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Harold
18 maart 2024 19:03 | Duque De Caxias
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18 maart 2024 16:24 | Ponte San Pietro
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Elliott
18 maart 2024 15:37 | Bobigny
W?ere Digital Art Fits In.
An essay ?ith ? swear-w?r? in it.
Digital art ?s taking the art w?rld by storm and as with any new art movement, it has ?een met ?y eagerness and excitement ?s we?l as fear ?nd doubt.
?he eagerness surrounds th? new methods and ground-breaking results of creating art digitally, ?hile the fear ?nd doubt surrounds ?ts p?ace (?r even existence) in t?da?'s contemporary art scene.
?e can study ?nd predict the ?ourse of this "digital revolution" b? referring to ? s?milar innovation ?n art history: photography.
"Photography was going to be the death of painting. For up until that time, painting was wedded to realism. Now, reality could be captured in a moment's flash, with unprecedented accuracy. But rather than killing painting, photography liberated the brush to move from reality into a hundred new directions spawning a creative renaissance."
~ Jodie Keeling, Digital Display: ? Visit t? AMODA
Photography (as art) was introduced t? society m?ch in the same way that digital art was. The tool wa? invented (th? camera, ?r the c?mputer), refined, and became in u?e by the general populace. ?hen an enterprising bunch ?f artists took th? tool and played wit? it, and ?reated art.
Photography ?as met with as much dismay f?om traditional artists a? digital was/?s. There ?a? fear that photos w?uld replace paintings ?nd that traditional methods wo?ld ?ecome ?n antiquity. The same thing i? happening right now w?th digital art.
?his artist (?n the quote ahead) insists t?at painting is no l?nger serves any use as ? viable method ?f art-making:
"I wonder if traditional art departments are now starting to feel the pinch brought on by the advent of digital art, advanced photography, virtual reality, and all the other new, more viable, methods of creative communication?
"I'm not blind to th? ol?-fashioned joy ?f merel? pushing paint ?ro?nd nor the need to decorate blank walls. But t?e rest of the art ?orld ?as embraced high tech as ?ts weapon of choice in battling t?e ugliness, indifference, injustice, ?nd hatred in the w?rld, w?y is it th?t painting st?ll persists ?n trying t? d? ?o, ?nly to fall flat ?n ?ts face ?n elephant dung."
~ Jim Lane, The Future of Painting
One artist who worked photographically during the early 20th century, Man Ray, felt compelled to write an essay dispelling the myth of photography taking over art.
"??ere are purists in all forms ?f expression. There are photographers ?h? maintain that this medium h?? no relation t? painting. Th??e ar? painters ?ho despise photography, ?lthough in the last century h??e been inspired by it and us?? it.
There are architects who refuse t? hang ? painting in their buildings maintaining t?at thei? o?n work is a c?mplete expression. ?n the same spirit, w?en the automobile arrived, th??e were thos? that declared the horse to ?e th? most perfect form ?f locomotion. A?l the?e attitudes result f?om a fear that t?e one wi?l replace t?e other.
Nothing of the kind happened. We ?ave simply increased our range, our vocabulary. I see no one trying to abolish t?e automobile ?ecause w? have the airplane."
~ Man Ray, Photography can be Art
Just a couple of months ago, I viewed Man Ray's retrospective exhibition at the National Gallery of Victoria. Photography today is just as accepted in the art world as painting is. Nobody thinks twice when they see a photograph hanging on a wall in an art gallery. All signs point to history repeating itself in this instance. Digital art is not here to replace painting or other traditional methods. It is simply, as Man Ray would put it "an increase in our vocabulary". I predict that the fear that some traditional artists have of digital art will eventually disappear, not through resignation, but through an acceptance of the art form to stand on it's own in the art world.
There is a more "artistic" (whatever that means) argument held by some that is looking to become one of the major obstacles in creating a viable market for digital artists.
"Artists understand t?at they c?uld cre?te t?eir imagery ent?rely on the com?uter, but t?ey sti?l desire the visual, tactile and emotional effects t?ey ?an achieve ?? sticking ?ith t?? old-fashioned technology of brushes ?nd paint."
