scholarly journals Más allá de los espacios alternativos situados más allá del cubo blanco / Beyond the Alternative Spaces Situated beyond the White Cube

2019 ◽  
Vol 6 (1) ◽  
pp. 1-13
Author(s):  
Isabel Garnelo-Díez ◽  
Ana Sedeño Valdellós
Keyword(s):  
Digital Art ◽  
The Internet ◽  
Art Exhibition ◽  
Art Galleries ◽  
Art Production ◽  
Alternative Spaces

ABSTRACTThe present work is an approach to the study of the production and exhibition of net.art and digital art on the Internet, to make a comparison between the exposure budgets proposed by these new modes of art production in relation to those propoused by traditional exhibition spaces such as museums and art galleries. As an example of digital art exhibition, we will focus on the spanish context, and more specifically on the International Biennial of Digital Art that is known as The Wrong. RESUMENEl presente trabajo es una aproximación al estudio de la producción y la exposición de net.art y arte digital en Internet, para hacer una comparación entre los presupuestos de exposición que proponen estos modos de hacer en relación con los propuestos por los espacios tradicionales de exhibición como museos y galerías de arte. Como ejemplo de exposición de arte digital nos centraremos en el contexto español, y más concretamente en la Bienal Internacional de Arte Digital conocida por el nombre de The Wrong.

scholarly journals Temporary events and spaces in the Swedish primary art market

2014 ◽  
Vol 58 (1) ◽  
Author(s):  
Johan Jansson
Keyword(s):  
New York ◽  
Economic Geography ◽  
Art Market ◽  
Economic Activities ◽  
Art Exhibition ◽  
Art Galleries ◽  
Economic Values ◽  
Theoretical Perspectives ◽  
Temporal Dimensions

AbstractTraditionally, the art market is associated with specific cities or art districts; typically there are internationally renowned locations like Paris, New York and Berlin. However, taking a closer look at the art markets, it is rather the temporal dimensions that are striking. Art market actors (e. g. artists, critics, gallerists, buyers, collectors, curators) are gathering in temporary locations and at temporary events such as art exhibition openings, art fairs, auctions, performances and vernissages. Within economic geography literature, the role of temporary spaces and events has been increasingly discussed in relation to economic activities and their performance, efficiency and creativity. An important insight gained in this literature is how temporary events, despite their short-lived existence, create microcosms of an industry or sector. Some temporary events even gather enough resources, skills and power to become field-configuring. In this paper, the primary art market will be discussed from the theoretical perspectives of value-making processes, temporary spaces and events, and field-configuring events. More specifically, the study focuses on temporary spaces important to galleries involved in selling and promoting primary art and artists. It focuses on how temporary spaces constitute both a characteristic feature of the art market and important spaces for creating both cultural and economic values. Empirically, this paper is based on a study of the Swedish primary art galleries and in particular it deals with primary art galleries located in Stockholm, and studies how they use temporary spaces and events in creating both cultural and economic values to themselves, the artists and their artworks. Three empirical examples characteristic to primary art galleries are examined; the opening, the art fair and the mobile art district.

The Philosophies of Software

2011 ◽  
pp. 326-342
Author(s):  
Lindsay Grace
Keyword(s):  
Digital Art ◽  
Artistic Expression ◽  
Critical Perspective ◽  
Creative Practice ◽  
The World ◽  
Computer Based ◽  
Art Production ◽  
The Way

Software is philosophical. Software is designed by people who have been influenced by a specific understanding of the way objects, people and systems work. These concepts are then transferred to the user, who manipulates that software within the parameters set by the software designer. The use of these rules by the designer reinforces an understanding of the world that is supported by the software they use. The designer then produces works that mimic these same philosophies instead of departing from them. The three axes of these philosophies are analogy, reductivism, and transferred agency. The effects on computer-based artistic expression, the training in digital art production, and the critique of art are evaluated in this chapter. Tensions between the dominant scientific approaches and the dominant artistic approaches are also defined as destructive and constructive practice respectively. The conclusion is a new critical perspective through which one may evaluate computer integrated creative practice and inspire fresh creative composition.

