circumstances.

Read More:  http://www.theartstory.org/movement-conceptual-art.htm

Maurizio Cattelan of course:
http://www.economist.com/blogs/prospero/2011/11/artwork-maurizio-cattelan\

an Ai Weiwei:
Conceptual artist Ai Weiwei positions himself in and out of his Beijing studio as a cultural arbiter. Compelled by a sense of social conscience, his artistic practice extends across many roles, from filmmaker and photographer, to writer, publisher, curator and architect. As an heir to Marcel Duchamp and Andy Warhol, yet digging deep into Chinese heritage, he moves freely between a variety of formal languages, reflecting on contemporary geopolitics. In recycling historical materials, loaded with meaning, such as Han Dynasty vases or wood from destroyed temples, Ai distils ancient and modern aesthetics in works of salvage or iconoclasm. Public commissions, like bringing 1,001 Chinese citizens to the small German town of Kassel for documenta 12 (Fairytale, 2007), or the pouring of hundreds of millions of handmade porcelain seeds into the Tate’s Turbine Hall (Sunflower Seeds, 2010), are audacious gestures that command global attention, but always underlain with humor and compassion. He is one of the leading cultural figures of his generation and consistently displays great courage in placing himself at risk to affect social change through his art. He serves as an example for legitimate social criticism and free expression both in China and internationally.
Read More:  http://www.lissongallery.com/artists/ai-weiwei

Then There is Andres Serrano:

Even though I consider myself a conceptual artist, I am a traditionalist when it comes to photography. I like to use film and shoot straight. No technical gimmicks or special effects. What you see is what I saw when I looked though the camera. If I've dazzled you with lights and colors, it's because I've dazzled you with lights and colors. Ideas are more important than effects. And effects are always better when they're real. In Lori And Dori, for instance, the conjoined sisters are dressed like fairy tale princesses evoking a dreamy and surreal landscape of the mind. But they're real. Other times I have to make things look real, even if they're not. In White Nigger, a man is made Black through make-up, while a child is "hung" with a harness. Ezra Pound once said, "Make it new." I do. And make it real, too.
\
Read More:  http://www.artnet.com/awc/andres-serrano.html

And There Is the Next Generation:

Chase Alias :
A review of Chase Alias' Show by Holden Vance III for Kiss :)(: Kiss a conceptual place
A review of Chase Alias' Show by Holden Vance III for Kiss  :)(:  Kiss a conceptual place.
"Google the name Chase Alias and it gets About 10,400,000 results (0.31 seconds).  Except for the highly prolific conceptual artist Ai WeiWei this number is greater than or about equal to all Chase Alias sighted influences combined.  Yet he is still unrepresented mostly in part to that fact that he keeps himself deeply reclusive and in character as any great Method Actor do. "
________
Chase Alias' Day Off  :)(:  Chase Alias' Show, 2011
July 2011
Medium: HDR Video Screen Capture
Original Dimensions: 20" x 30", 320dpi, 16 Bits/Channel
Copyright: CC Pollack Images @ Studio ChaseMe
Chase Alias' Show is more than just a blog.  It is the brainchild of Method Actor/Conceptual Artist David S Pollack.  David truly gets into his characters by living as them for years at a time and then existing online and in real life as this persona socially, physically and emotionally.  His newest Immersion Art Masterpiece, "Bugchaser" is a socially aware all encompassing view of Chase Alias' experiences with a dark underbelly of the gay world.  It points out the need for people to be m ore aware of what HIV and Viral Load tests are and what the differences are.

Read More:  http://www.artslantstreet.com/articles/show/24294

The Physical Impossibility of Death in the Mind of Someone Living, 1991 : Damien Hirst : Alterism

The Physical Impossibility of Death in the Mind of Someone Living, 1991

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Data

Damien Hirst
The Physical Impossibility of Death in the Mind of Someone Living
1991
Glass, painted steel, silicone, monofilament, shark and formaldehyde solution
2170 x 5420 x 1800 mm | 85.5 x 213.4 x 70.9 in
Image: Photographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS 2012
Exhibitions (5)
Solo Exhibition - 2012
Tate Modern, London, United Kingdom
Group Exhibition - 2007
Kunsthaus Bregenz, Bregenz, Austria
Solo Exhibition - 2003
The Saatchi Gallery, London, United Kingdom
Group Exhibition - 1997
Royal Academy of Arts, London, United Kingdom
Group Exhibition - 1992
Saatchi Collection, London, United Kingdom

Context

‘The Physical Impossibility of Death in the Mind of Someone Living’ has become embedded in popular culture as one of the most iconic images of contemporary art. Conceived by Hirst in 1989 whilst at Goldsmiths, the ‘Natural History’ work consists of a thirteen-foot tiger shark preserved in a tank of formaldehyde, weighing a total of 23 tons. The shark is contained within a steel and glass vitrine three times longer than high and divided into three cubes. 
According to the artist, the title was, “just a statement that I had used to describe the idea of death to myself”. Thought of prior to the sculpture, it was taken from Hirst’s student thesis on Hyperreality and the work of Robert Longo and Umberto Eco. Hirst recalls liking the title’s poetic clumsiness because of the way it expressed, “something that wasn’t there, or was there”.[1]
The sculpture, which successfully pushed the boundaries of contemporary art, generated colossal press attention when exhibited at The Saatchi Gallery’s ‘YBA 1’ at Boundary Road in London (1991). Explaining “I didn’t just want a lightbox, or a painting of a shark” Hirst’s intention was to force the viewer out of their element by introducing into a gallery setting, a shark that was “real enough to frighten you”.[2] By isolating the shark from its natural habitat, with the formaldehyde providing an illusion of life, the work explores our greatest fears, and the difficulty involved in adequately trying to express them. As Hirst states: “You try and avoid [death], but it’s such a big thing that you can’t. That’s the frightening thing isn’t it?”[3]
In 1997 ‘The Physical Impossibility of Death in the Mind of Someone Living’ was included in ‘Sensation: Young British Artists from the Saatchi Collection’ at the Royal Academy, London. A decade later, Hirst chose the work as the focal piece in ‘Re-Object’ (Kunsthaus Bregenz, 2007) – in which Hirst, Jeff Koons and Gerhard Merz each presented an artist’s statement in an exhibition exploring the influence of Marcel Duchamp.