~ William Stover, Painting, On and Off the Wall
Even in today's increasingly virtual world, many people still have an inert predisposition for "the real". It's ironic that even though touching someone else's painting is deemed unacceptable, many people still prefer viewing art of the tactile kind.
Assuming we compare two identical works, one created digitally and another painted traditionally, the only difference is the physical presence of the traditional piece and the lack of physicality of the digital piece. Yet this difference seems enough reason for some people to write off digital art entirely. Why? The answer most commonly given is that the viewer feels detached or distanced from the artwork because of its lack of physicality. But is that what makes art? Whether or not you can feel the surface of a canvas? Was the same thought and feeling not invested in the digital piece? Of course it was. To demerit an artist's hard work and thought simply because "I can't touch it" shows both laziness and closed-mindedness in the viewer.
The issue of digital art's lack of physical presence extends into the marketing realm of art. How can you sell a work when anyone can own it by clicking a few buttons? This has been a major criticism of digital art, but one that has already been solved.
"If a digital artist chooses t? create a limited edition of his or her prints, once the prints ?ave been completed, the file may be destroyed ?o it may no longer be u?ed to create prints f?om."
~ Shelley Eichholz, Whoring in the Art World: The Digital Art Debate
An innovative solution? Hardly:
"The procedure of disabling plate usage has ?een practiced for ?ears ?y fine art printers, once th? print edition numbe? has b?en met, t?e plate ?s gouged into with ? scribing needle, destroying the ability t? ?s? ?t t? print fr?m again."
~ Shelley Eichholz, Whoring in the Art World: The Digital Art Debate
But what about digital art that is displayed online? It is true, the market for these pieces is virtually non-existent, but since when was a big price-tag a pre-requisite for good art? I think that digital artists who display their work online have purer intentions than most of the art world's big names. Artists who are making art for a living are obviously making art to sell. Online artists make art simply to have it viewed by other people. Their intentions are not sullied by deadlines, curators or gallery conventions.
"(A) common argument seems to b? th?t art is skill based ?nd t?at com?uter art requires no learned skill. (...) A secretary d?wn ?n Texas a?ds ?n ?mage of "ready made art" known as "clip art" to a barbecue flyer. ?oes t??s m?ke her an artist? ?o. N? more than a teenage girl drawing flowers ?n the envelope she is sending to her pen-pal ?n Italy.
N?ither ?f th? latte? case? shows any measurable level of skill in eit?er digital or analog art."
~ Shelley Eichholz, Whoring in the Art World: The Digital Art Debate
It takes an inordinate amount of skill to take some paint and apply your thoughts and feelings on a canvas. A common misconception about digital art is that there is next to no skill involved at all. What people must come to learn is that, like a paintbrush, a computer can only do what you tell it to do. It is true that it has become much easier to create bad art using computers. Any fucktard (excuse the Parisian) can take a digital photo of his hand, apply a couple of Photoshop filters, post it on his website and call it "art". This is certainly a barrier that digital art is going to have to overcome before it becomes widely accepted. The same knowledge of light, line, form, tone and all the elements and principles of analogue art is still required when making digital art.
To close, I'll leave you with another nugget of wisdom from Man Ray. Although digital art may seem like a new and scary addition to the art world, just know that it is not the first time that this kind of thing has happened.
"?t is the m?n (or woman) behind ?hatever instrument ?ho determines t?e wo?k of art."
~ Man Ray, Photography can be Art
_________________________________________________________
Sources and Dressings:
Jodie Keeling, 2002, Digital Display: A Visit to AMODA, Downtown Arts Magazine website
Jim Lane, 1999, The Future of Painting, Humanities Web website
Man Ray, 1930's, Photography can be Art, Essay by the artist, sited first-hand
William Stover, 2003, Painting: On and Off the Wall, Curator's Essay website
Shelley Eichholz, 2003, Whoring in the Art World: The Digital Art Debate, Raster Art Group website
Austin Museum of Digital Art website
GFX Forums >Discussions website
DigitalArt.org website Art
An essay ?ith ? swear-w?r? in it.
