Internet & New Media Art

Art in the Age of Anxiety by Omar Kholeif (Editor) "Artists and writers examine the bombardment of information, misinformation, emotion, deception, and secrecy in online and offline life in the post-digital age. Every day we are bombarded by information, misinformation, emotion, deception, and secrecy in our online and offline lives. How does the never-ending flow of data affect our powers of perception and decision making? This richly illustrated and boldly designed collection of essays and artworks investigates visual culture in the post-digital age. The essays, by such leading cultural thinkers as Douglas Coupland and W. J. T. Mitchell, consider topics that range from the future of money to the role of art in a post-COVID-19 world; from mental health in the digital age to online grieving; and from the mediation of visual culture to the thickening of the digital sphere. Accompanying an ambitious exhibition conceived by the Sharjah Art Foundation and volume editor and curator Omar Kholeif, the book is a work of art and a labor of love, emulating the labyrinthine corridors of the exhibition itself. Created by a group of writers, artists, designers, photographers, and publishers, Art in the Age of Anxiety calls upon us to consider what our collective future will be and how humanity will adapt to it."

Art Must Be Artificial by Jerome Neutres (Editor) As the presence of AI and digital tools is growing in our lives, the computer has become a new medium of expression for the artist. This art technique is also a language. Art Must Be Artificial: Perspectives of AI in the Visual Arts presents the historical and current art practices of leading international and Saudi artists using computer technology, spanning from the 1960s until today. This exhibition aims to question the nature and aspects of the most accomplished computational and robotic artworks through the historic perspective of the pioneers of computer art. With a majority of artworks from the Guy & Myriam Ullens Foundation's comprehensive computing art collection, the exhibition includes more than thirty artists from fifteen countries, representing four generations of this innovative, creative practice. Organized by the Saudi Ministry of Culture and presented at the soon-to-open Diriyah Art Futures in Riyadh, the inaugural exhibition is curated by Jerome Neutres, a leading expert in the field who theorized the concept of "Computing art" and has been examining most of the participating artists' work for more than twenty years. The exhibition focuses on how the pioneers of yesterday and the emerging figures of today are depicting a meaningful history of the evolution of the homo digitalis, the new human civilization. It aims to demonstrate that digital technology is a true medium of art, opening infinite visual possibilities, rather than an experimental school or a fad art movement. The exhibition highlights some of the specificities of this new art medium: how it has placed the viewer at the heart of the artistic experience, how it presents the dream of an unlimited artwork, close to an organic creation-it is art with a nervous system. In our algorithmic era, technology and art inspire each other. Artists are perhaps the best mediators to question the complex and numerous issues of this new world. Because imagination is an artificial reality, art must be artificial.

Blind Maps and Blue Dots by Joost Grootens The shift towards digital modes of production has fundamentally changed both cartography and graphic design. The omni-present computer, the interactive possibilities of digital media and the direct exchange of visual information through networks have blurred the distinction between designers and users of visual information. Blind Maps and Blue Dots is the first work to explore the disappearing boundaries between producers and users of maps. Using three mapmaking practices as examples--the Blue Dot, the location function in Google Maps; the Strava Global Heatmap, a world map showing the activities of a fitness app; and the "Situation in Syria" maps, a regularly updated map of the Syrian conflict made by an Amsterdam teenager--renowned designer Joost Grootens shows the blurring of the binary distinction between producing and using, ultimately offering a whole new approach to graphic design.

