Since the introduction of the World Wide Web in 1991, it has had a significant impact on contemporary art. As a consequence, however, networks are almost exclusively considered as technologically determined, art produced is digital, refers to the internet and is more often than not specifically web-based. This research redefines the role of…[Read more]

This research will attempt to evaluate how the thinking of Floridi, especially his emphasis on information, could in some way affect the way we approach art practice. It rests upon an existing body of study about art practice, pursued through a selective literature review of the works of Floridi. As artists rediscover the notion of participation,…[Read more]

This review examines Judith K. Brodsky and Ferris Olin’s book Junctures in Women’s Leadership: The Arts, published by Rutgers University Press in 2018.

The prints featured in this exhibition are all products of the Meiji period (1868–1912), a time of massive cultural and institutional transformation in Japanese culture. The era is characterized by rapid westernization brought about after the opening of Japanese ports in 1854 and the subsequent restoration of the Meiji Emperor in 1868. The p…[Read more]

This article is an encyclopedia entry in the Grove Encyclopedia of American Art.

This article is an encyclopedia entry in the Grove Encyclopedia of American Art.

This article is an encyclopedia entry in the Grove Encyclopedia of American Art.

This article is an encyclopedia entry in the Grove Encyclopedia of American Art.

This article is an encyclopedia entry in the Grove Encyclopedia of American Art.

A short discussion of The Feminist Art Project’s inception.

The software used in the performance (RE:corder) allows the performer to explore, select and use radio frequencies creating a live composition made from noise, sounds, words, voices and far away songs, corroded by distortion. The trip across the space of frequencies becomes a voyage in physical and geographical spaces in search of those people,…[Read more]

This article presents and discusses a series of four networked artworks undertaken since 2013. The artworks are performative, created within the web over a duration of time, are visible to an audience throughout their creation and as such can be considered as durational networked performances. Different in subject matter they overlap considerably…[Read more]

While male illustrators including Alberto Vargas (1896–1982), George Petty (1894–1975), and Gil Elvgren (1914–1980) are synonymous with the field of early-twentieth-century pin-up art, there were in fact several women who also succeeded in the genre. Pearl Frush (1907–1986), Zoë Mozert (1907–1993), and Joyce Ballantyne (1918–2006) each establi…[Read more]

The Exhibition Library reimagines the medium of art exhibition as well as that of art catalogue. Catalogues carry exhibitions through time and space, figuring as tropes for imagining arrangements and the course of works and settings they describe. However, they rarely give us a clue about what really happened, since they are often made before the…[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]

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]