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60-461: New Media art has origins in the worlds of science, art, and performance. Some common themes found in new media art include databases, political and social activism, Afrofuturism, feminism, and identity, a ubiquitous theme found throughout is the incorporation of new technology into the work. The emphasis on medium is a defining feature of much contemporary art and many art schools and major universities now offer majors in "New Genres" or "New Media" and

120-405: A contemporary artist" and that they "are in it for all the wrong reasons." Some competitions, awards, and prizes in contemporary art are: This table lists art movements and styles by decade. It should not be assumed to be conclusive. Electronic Visualization Laboratory The Electronic Visualization Laboratory ( EVL ) is an interdisciplinary research lab and graduate studies program at

180-455: A growing number of graduate programs have emerged internationally. New media art may involve degrees of interaction between artwork and observer or between the artist and the public, as is the case in performance art . Several theorists and curators have noted that such forms of interaction do not distinguish new media art but rather serve as a common ground that has parallels in other strands of contemporary art practice. Such insights emphasize

240-510: A larger context of sensation, communication, production, and consumption. When obtaining a bachelor's degree in New Media, students will primarily work through practice of building experiences that utilize new and old technologies and narrative. Through the construction of projects in various media, they acquire technical skills, practice vocabularies of critique and analysis, and gain familiarity with historical and contemporary precedents. In

300-413: A particular issue; galleries and critics are often reluctant to divide their work between the contemporary and non-contemporary. Sociologist Nathalie Heinich draws a distinction between modern and contemporary art, describing them as two different paradigms which partially overlap historically. She found that while " modern art " challenges the conventions of representation , "contemporary art" challenges

360-403: A permanent collection of contemporary art inevitably find this aging. Many use the formulation "Modern and Contemporary Art", which avoids this problem. Smaller commercial galleries, magazines and other sources may use stricter definitions, perhaps restricting the "contemporary" to work from 2000 onwards. Artists who are still productive after a long career, and ongoing art movements , may present

420-414: A representation of a two-spirit or non-binary persona that does not fall under the traditional description of drag. The emergence of 3D printing has introduced a new bridge to new media art, joining the virtual and the physical worlds. The rise of this technology has allowed artists to blend the computational base of new media art with the traditional physical form of sculpture. A pioneer in this field

480-559: A significant component of contemporary art. The inter-connectivity and interactivity of the internet , as well as the fight between corporate interests, governmental interests, and public interests that gave birth to the web today, inspire a lot of current new media art. One of the key themes in new media art is to create visual views of databases. Pioneers in this area include Lisa Strausfeld , Martin Wattenberg and Alberto Frigo. From 2004–2014 George Legrady 's piece "Making Visible

540-543: Is "distinguished by the very lack of a uniform organizing principle, ideology, or - ism" that is seen in many other art periods and movements. Contemporary art does not have one, single objective or point of view, so it can be contradictory and open-ended. There are nonetheless several common themes that have appeared in contemporary works, such as identity politics , the body, globalization and migration, technology , contemporary society and culture, time and memory, and institutional and political critique. The functioning of

600-480: Is a legitimate and reasonable response to much contemporary art. Brian Ashbee in an essay called "Art Bollocks" criticizes "much installation art, photography, conceptual art , video and other practices generally called post-modern" as being too dependent on verbal explanations in the form of theoretical discourse. However, the acceptance of nontraditional art in museums has increased due to changing perspectives on what constitutes an art piece. A common concern since

660-513: Is a self-referential relationship with the new technologies, the result of finding oneself inside an epoch-making transformation determined by technological development. New media art does not appear as a set of homogeneous practices, but as a complex field converging around three main elements: 1) the art system, 2) scientific and industrial research, and 3) political-cultural media activism. There are significant differences between scientist-artists, activist-artists and technological artists closer to

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720-611: Is an interdisciplinary genre that explores the African diaspora experience, predominantly in the United States, by deconstructing the past and imagining the future through the themes of technology, science fiction, and fantasy. Musician Sun Ra , believed to be one of the founders of Afrofuturism, thought a blend of technology and music could help humanity overcome the ills of society. His band, The Sun Ra Arkestra, combined traditional Jazz with sound and performance art and were among

