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"New media art and the gallery in the digital age"*

DM7917 research

The TATE paper raised some interesting connections with artists and the history surrounding the links with art galleries and new media.

“Artists such as Jean Tinguely, Pol Bury, Nicolas Schöffer, Takis, Otto Piene, Julio le Parc, Tsai Wen-Ying, and Len Lye (also known as a filmmaker), and groups such as Le Mouvement, The ‘New Tendency’, ZERO and the Groupe de Recherche d‘Art Visuel, started to explore the possibilities of Kineticism and cybernetics for art.” (work in the period of the 1950s).

At an exhibition I went to at Tate St Ives, I saw an artists that impressed me on an interactive and AR level. Haegue Yang's work with kinetic sculpture took inspiration from Jean Tinguely (1925-1991) Hague Yang satirised automation and the technical overproduction of material goods (see below).

University encouragement :

From research of the theorist Max Bense (1910 – 1990) Bense was able to put his ideas of movement and art into practice through founding of the Stuttgart University Art Gallery. During his two-decade long tenure as head of the Gallery it held some of the very first exhibitions of computer art, and brought to an art audience the world of "concrete poetry".

Famous historical references:

Salvador Dali enjoyed playing with the institutions and galleries - he was the avant guard writing with his contemporaries about the ways of seeing and the abstraction of life and its dimensions. His surreal perspective and the way he described an alternative reality in his art, broke barriers and can be seen I feel in the AR and VR work being created today.

"Though the subjects of The Persistence of Memory and The Disintegration of the Persistence of Memory are the same, their differences illustrated the shifts that took place between periods of Dalì's career. The first painting was created in the midst of his Freudian phase, when Dalì was fascinated by the dream analysis pioneered by Sigmund Freud. By the 1950s, when the latter was painted, Dalì's dark muse had become the science of the atomic age".

Memory, thought/selection and process are part of my Pebble Project. An artists I admire is Cindy Sherman. She played with memory and fixing a point in time with the image of photography. Sherman plays with reality, places herself in the early works she produced developing a narrative and asking the audience to participate in that narrative.

Working with reality and narrative, a simplistic story or element allows for the emotion of the viewer/audience to work with the concepts in front of them. Picking up a pebble and placing it or watching it building simple interactive story will allow the viewer to gain something from the art they are encountering. So making the Augmented reality of the art work feel meaningful, making the audience engage and not just dismiss it as a game.

Making real into unreal:

Playing with reality and the space of a galley is shown in this example by Donalleniii:

The painting becomes the image target and the AR/VR application can then allow for user engagement and a blaring of the real and unreal world. we have steeped clearly into new areas that could only be described in paintings and now we can generate and explore new worlds.


The TATE produced a paper on this topic: ISSN 1753-9854 : by CHARLIE GERE:

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