Tag Archives: conceptual art

Sack, W. (2011). Aesthetics of Information Visualization. In _Context Providers_, M. Lovejoy, C. Paul, and V. Vesna, eds. Bristol and Chicago: intellect.

Walter Sack, software designer and media theorist, explores online public space and discourse theories and designs. He is Chair of the Digital Arts & New Media MFA Program and Associate Professor of Film and Digital Media at the University of Santa Cruz. He has an S.M. and PhD from the MIT Media Laboratory.

Here Sack takes issue with Lev Manovich’s (2002) characterization of digital visualization as “antisublime,” privileging user-friendliness and utilitarianism over aesthetic beauty. However, Sack says, there already are examples of the sublime (e.g. John Simon’s “Every Icon” [1997]) and the uncanny (e.g. Alex Galloway’s packet sniffer “Carnivore” [2002]), and proposes we regard information visualization’s artistic contributions not in terms of visual, but conceptual arts. This is a particularly salient approach, if we take conceptual art’s history of reiterating industrial and bureaucratic modes to engage with and critique them.

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Filed under Annotated Bibliographies, Media Arts, Minor Field, Research Fields

Rush, M. (2005). _New Media in Art_, 2nd. Ed. London: Thames of London.

Michael Rush, PhD in Theology and Psychology from Harvard University, is the founding director of the Eli and Edythe Broad Art Museum at Michigan State University. Most recently he was director of the Rose Art Museum at Brandeis University. He contributes regularly art world publications and scholarship. His books include Video Art, New Media in Art, New Media in Late 20th-Century Art, Marjetica Potrc: Urgent Architecture, and he’s written monographs on Gunther Brus, Steve Miller, and Alexis Rockman.

This book is a well-organized, beautifully illustrated (124 of 267 illustrations are in full color) and straightforward history of new media in art. Rush organizes the text quasi-chronologically, but emphasizes modes of practice, with chapters entitled, “Media and Performance,” “Video Art,” “Video Installation Art,” and The Digital in Art.” Suffice it to say, Muybridge and Marey, and Duchamp are the technological and conceptual benefactors, respectively, whose ideas are experimented with and added to over the next century, first by artists migrating from other disciplines and eventually by first-generation artists.

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Filed under Annotated Bibliographies, Media Arts, Minor Field, Research Fields

Tribe, M., Jana, R., & Grosenick, U., eds. (2006). _New Media Art_. Cologne: TASCHEN GmbH.

American artist and Rhizome founder, Mark Tribe is Assistant Professor of Modern Culture and Media Studies at Brown University. He’s authored The Port Huron Project: Reenactments of Historic Protest Speeches (2010), as well as co-authored this book. He received his MFA in Visual Art from UC, San Diego. His interest in new media art is not so much the technologies but the way these technologies can engage cultural engagement, aesthetic awareness, and political engagement.

Reena Jana is a New York-based writer, editor, and consultant whose work focuses on culture, innovation, and business. She’s now a contributing editor and blogger at SmartPlanet, and has written for the New York Times, Wired, Fast Company, to name a very few. She attended Columbia University’s Graduate School of Arts and Sciences where she was a National Arts Journalism Program Fellow at Columbia Journalism School.

Uta Grosenick is a Cologne-based freelance author and editor. Her work for TASCHEN includes several books from the Basic Genre Series, Women Artists (2001), ART NOW (2002), Büttner (2003), and ART NOW II (2005).

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Filed under Annotated Bibliographies, Media Arts, Minor Field, Research Fields