The development of the use of computers and software in art from the Fifties to the present is explained. As general aspects of the history of computer art an interface model and three dominant modes to use computational processes (generative, modular, hypertextual) are presented. The “History of Computer Art” features examples of early…[Read more]

The core of the Conceptual artists (Mel Bochner, Sol LeWitt; the Siegelaub group with Robert Barry, Douglas Huebler, Joseph Kosuth, Lawrence Weiner; English and American members of Art & Language) is situated in the art context of the late sixties and the first half of the seventies. The self-positioning of the Conceptual artists within the art…[Read more]

The outline of the development of Performance Art features happenings in New York and Vienna in the sixties as well as body art and performances with closed circuits in the seventies (among others). Action Art, Environmental Theater and Intermedia are the terms defining the main characteristics of the works discussed. The research method is mainly…[Read more]

Auction action – commission an artwork, listed on eBay as ART, LIMITED EDITION, PRINT | Auction action – commission an artwork #exstrange, were transformative actions that occurred within the context of the networked performance Transformations: Actions to Matter / Matter to Actions. Transformative actions within Transformations attempt to sou…[Read more]

Article from the proceedings of the conference “Europa baut auf Biographien”

Behind every printed national biography is a board of editors responsible for finding established scholars to write the biographies. The personal and institutional networks, the scientific and ideological socialization of these authors have a significant influence on the biographical constructs and narratives they have designed, and thus also…[Read more]

This paper for the Journal of Media Practice / MeCCSA Practice Network Symposium titled Post-Screen Cultures/Practices on the 10/06/2016, presented four networked art practice works undertaken since 2014. The works included: – This is Real Virtuality (2014), a networked photographic and text-based performance in weblog form consisting of a first…[Read more]

The Art of Networks and Networks as Art is the title of a performance/presentation given at the 12th Annual Subtle Technologies Festival on the theme of Networks. The performance/presentation focused on the development of my work over the last five years and the role of networks within artistic practice. This was detailed in its most obvious sense…[Read more]

In under a decade and a half, net.art has developed from an obscure to a hyped form, gaining acceptance in the institution and being absorbed into popular culture. Why net.art has become associated with the web and not networks in general is evident within the form itself. The advantages the web embodies as an arena to conceive, create and present…[Read more]

On the second and final day of the conference Remote Encounters: Connecting Bodies, Collapsing Spaces and Temporal Ubiquity in Networked Performance proceedings closed with a roundtable discussion entitled Performance Systems: Making vs. Exploiting. The purpose of the roundtable was to explore performance systems used by artists and to…[Read more]

This special issue of Liminalities has been compiled from the outcomes of the conference Remote Encounters: Connecting bodies, collapsing spaces and temporal ubiquity in networked performance held at the University of South Wales on the 11th and 12th of April 2013. By providing an overview of contributions to the issue this editorial aims to both…[Read more]

This article discusses the artist Garrett Lynch’s residency in Second Life® at Yoshikaze ‘Up-in-the-air’, HUMLab, Umeå University in Sweden. The artist’s mixed-reality live performance and installation work in the ‘virtual’ world, part of a wider artistic practice on networks, focuses on the identity and role of the artist within an environment m…[Read more]

Audiences are experiencing a growing apprehension and distrust of interaction in art and a reluctance to engage with art that employs it. Interactive art can be categorised in broadly two ways: works that are highly technological or works that are highly social. While apprehension of interaction in art has always existed it is proposed that rather…[Read more]

From 1852 the Hôtel Drouot was the space where the French auctioneers (Commissaires-Priseurs) – who held a stately sanctioned monopoly – organized their auctions. By processing data from the art auction catalogue repertory by Frits Lugt and the extended version Art Sales Catalogues Online, it is possible to map the networks of art marketing at…[Read more]

From 1852 the Hôtel Drouot was the space where the French auctioneers (Commissaires-Priseurs) – who held a stately sanctioned monopoly – organized their auctions. By processing data from the art auction catalogue repertory by Frits Lugt and the extended version Art Sales Catalogues Online, it is possible to map the networks of art marketing at…[Read more]

The following text presents an online project, which has been developed since April 2007 with a duration of five years on the initiative of the Kunstgeschichtliches Institut in Frankfurt and the Kunsthistorisches Institut in Florence, together with the partner institutions Städel Museum and Historisches Museum in Frankfurt and jointly financed by…[Read more]

The following text presents an online project, which has been developed since April 2007 with a duration of five years on the initiative of the Kunstgeschichtliches Institut in Frankfurt and the Kunsthistorisches Institut in Florence, together with the partner institutions Städel Museum and Historisches Museum in Frankfurt and jointly financed by…[Read more]

Drei digitale Kunstprojekte aus den Jahren 2015 und 2016 werden in diesem Text vorgestellt und verglichen, Game Over Facebook, WrongGrid und Curating Money. Ihnen ist gemeinsam, dass sie in Konfrontation zu ihrem jeweiligen technischen und ästhetischem Kontext stehen, beispielsweise zu den digitalen Plattformen, auf denen sie gespeichert sind,…[Read more]

Am 11.10.2014 erschien im Feuilleton der Frankfurter Allgemeinen Zeitung ein Artikel von Gina Thomas über die derzeitige Intensivierung der wissenschaftlichen Arbeit zum Kunstmarkt. Der Titel lautete: Wie der Kunsthandel die Wissenschaft erobert. Auf diese Bestimmung eines Verhältnisses und die gebrachten Beispiele soll hier reagiert werden.