Get At a Distance: Precursors to Art and Activism on the PDF

By Annmarie Chandler, Norie Neumark

Networked collaborations of artists didn't start on the net. In this multidisciplinary examine the perform of paintings that happens throughout a distance -- geographical, temporal, or emotional -- theorists and practitioners research the ways in which paintings, activism, and media essentially reconfigured one another in experimental networked tasks of the Nineteen Seventies and Eighties. by means of delivering a context for this paintings -- exhibiting that it was once formed by means of various mixes of social kin, cultural innovations, and political and aesthetic matters -- At a Distance successfully refutes the commonly accredited concept that networked artwork is technologically decided. Doing so, it offers the historic grounding wanted for a extra whole realizing of modern practices of web artwork and activism and indicates the probabilities inherent in networked practice.At a Distance strains the background and thought of such experimental paintings initiatives as Mail paintings, sound and radio paintings, telematic paintings, assemblings, and Fluxus. even supposing the initiatives differed, a conceptual wondering of the "art object," mixed with a political undermining of dominant artwork institutional practices, lively so much distance artwork. After a bit that units this paintings in ancient and demanding viewpoint, the e-book offers artists and others fascinated with this artwork "re-viewing" their paintings -- together with experiments in "mini-FM," telerobotics, networked psychoanalysis, and interactive publication development. eventually, the ebook recasts the historical past of networks from the views of politics, aesthetics, economics, and cross-cultural research.

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Quoted in Tilman Baumgärtel, “Net Art: On the History of Artistic Work with Telecommunications Media,” in net_condition_art and global media, ed. : MIT Press, and Karlsruhe, Germany: ZKM Center for Art and Media, 2001), 155. 33. , Henry M. : MIT Press, 2001), esp. chap. 1. 34. ” Sayre notes that as early as 1966, Harold Rosenberg published a collection of essays, The Anxious Object (2). On the “side” of hegemonic Greenbergian modernism was Michael Fried’s influential “Art and Objecthood” (Artforum 5, June 1967), which advocated formalist “presentness” of self-sufficient object, immanentist aesthetics (6–9).

30. , 8. Norie Neumark 22 31. , 12. 32. Quoted in Tilman Baumgärtel, “Net Art: On the History of Artistic Work with Telecommunications Media,” in net_condition_art and global media, ed. : MIT Press, and Karlsruhe, Germany: ZKM Center for Art and Media, 2001), 155. 33. , Henry M. : MIT Press, 2001), esp. chap. 1. 34. ” Sayre notes that as early as 1966, Harold Rosenberg published a collection of essays, The Anxious Object (2). On the “side” of hegemonic Greenbergian modernism was Michael Fried’s influential “Art and Objecthood” (Artforum 5, June 1967), which advocated formalist “presentness” of self-sufficient object, immanentist aesthetics (6–9).

On the “side” of hegemonic Greenbergian modernism was Michael Fried’s influential “Art and Objecthood” (Artforum 5, June 1967), which advocated formalist “presentness” of self-sufficient object, immanentist aesthetics (6–9). 35. Quoted in Sayre, Object of Performance, 15. 36. Harrison, Essays on Art & Language, 47. 37. Sayre, Object of Performance, 7. 38. Edward Scheer, “Sketches of the Jet: Artaud’s Abreaction of the System of Fine Arts,” in 100 Years of Cruelty: Essays on Artaud, ed. Edward Scheer (Sydney: Power Publications and Artspace, 2000), esp.

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