[1] Damien Hirst and Gordon Burn, ‘On the Way to Work’ (Faber and Faber, 2001), 19
[2] Quoted in ‘The Truth About Art’ (ZCZ Films, Channel 4, 1998); , ‘I Want to Spend the Rest of My Life Everywhere, with Everyone, One to One, Always, Forever, Now’ (Booth-Clibborn Editions; Reduced edition, 2005), 32; Damien Hirst and Gordon Burn, ‘On the Way to Work’ (Faber and Faber, 2001), 19
[3] Damien Hirst, ‘We’re Here for a Good Time, not a Long Time’, Interview with Alastair Sooke, The Telegraph, 2011

B. Holden Vance, a Reexamination of Reality, for Theorizeart.com

Reexamination of Reality
by B. Holden Vance III
Theorizeart.com

chaseaIias.coml

Life is merely an undisputable fact,  and the production of an alternate reality is another kind of truth that shares no genuine relationship to reality.  Both are waiting for something miraclulous to occur---the reexamination of reality.  -Ai WeiWei*

Screen Capture and New Media Immersionism for
Chase Alias' "What We Found on Craigslist",
Series, 2005-2011

HoldensReality.jpeg

64 bit,  HDR Digital File
6144 x 3456 px
Lab Color
Series 1/1 plus AP

Includes a Signed Certificate by Artist DS Pollack
Appraisal certificate with full value and sales record
All meta tags and hyperlinks for the Digital provence with a pre-released copy of the eBook

Git_Chase :
a Compendium of Works from the Chromebooks of the Autonomic Tour, 2002 - 2015

Now available for free
A full version of the Soundscape Soundtrack
Exclusively on Android Market

Chase Alias' in Holden's Reexamination of Reality, 2011 a Soundtrack

Sentences on Conceptual Art : Sol Lewitt : Alterism a Conceptual Art Form

Sentences on Conceptual Art

by Sol Lewitt 

  1. Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach.
  2. Rational judgements repeat rational judgements.
  3. Irrational judgements lead to new experience.
  4. Formal art is essentially rational.
  5. Irrational thoughts should be followed absolutely and logically.
  6. If the artist changes his mind midway through the execution of the piece he compromises the result and repeats past results.
  7. The artist's will is secondary to the process he initiates from idea to completion. His wilfulness may only be ego.
  8. When words such as painting and sculpture are used, they connote a whole tradition and imply a consequent acceptance of this tradition, thus placing limitations on the artist who would be reluctant to make art that goes beyond the limitations.
  9. The concept and idea are different. The former implies a general direction while the latter is the component. Ideas implement the concept.
  10. Ideas can be works of art; they are in a chain of development that may eventually find some form. All ideas need not be made physical.
  11. Ideas do not necessarily proceed in logical order. They may set one off in unexpected directions, but an idea must necessarily be completed in the mind before the next one is formed.
  12. For each work of art that becomes physical there are many variations that do not.
  13. A work of art may be understood as a conductor from the artist's mind to the viewer's. But it may never reach the viewer, or it may never leave the artist's mind.
  14. The words of one artist to another may induce an idea chain, if they share the same concept.
  15. Since no form is intrinsically superior to another, the artist may use any form, from an expression of words (written or spoken) to physical reality, equally.
  16. If words are used, and they proceed from ideas about art, then they are art and not literature; numbers are not mathematics.
  17. All ideas are art if they are concerned with art and fall within the conventions of art.
  18. One usually understands the art of the past by applying the convention of the present, thus misunderstanding the art of the past.
  19. The conventions of art are altered by works of art.
  20. Successful art changes our understanding of the conventions by altering our perceptions.
  21. Perception of ideas leads to new ideas.
  22. The artist cannot imagine his art, and cannot perceive it until it is complete.
  23. The artist may misperceive (understand it differently from the artist) a work of art but still be set off in his own chain of thought by that misconstrual.
  24. Perception is subjective.
  25. The artist may not necessarily understand his own art. His perception is neither better nor worse than that of others.
  26. An artist may perceive the art of others better than his own.
  27. The concept of a work of art may involve the matter of the piece or the process in which it is made.
  28. Once the idea of the piece is established in the artist's mind and the final form is decided, the process is carried out blindly. There are many side effects that the artist cannot imagine. These may be used as ideas for new works.
  29. The process is mechanical and should not be tampered with. It should run its course.
  30. There are many elements involved in a work of art. The most important are the most obvious.
  31. If an artist uses the same form in a group of works, and changes the material, one would assume the artist's concept involved the material.
  32. Banal ideas cannot be rescued by beautiful execution.
  33. It is difficult to bungle a good idea.
  34. When an artist learns his craft too well he makes slick art.
  35. These sentences comment on art, but are not art.

First published in 0-9 (New York), 1969, and Art-Language (England), May 1969
http://www.altx.com/vizarts/conceptual.html