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How does the internet influence the practice of contemporary artists and designers?

  • Internet plays hand in hand with social media. Image sharing availability to everyone. References back to the pop age of popular imagery. Allows to them to address critical issues with immediate publication and response. Easier way of reaching out to the younger generations. Social networking websites which are designed to find artists on the web to collaborate, using social media as a tool. (pictoplasma)
  • Context, living in the internet age, it’s all around us and continues would be impossible to ignore its existence. Like in the golden age of illustration printing provided new ways for illustrators to work and be widespread, the age of technology created new platforms and ways of artists show their work.
  • When talking about any artwork its materiality plays a part in its context and message, and it’s important to consider when seeing images online, the screen and where it’s uploaded to plays a part in its materiality. Worth mentioning Fontana’s split canvas, what it means and relate back to GIF art. An art that exists for the purpose of the internet its materiality exists only in one form on a screen, a screen can’t be printed. Birth of technology creates new materials for artist to work with, even changes the concept of how we view artwork and how serious it needs to be, and is it less serious because it addresses a wide audience range?
  • The use of gifs realte to the way we view images online and the culture of image sharing
  • In addition, even galleries are accepting the shift towards art cultivated by the internet with the 2012 exhibitions at the photographer’s gallery. This is something that I’ve actually struggled to find anywhere else.
  • The internet is also immediate; people struggle to read things for long periods of time. Changes the way we process thing on a screen, instant format. This can either work in favour for artists or play against them. We lose being able to thoughtfully stare at an image in a gallery or book, as a hyper link or the next image on a page will force you to look elsewhere. However, if people don’t have the time to read anymore they can instead briefly look at images. Perhaps the way many artists get round this is by creating interactive, or moving images the spark the interest of a lazy mine to linger on the image, something long pieces of text do not do. http://www.theatlantic.com/magazine/archive/2008/07/is-google-making-us-stupid/306868/
  • When considering context it would help to mention cultural capital, Pierre Bourden invented the notion of cultural fields and cultural capital. We allow ourselves to add cultural capital to certain things, make it seem more worthy of our approval or time, like classical music for example has more cultural capital than popular music. As well as adding monetary value as well as cultural capital. Because a piece of art is seen online could it have less cultural capital then something that would be seen in a gallery? Galleries are seen as culturally rich places so would automatically have more cultural capital apply. I feel as though when an artists creates work to be seen online this is considered, it immediately change the tone and context. This is something the infamous street artist Bansky touched on when he put his own primitive artworks into galleries, unknown by the establishment to see how long it would take. The result being they did not notice, this could be because just by placing it in an gallery environment cultural capital was added and allowed visitors to presume it was meant to be there.
  • I believe there is a difference between art that exists and influenced by the internet and what people refer to as ‘internet art’. Internet art seems to hold a stigma, or low cultural capital if you will, and I think exists to be entertaining, a lowbrow form or art. Artist and designers that use it to influence the work consider its materiality on a much higher level, they use it to advance their point of view or imagery. Whereas internet art desires to be kitsch, entertaining for a spilt second, but not to be considered. Examples of highbrow I would believe it designers such as Gareth Pugh, Anasomnia, Francoise gamma, low brown Rafael Rozendaal.
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