Digital Critics: The Early History of Online Art Criticism

Leonardo ◽  
2019 ◽  
Vol 52 (1) ◽  
pp. 37-43
Author(s):  
Charlotte Frost
Keyword(s):  
Art Criticism ◽  
Early History ◽  
The Internet ◽  
Electronic Literature ◽  
History Of ◽  
Art Production ◽  
Mainstream Press ◽  
The Way

Art critic Jerry Saltz is regarded as a pioneer of online art criticism by the mainstream press, yet the Internet has been used as a platform for art discussion for over 30 years. There have been studies of independent print-based arts publishing, online art production and electronic literature, but there have been no histories of online art criticism. In this article, the author provides an account of the first wave of online art criticism (1980–1995) to document this history and prepare the way for thorough evaluations of the changing form of art criticism after the Internet.

scholarly journals El arte digital y su relación con la violencia de género

2019 ◽  
pp. 65
Author(s):  
Adriana Graciela Segura-Mariño ◽  
Andrés García-Umaña
Keyword(s):  
Content Analysis ◽  
Digital Media ◽  
Digital Art ◽  
Gender Violence ◽  
The Internet ◽  
Audience Participation ◽  
Online Environment ◽  
Traditional Media ◽  
Direct Communication ◽  
Two Stages

Resumen: Los medios digitales permiten una comunicación más directa que los tradicionales. Los activistas pueden optimizar su labor al encontrar nuevas formas de difundir mensajes, construidos en formatos audiovisuales con un componente estratégico para contrarrestar problemas sociales, como la violencia de género. Con esta investigación se pretende determinar si el arte digital es una herramienta persuasiva contra este problema en el entorno online. Esto se resolvió a través de dos etapas: la primera consta de una revisión bibliográfica; la segunda consiste en el análisis de contenidos sobre el desarrollo de las acciones online de artivistas que luchan contra la violencia de género, y sobre los proyectos influyentes (según ONU Mujeres y el Festival Iberoamericano de la Publicidad – FIAP) que se han realizado en distintos contextos geográficos, identificando su difusión en plataformas de comunicación, los formatos, contenidos, audiencia y engagement. Se detectó que no se aprovecha estratégicamente la comunicación 2.0; los pocos artivistas que tienen presencia en Internet se limitan a convocar a acciones offline; si bien los proyectos influyentes rompen estereotipos y promueven la participación de la audiencia, no se dirigen a los adolescentes, que son quienes más utilizan Internet. El trabajo multidisciplinario es clave para diseñar soportes altamente visuales y persuasivos.Abstract: Digital media allow a more direct communication than traditional media. Activists can optimize their work finding new ways to spread messages, which are built in audiovisual formats with a strategic component to counteract social problems, such as gender violence. The objective of this research is to determine if digital art is a persuasive tool against this problem in the online environment. This was resolved through two stages: the first one consists of a bibliographic review; the second one consists of a content analysis on the development of online actions by artivists who work against violence of gender, and on the influential projects (according to UN Women and the Ibero-American Advertising Festival - FIAP) that have been carried out in different geographical contexts, identifying their diffusion in communication platforms, the formats, contents, audience and engagement. It was detected that 2.0 communication is not used strategically; the few artivists with presence on the Internet only call for offline actions; Although influential projects break stereotypes and promote audience participation, they do not target adolescents, the ones who most use the Internet. Multidisciplinary work is key to designing highly visual and persuasive supports.

Visibility and digital art: Blockchain as an ownership layer on the Internet

2017 ◽  
Vol 26 (5) ◽  
pp. 461-470 ◽  
Author(s):  
Masha McConaghy ◽  
Greg McMullen ◽  
Glenn Parry ◽  
Trent McConaghy ◽  
David Holtzman
Keyword(s):  
Digital Art ◽  
The Internet

Concluding Remarks: Spaces of Exhibition and Spaces of Human Practice

2021 ◽  
Author(s):  
Elena Pollacchi
Keyword(s):  
Meaning Making ◽  
Documentary Films ◽  
Film Festivals ◽  
Art Exhibition ◽  
Art Galleries ◽  
Human Practice ◽  
Essential Function

This chapter approaches Wang’s work from the perspective of exhibition spaces. It looks at how his career has evolved and partly transformed certain festival exhibition practices. It also discusses the virtuous circuit of Wang’s regular presence across film festivals and art exhibition spaces. Film festivals have served the essential function of providing a prestigious platform from which his work could first travel at a time in which their domestic visibility is not possible and theatrical release of art-house films or documentary films is limited in Europe like elsewhere. This concluding chapter also introduces the different modes of meaning-making of works exhibited at film festivals and art galleries.

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