Art History

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Networked collaborations of artists didn't start on the net. during this multidisciplinary examine the perform of paintings that occurs throughout a distance—geographical, temporal, or emotional—theorists and practitioners learn the ways in which artwork, activism, and media essentially reconfigured one another in experimental networked initiatives of the Seventies and Eighties. via supplying a context for this work—showing that it used to be formed through various mixes of social family, cultural techniques, and political and aesthetic concerns—At a Distance successfully refutes the commonly authorised concept that networked paintings is technologically made up our minds. Doing so, it offers the historic grounding wanted for a extra whole knowing of today’s practices of web artwork and activism and indicates the probabilities inherent in networked practice.

At a Distance strains the historical past and thought of such experimental paintings tasks as Mail artwork, sound and radio paintings, telematic paintings, assemblings, and Fluxus. even if the tasks differed, a conceptual wondering of the “art object,” mixed with a political undermining of dominant artwork institutional practices, lively such a lot distance artwork. After a piece that units this paintings in historic and significant standpoint, the booklet provides artists and others focused on this artwork “re-viewing” their work—including experiments in “mini-FM,” telerobotics, networked psychoanalysis, and interactive publication development. ultimately, the e-book recasts the heritage of networks from the views of politics, aesthetics, economics, and cross-cultural research.

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Earlier twentieth-century flirtations with mass-culture imagery, industrial production modes, and broader distribution networks had made inroads into the premises on which the fine art object was conceived and executed. But those premises were being challenged anew at the levels of imagery, production, and distribution in the 1960s and 1970s. Pop art not only celebrated the iconography of mass media, it made use of commercial production means such as silk screen and photomechanical transfer. Minimalist artists had their work fabricated in machine shops by industry professionals.

6. , 109. 7. Ibid. Norie Neumark 20 8. , 103–104. 9. Ibid. 10. , 267 n. 2. 11. Jacques Derrida, The Post Card: From Socrates to Freud and Beyond, trans. Alan Bass (Chicago: University of Chicago Press, 1987), 64–65. Thanks to John Ricco for alerting me to the Blanchotian waiting at the heart of Mail Art and e-mail. 12. Klaus Beyrer, quoted in Siegert, Relays, 11. 13. Derrida, Post Card, 65–66. 14. Avital Ronell, The Telephone Book: Technology, Schizophrenia, Electric Speech (Lincoln: University of Nebraska Press, 1989).

12. Klaus Beyrer, quoted in Siegert, Relays, 11. 13. Derrida, Post Card, 65–66. 14. Avital Ronell, The Telephone Book: Technology, Schizophrenia, Electric Speech (Lincoln: University of Nebraska Press, 1989). Ronell’s telephone book (a seminal text) answers the noisy calls of telephony very fully, so I will not rehearse her arguments here. (For a further discussion of Ronell, see my “E/motional Machines: Esprit de corps,” in Conference Proceedings for Affective Encounters: Rethinking Embodiment in Feminist Media Studies, ed.

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