Coded: Art Enters the Computer Age, 1952-1982 by Jennifer King (Text by) Artists, writers, musicians, choreographers and filmmakers explore the possibilities of data, digitization and algorithms at the dawn of computer technology Coded: Art Enters the Computer Age, 1952-1982explores how the rise of computer technology, together with its emergence in popular consciousness, impacted the making of art in the age of the mainframe. International and interdisciplinary in scope, Codedexamines the origins of what we now call digital art, featuring artists, writers, musicians, choreographers and filmmakers working directly with computers as well as those using algorithms and other systems to produce their work. Whether computer-generated or not, the many artworks considered here reflect the simultaneous wonder and alienation that was characteristic of the 1960s and '70s, along with the utopian and dystopian possibilities of these new machines. Today, with digital technology having been fully integrated into our lives, Coded's examination of the years leading up to the advent of the personal computer is relevant, even imperative, to fully appreciating art and culture in the age of the computer--both then and now. Artists include: Rebecca Allen, Siah Armajani, Richard Baily, Colette Stuebe Bangert, Charles Jeffries Bangert, Jennifer Bartlett, Jonathan Borofsky, Stanley Brouwn, Henri Cartier-Bresson, Thomas Chimes, Harold Cohen, Computer Technique Group, Analivia Cordeiro, Waldemar Cordeiro, Charles Csuri, Agnes Denes, herman de vries, Juan Downey, Charles Eames, Ray Eames, Charles Gaines, Brion Gysin, Hans Haacke, Frederick Hammersley, Leon D. Harmon, June Harwood, Jean-Pierre Hébert, Desmond Paul Henry, Channa Horwitz, Hervé Huitric, Toshi Ichiyanagi, Donald Judd, Hiroshi Kawano, Edward Kienholz, Alison Knowles, Kenneth C. Knowlton, Beryl Korot, Gerald Laing, Ben F. Laposky, Sol LeWitt, Jackson Mac Low, Aaron Marcus, Jean-Claude Marquette, Hansjörg Mayer, Edward Meneeley, Manfred Mohr, Vera Molnár, François Morellet, N.E. Thing Co. Ltd (Iain and Ingrid Baxter), Monique Nahas, Frieder Nake, Lowell Nesbitt, A. Michael Noll, Nam June Paik, Eduardo Paolozzi, Peter Phillips, Sheila Pinkel, Paul Rand, Sonya Rapoport, Bridget Riley, Lillian F. Schwartz, Barbara T. Smith, John Stehura, Peter Struycken, Calvin Sumsion, Angelo Testa, Joan Truckenbrod, Stan VanDerBeek, Victor Vasarely, Gary Viskupic, Lawrence Weiner, Dennis Wheeler, John Whitney Sr, Stephen Willats and Emmett Williams.

Curating Digital Art by Annet Dekker (Editor) What is the role of the curator when organizing digital art exhibitions in offline and online spaces? Analyzing the influence and impact of curating digital art, the book focuses on how the experiments of curators, artists and designers opened the possibility to reconfigure traditional models and methods for presenting and accessing digital art. In the process, it addresses how web-based practices challenge certain established museological values and precipitate alternative ways of understanding art's stewardship, curatorial responsibility, public access and art history. Through more than twenty interviews with artists and curators in the course of the last ten years, and flanked by an extensive timeline, the reader of this publication is given an insight into the discourse on digital art and its curation today.

Death Design Data by Cecilia Casabona (Editor); Ginevra Petrozzi (Editor); Perrine De Donato (Text by); Susanne Duijvestein (Text by); Goga Mason (Text by) Ten artists offer new considerations for grieving in the digital age In the digital era, the experience of death and grief is the opposite of that of centuries past: saturated with information, yet devoid of rituality. With this influx of media and "content," is it possible that some form of visual culture could cut through the noise in order to reconcile human beings with death? Death Design Data unites 10 contemporary artists and designers to explore how different creative practices can produce new, innovative rituals surrounding death and loss, and how they affect us. The experiences, memories and invocations shared on these pages invite us to reconsider our mortality and the vessels that we use to navigate life and death. Contributors include: MAalex, Thomas Walskaar, Camille Wiesel, Studio GISTO & Goga Mason, Perrine De Donato, Susanne Duijvestein, Lorenzo Montinaro, Mourning School.

