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]

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]

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.

In Along an African Border, anthropologist Sónia Silva examines how the Angolan refugees living in Zambia during the Angolan civil war used their divination baskets to cope with daily life in a new land. To many people, these baskets are capable of thinking, hearing, judging, and responding. They communicate by means of small articles drawn in…[Read more]

Sónia Silva is an Associate Professor of anthropology at Skidmore College. Drawing on ethnographic fieldwork in Zambia, as well as museum work in Europe and the USA, Silva’s research deals with materiality, material religion, the notion of the fetish, ritual and religion, divination, witchcraft, violence, and museums. Silva is the author of Alon…[Read more]

Throughout historic developments, the publicly ascertained and published price of an artwork repeatedly served as a reference point for art theoretical discussion. Particular importance was attached to the auction sale price, since this financial evaluation of art was of such a public nature. While there is a long history of these ideas about the…[Read more]

The present article seeks to dig into Gustave Doré’s (1832-1883) vision of the Wood of the Suicides from his illustrations of the Divine Comedy (d. 1861), establishing a comparison between its critical reception, the works that have illustrated the chant over the centuries and Doré’s works themselves. A goal here is to glimpse if negative criti…[Read more]

This study tells the story of Architectural Forum magazine during the Time Inc. ownership period, 1932-64. Why and how did this episode in American discursive life come about? What were its failures and successes, lessons, potential legacy? In answering these questions, the author describes the unusual building industry-wide sense of community…[Read more]

This paper studies the creation, circulation, and reception of two groups of photographs of Ludwig Mies van der Rohe’s iconic Farnsworth House, both taken by Hedrich Blessing. The first set, produced for a 1951 Architectural Forum magazine cover story, features curtains carefully arranged according to the architect’s preferences; the Museum of…[Read more]

A short note describing the difficulties that surround the definition of “art.”