[Yasmin_an] The Big Bang of Electronic Art: Merging Abstraction and Representation in the Age of Digital Imaging
hfischer at hervefischer.net
Sun Mar 20 15:51:23 EET 2011
----- Original Message -----
From: "Cynthia Beth Rubin" <info at cbrubin.net>
To: "YASMIN ANNOUNCEMENTS" <yasmin_announcements at estia.media.uoa.gr>
Sent: Saturday, March 19, 2011 5:33 PM
Subject: [Yasmin_an] The Big Bang of Electronic Art: Merging Abstraction and
Representation in the Age of Digital Imaging
> HI Ysminers
> The Big Bang of Electronic Art: Merging Abstraction and Representation in
> the Age of Digital Imaging
> Panel Chair (and participant)
> Cynthia Beth Rubin USA
> Confirmed Panelists:
> James Faure Walker UK
> Teresa Wennberg, Sweden / France
> One of the most profound transformations of the electronic age is the
> changing relationship of representational imagery and abstraction. Once
> inexorably bound to painting, the advent of photography made it the medium
> of choice for documentation, a split which in turn freed painting to
> prioritize formal elements over representational content, creating a
> vocabulary of meaning derived from color, form, texture, and gesture, and
> setting artists down a path that eventually culminated in Abstract
> When digital imaging developed, early commercial developers of software
> envisioned that this split would continue, but this was hardly the case
> for the early software artists, working in the days before easy scanning
> and digital photography. As they “painted” into the computer, they found
> the same unique qualities of repetition and iterative transformations that
> their programming colleagues found just a few years earlier, as well as
> the ability to add gestural expression. Over the slow decade in which
> scanning and digital photography gradually became available to artists,
> early digital artists took the next step of integrating photographic
> content, jumping seamlessly from PhotoMac to PixelPaint and back again,
> even if it took years for the software companies to catch on.
> As digital imaging becomes the ultimate recombinant medium, artists are
> now digitally painting with photographs as another element in their work,
> just as they use color, form, and gesture. Imagine the artist in the
> digital studio, being able to can pick up a flat red organic form or an
> image of a building. In this context, the symbolism of the color “red”
> and symbolism of “the building” become similar elements - an artist
> chooses to use red because it causes spatial tension, or because it
> represents anger, or represents communism, just as the artist may use the
> building because it is a heavy rectangular form with pointy tops, or
> because it has a pattern of repetition, or because it references a known
> historic site or geographic location.
> Is this merger the gateway to both a new aesthetic and a new public
> engagement, as we integrate documentation of experience, cultural
> heritage, and science into our work?
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