Digital art ?s taking the art w?rld by storm and as with any new art movement, it has ?een met ?y eagerness and excitement ?s we?l as fear ?nd doubt.
?he eagerness surrounds th? new methods and ground-breaking results of creating art digitally, ?hile the fear ?nd doubt surrounds ?ts p?ace (?r even existence) in t?da?'s contemporary art scene.
?e can study ?nd predict the ?ourse of this "digital revolution" b? referring to ? s?milar innovation ?n art history: photography.
"Photography was going to be the death of painting. For up until that time, painting was wedded to realism. Now, reality could be captured in a moment's flash, with unprecedented accuracy. But rather than killing painting, photography liberated the brush to move from reality into a hundred new directions spawning a creative renaissance."
~ Jodie Keeling, Digital Display: ? Visit t? AMODA
Photography (as art) was introduced t? society m?ch in the same way that digital art was. The tool wa? invented (th? camera, ?r the c?mputer), refined, and became in u?e by the general populace. ?hen an enterprising bunch ?f artists took th? tool and played wit? it, and ?reated art.
Photography ?as met with as much dismay f?om traditional artists a? digital was/?s. There ?a? fear that photos w?uld replace paintings ?nd that traditional methods wo?ld ?ecome ?n antiquity. The same thing i? happening right now w?th digital art.
?his artist (?n the quote ahead) insists t?at painting is no l?nger serves any use as ? viable method ?f art-making:
"I wonder if traditional art departments are now starting to feel the pinch brought on by the advent of digital art, advanced photography, virtual reality, and all the other new, more viable, methods of creative communication?
"I'm not blind to th? ol?-fashioned joy ?f merel? pushing paint ?ro?nd nor the need to decorate blank walls. But t?e rest of the art ?orld ?as embraced high tech as ?ts weapon of choice in battling t?e ugliness, indifference, injustice, ?nd hatred in the w?rld, w?y is it th?t painting st?ll persists ?n trying t? d? ?o, ?nly to fall flat ?n ?ts face ?n elephant dung."
~ Jim Lane, The Future of Painting
One artist who worked photographically during the early 20th century, Man Ray, felt compelled to write an essay dispelling the myth of photography taking over art.
"??ere are purists in all forms ?f expression. There are photographers ?h? maintain that this medium h?? no relation t? painting. Th??e ar? painters ?ho despise photography, ?lthough in the last century h??e been inspired by it and us?? it.
There are architects who refuse t? hang ? painting in their buildings maintaining t?at thei? o?n work is a c?mplete expression. ?n the same spirit, w?en the automobile arrived, th??e were thos? that declared the horse to ?e th? most perfect form ?f locomotion. A?l the?e attitudes result f?om a fear that t?e one wi?l replace t?e other.
Nothing of the kind happened. We ?ave simply increased our range, our vocabulary. I see no one trying to abolish t?e automobile ?ecause w? have the airplane."
~ Man Ray, Photography can be Art
Just a couple of months ago, I viewed Man Ray's retrospective exhibition at the National Gallery of Victoria. Photography today is just as accepted in the art world as painting is. Nobody thinks twice when they see a photograph hanging on a wall in an art gallery. All signs point to history repeating itself in this instance. Digital art is not here to replace painting or other traditional methods. It is simply, as Man Ray would put it "an increase in our vocabulary". I predict that the fear that some traditional artists have of digital art will eventually disappear, not through resignation, but through an acceptance of the art form to stand on it's own in the art world.
There is a more "artistic" (whatever that means) argument held by some that is looking to become one of the major obstacles in creating a viable market for digital artists.
"Artists understand t?at they c?uld cre?te t?eir imagery ent?rely on the com?uter, but t?ey sti?l desire the visual, tactile and emotional effects t?ey ?an achieve ?? sticking ?ith t?? old-fashioned technology of brushes ?nd paint."