Digital Art (Victoria and Albert Museum) by Pita Arreola (Editor); Corinna Gardner (Editor); Melanie Lenz (Editor) A new history of digital art from the 1960s to the present day, with decade-by-decade essays exploring evolving digital art practices, alongside interviews with artists, gallerists, museum curators and collectors. This is the global story of digital art from its earliest beginnings to the innovative work of today, encompassing wide-ranging, experimental practices, from computer-generated works on paper created by mathematicians, scientists, engineers, programmers and artists in the 1960s to interactive installations, virtual reality, net art and videogames. A collaborative, dynamic approach still characterizes the practice of today's digital artists, who employ technology as a tool while examining its social, ethical and political impact. Digital Art: 1960s-Now delves into ideas of artificial intelligence, computer animation, simulation and cybernetics through the historic works of pioneering artists such as Analívia Cordeiro, Manfred Mohr, Vera Molnar and Frieder Nake, alongside renowned contemporary practitioners including Danielle Brathwaite-Shirley, Ibiye Camp, Sarah Friend, Trevor Paglen and Anna Ridler. Decade-by-decade essays by leading authorities explore changing digital art practices. Interviews and discussions with prominent artists, gallerists, museum curators and collectors at the forefront of the discipline offer further insights in this absorbing illustrated study of the evolution of digital art and its future possibilities.

I'll Be Your Mirror by Alison Hearst (Editor) Artists from Nam June Paik to Arthur Jafa show how modern digital technologies have shaped the art and themes of our time Surveying some 50 years of groundbreaking art related to digital technology and the screen, I'll Be Your Mirror examines how technologies such as home computers, smartphones and TV have affected art and life over the past five decades. It traces a trajectory stretching back to the late 1960s, a watershed moment in the rise of the screen in the home. Today, accelerated by the pandemic, our daily life is mediated through screens for work, entertainment and sociality. Artists include: Lillian Schwartz, Nam June Paik, Lynn Hershman Leeson, Andy Warhol, Gretchen Bender, Eva and Franco Mattes, Jacqueline Humphries, Cory Arcangel, Petra Cortright, Elias Sime, Rafael Lozano-Hemmer, Trevor Paglen, Hito Steyerl, Liss LaFleur, Kristin Lucas, Rick Silva, Wickerham & Lomax, Avery Singer, American Artist, Simon Denny, Skawennati, Jacolby Satterwhite, Carson Lynn, Ed Atkins, Arthur Jafa, Cao Fei and Frances Stark.

Never Alone by Paola Antonelli (Editor); Anna Burckhardt (Text by); Paul Galloway (Text by) Our lives are increasingly lived on screens, and every one of our electronic interactions is mediated by a designed interface, which can be buggy and incomprehensible or inviting and accessible. Like other ubiquitous everyday tools, these interfaces are seldom recognized as objects of design-and even less as objects of interaction design. In video games, however, in which "play" is an essential feature, users are acutely aware of their relationship with the interface, making video games compelling examples of interaction design. Published in conjunction with an exhibition at The Museum of Modern Art, Never Alone: Video Games as Interactive Design explores the impact of interactive design by examining 35 video games created between 1972 and 2018-from Space Invaders (1978) and Pac-Man (1980) to The Sims (2000) and Minecraft (2011). An overarching essay by the curator Paola Antonelli presents the pioneering criteria by which MoMA has chosen these video games for its collection, as well as the protocols for their acquisition, display, and conservation. The richly illustrated plate section is divided into three sections that analyze input devices (keyboards, joysticks, buttons), game designers, and players, and each game is accompanied by a short text illuminating its significance in the history of the medium.

Reality Bytes by Jesse Lubinsky; Micah Shippee; Christine Lion-Bailey "We're at the dawn of an incredible transformation in education. Augmented reality and virtual reality--technologies that were once the province of science fiction and fantasy--are faster, better, and more affordable than ever. These tools have the potential to not only inspire students but to redefine how we teach and collaborate. But widespread adoption of AR and VR in K-12 classrooms requires taking risks, investing money and time, and training educators to bring these tools into classrooms. 'Reality bytes' makes the case for taking this leap by showing how educators are using these amazing technologies, and it provides a powerful framework to help anyone, in any school, join them. The innovative educators profiled are already designing learning experiences using AR and VR that supercharge student motivation, encourage creativity, and make otherwise impossible educational adventures accessible to all. You can do the same, using easy-to-implement resources that will revolutionize how you approach instruction and equip your students with the skills they'll need in the future--today."--Page 4 of printed paper wrapper.

