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]

No abstract

A paper of 17 pages as described in its title and opening lines. “Hoa Hakananai’a” is an Easter Island statue, now in the British Museum. For “Linear and cult art”, see The Problem with Linear B (https://hcommons-staging.org/deposits/item/hc:20833/

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]

A 5-page paper discussing the Linear signage and visual aspects of a Linear B tablet from Thebes, Greece, apparently discovered in the 1990s.

This article explores a unique series of caricatures made between 1884 and 1896 by Yusuf Franko Kusa, a high-ranking Ottoman bureaucrat and a vener- ated member of n-de-siècle Pera’s high society. Yusuf Franko’s hitherto unstudied caricatures were comparable to contemporary European caricatures in style, but their subject matter was very loca…[Read more]

The book demonstrates the invalidity of existing assumptions about the administrative nature of Linear B (“Mycenaean Greek”) and related objects, proposes an alternative revolving around cult art, and explores similar evidence relating to scripts and art from the same and other regions and periods.

With its focus on the achievement of painterly effects in photography , the international Pictorialist movement sought to employ various techniques and aesthetic approaches in order to capture images of landscapes and delicate feminine beauty within perfectly composed atmospheric settings. Facing the turn of the twentieth century, a time when the…[Read more]

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]

A short article titled Remote Encounters: a report about networking practitioners on the Remote Encounters conference and Liminalities journal special issue published on Digicult.it. The report specifically addresses my own objectives as both organiser of the conference and journal issue and artist/researcher.

Why is it important to know about the developments of Google and its influences on society? What bearing has this on new media art? To date new media art has been an information based art form, but not necessarily an informed one. Information has been used in various ways, background noise, continuously flowing content, as a trigger to indicate a…[Read more]

Remote Encounters: Connecting bodies, collapsing spaces and temporal ubiquity in networked performance was a two-day international conference with performance evening organised and chaired by myself at the University of South Wales on the 11th and 12th of April 2013. Its purpose was to explore the use of networks as a means to enhance or create a…[Read more]

A review of HFT The Gardener, the exhibition by Susan Treister at Annely Juda Fine Art, London (22/09/2016 – 29/10/2016) published at Furtherfield.org (http://furtherfield.org/features/reviews/hft-gardener-network-financial-trading-drugs-and-botany). This review relates Treister’s work to the artistic visualisation of networks and the links…[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]