~ William Stover, Painting, On and Off the Wall
Even in today's increasingly virtual world, many people still have an inert predisposition for "the real". It's ironic that even though touching someone else's painting is deemed unacceptable, many people still prefer viewing art of the tactile kind.
Assuming we compare two identical works, one created digitally and another painted traditionally, the only difference is the physical presence of the traditional piece and the lack of physicality of the digital piece. Yet this difference seems enough reason for some people to write off digital art entirely. Why? The answer most commonly given is that the viewer feels detached or distanced from the artwork because of its lack of physicality. But is that what makes art? Whether or not you can feel the surface of a canvas? Was the same thought and feeling not invested in the digital piece? Of course it was. To demerit an artist's hard work and thought simply because "I can't touch it" shows both laziness and closed-mindedness in the viewer.
The issue of digital art's lack of physical presence extends into the marketing realm of art. How can you sell a work when anyone can own it by clicking a few buttons? This has been a major criticism of digital art, but one that has already been solved.
"If a digital artist chooses t? create a limited edition of his or her prints, once the prints ?ave been completed, the file may be destroyed ?o it may no longer be u?ed to create prints f?om."
~ Shelley Eichholz, Whoring in the Art World: The Digital Art Debate
An innovative solution? Hardly:
"The procedure of disabling plate usage has ?een practiced for ?ears ?y fine art printers, once th? print edition numbe? has b?en met, t?e plate ?s gouged into with ? scribing needle, destroying the ability t? ?s? ?t t? print fr?m again."
~ Shelley Eichholz, Whoring in the Art World: The Digital Art Debate
But what about digital art that is displayed online? It is true, the market for these pieces is virtually non-existent, but since when was a big price-tag a pre-requisite for good art? I think that digital artists who display their work online have purer intentions than most of the art world's big names. Artists who are making art for a living are obviously making art to sell. Online artists make art simply to have it viewed by other people. Their intentions are not sullied by deadlines, curators or gallery conventions.
"(A) common argument seems to b? th?t art is skill based ?nd t?at com?uter art requires no learned skill. (...) A secretary d?wn ?n Texas a?ds ?n ?mage of "ready made art" known as "clip art" to a barbecue flyer. ?oes t??s m?ke her an artist? ?o. N? more than a teenage girl drawing flowers ?n the envelope she is sending to her pen-pal ?n Italy.
N?ither ?f th? latte? case? shows any measurable level of skill in eit?er digital or analog art."
~ Shelley Eichholz, Whoring in the Art World: The Digital Art Debate
It takes an inordinate amount of skill to take some paint and apply your thoughts and feelings on a canvas. A common misconception about digital art is that there is next to no skill involved at all. What people must come to learn is that, like a paintbrush, a computer can only do what you tell it to do. It is true that it has become much easier to create bad art using computers. Any fucktard (excuse the Parisian) can take a digital photo of his hand, apply a couple of Photoshop filters, post it on his website and call it "art". This is certainly a barrier that digital art is going to have to overcome before it becomes widely accepted. The same knowledge of light, line, form, tone and all the elements and principles of analogue art is still required when making digital art.
To close, I'll leave you with another nugget of wisdom from Man Ray. Although digital art may seem like a new and scary addition to the art world, just know that it is not the first time that this kind of thing has happened.
"?t is the m?n (or woman) behind ?hatever instrument ?ho determines t?e wo?k of art."
~ Man Ray, Photography can be Art
_________________________________________________________
Sources and Dressings:
Jodie Keeling, 2002, Digital Display: A Visit to AMODA, Downtown Arts Magazine website
Jim Lane, 1999, The Future of Painting, Humanities Web website
Man Ray, 1930's, Photography can be Art, Essay by the artist, sited first-hand
William Stover, 2003, Painting: On and Off the Wall, Curator's Essay website
Shelley Eichholz, 2003, Whoring in the Art World: The Digital Art Debate, Raster Art Group website
Austin Museum of Digital Art website
GFX Forums >Discussions website
DigitalArt.org website Art
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147228
Berichten in gastenboek