Send Me an Image by Felix Hoffman (Editor); Kathrin Schönegg (Editor, Text by) with each other using images? And how do the virtual essences that are photographs change our societies? Featuring works by Moyra Davey, Gilbert & George, Theresa Martinat, Thomas Ruff and Clare Strand, among others, Send me an Image. From Postcards to Social Media explores the development of photography from a means of communication in the nineteenth century to its current digital representation online. Its focus lies on the dialogue between traveling images throughout photography's 150-year history and contemporary artists beginning in the 1970s who work with both traditional and modern photographic techniques, uses and modes of dissemination. The book considers the deeper social dimensions of image communication, and the transformation of photography from an illustrative medium to one of the most significant forms of dialogue and exchange today. The works in Send me an Image furthermore illuminate phenomena such as censorship, surveillance and algorithmic regulation, which affect many activities in our data-driven era. Images now shared via social media not only spread rapidly but can also take on their own news values and as 'pure' messages may even spark protests of all kinds - often beyond the scope of their original uses. Exhibition: C/O Berlin, Germany (26.03. - 02.09.2021).

Takedown by Farah Nayeri Farah Nayeri addresses the difficult questions plaguing the art world, from the bad habits of Old Masters, to the current grappling with identity politics. For centuries, art censorship has been a top-down phenomenon--kings, popes, and one-party states decided what was considered obscene, blasphemous, or politically deviant in art.   Today, censorship can also happen from the bottom-up, thanks to calls to action from organizers and social media campaigns. Artists and artworks are routinely taken to task for their insensitivity. In this new world order, artists, critics, philanthropists, galleries and museums alike are recalibrating their efforts to increase the visibility of marginalized voices and respond to the people's demands for better ethics in art.   But what should we, the people, do with this newfound power?   With exclusive interviews with Nan Goldin, Sam Durant, Faith Ringgold, and others, Nayeri tackles wide-ranging issues including sex, religion, gender, ethics, animal rights, and race.   By asking and answering questions such as: Who gets to make art and who owns it? How do we correct the inequities of the past? What does authenticity, exploitation, and appropriation mean in art?, Takedown provides the necessary tools to navigate the art world. 

Worldbuilding by Aïcha Mehrez (Text by) Alternative Realities "Video games are to the twenty-first cetury what movies were to the twentieth century and novels to the nineteenth century." - HANS ULRICH OBRIST WORLDBUILDING: Gaming and Art in the Digital Age examines the relationship between gaming and time-based media art. It is the first transgenerational show of this scope to survey how contemporary artists world-wide are appropriating the aesthetics and technology of gaming as their form of expression. Commissioned by the Julia Stoschek Foundation and curated by Hans Ulrich Obrist, the exhibition features works by more than 50 artists, including Rebecca Allen, Cory Arcangel, LaTurbo Avedon, Meriem Bennani, Ian Cheng, Cao Fei, Harun Farocki, Porpentine Charity Heartscape, Pierre Huyghe, Rindon Johnson, KAWS, Sondra Perry, Jacolby Satterwhite, Sturtevant, and Suzanne Treister. This catalogue is conceptualized as a future standard reference in the field in close collaboration with Hans Ulrich Obrist. In addition to texts by contemporary theorists, curators, and critics on the individual works, a series of newly commissioned contributions will investigate various perspectives on the intersection of gaming and time-based media art. This playfully designed volume features rounded edges, a screen-printed PVC dust jacket and kiss-cut stickers showing a range of different digital avatars.