780-542: Is contemporary is naturally always on the move, anchored in the present with a start date that moves forward, and the works the Contemporary Art Society bought in 1910 could no longer be described as contemporary. Particular points that have been seen as marking a change in art styles include the end of World War II and the 1960s. There has perhaps been a lack of natural break points since the 1960s, and definitions of what constitutes "contemporary art" in

840-511: Is exhibited by professional artists at commercial contemporary art galleries , by private collectors, art auctions , corporations, publicly funded arts organizations, contemporary art museums or by artists themselves in artist-run spaces . Contemporary artists are supported by grants, awards, and prizes as well as by direct sales of their work. Career artists train at art school or emerge from other fields. There are close relationships between publicly funded contemporary art organizations and

900-417: Is simply beautiful." Contemporary art can sometimes seem at odds with a public that does not feel that art and its institutions share its values. In Britain, in the 1990s, contemporary art became a part of popular culture, with artists becoming stars, but this did not lead to a hoped-for "cultural utopia". Some critics like Julian Spalding and Donald Kuspit have suggested that skepticism, even rejection,

960-474: Is that the formats continuously change over time. Former examples of transitions include that from 8-inch floppy disks to 5.25-inch floppies, 3-inch diskettes to CD-ROMs, and DVDs to flash drives. On the horizon is the obsolescence of flash drives and portable hard drives, as data is increasingly held in online cloud storage . Museums and galleries thrive off of being able to accommodate the presentation and preservation of physical artwork. New media art challenges

1020-744: The Centre pour l'Image Contemporaine or CIC coproduced with Centre Georges Pompidou from Paris and the Museum Ludwig in Cologne the first internet video archive of new media art. Simultaneously advances in biotechnology have also allowed artists like Eduardo Kac to begin exploring DNA and genetics as a new art medium. Influences on new media art have been the theories developed around interaction, hypertext , databases, and networks . Important thinkers in this regard have been Vannevar Bush and Theodor Nelson , whereas comparable ideas can be found in

1080-572: The University of Illinois at Chicago , bringing together faculty, students and staff primarily from the Art and Computer Science departments of UIC. The primary areas of research are in computer graphics , visualization, virtual and augmented reality, advanced networking, and media art. Graduates of EVL either earn a Masters or Doctoral degree in Computer Science. EVL represents one of

1140-614: The 1920s many Cabaret acts began incorporating film projection into performances. Robert Rauschenberg 's piece Broadcast (1959), composed of three interactive re-tunable radios and a painting, is considered one of the first examples of interactive art. German artist Wolf Vostell experimented with television sets in his (1958) installation TV De-collages. Vostell's work influenced Nam June Paik , who created sculptural installations featuring hundreds of television sets that displayed distorted and abstract footage. Beginning in Chicago during

1200-539: The 1970s, there was a surge of artists experimenting with video art and combining recent computer technology with their traditional mediums, including sculpture, photography, and graphic design. Many of the artists involved were grad students at The School of the Art Institute of Chicago , including Kate Horsfield and Lyn Blumenthal , who co-founded the Video Data Bank in 1976. Another artists involved

1260-507: The 2010s vary, and are mostly imprecise. Art from the past 20 years is very likely to be included, and definitions often include art going back to about 1970; "the art of the late 20th and early 21st century"; "both an outgrowth and a rejection of modern art"; "Strictly speaking, the term 'contemporary art' refers to art made and produced by artists living today"; "Art from the 1960s or [19]70s up until this very minute"; and sometimes further, especially in museum contexts, as museums which form

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1320-666: The AIDS virus was depicted on the cover of IEEE Computer Graphics and Applications in November 1988. At the University of Illinois in 1989, members of the Electronic Visualization Laboratory Carolina Cruz-Neira , Thomas DeFanti , and Daniel J. Sandin collaborated to create what is known as CAVE or Cave Automatic Virtual Environment an early virtual reality immersion using rear projection. In 1983, Roy Ascott introduced

1380-469: The Americas Art of Oceania Contemporary art is a term used to describe the art of today, generally referring to art produced from the 1970s onwards. Contemporary artists work in a globally influenced , culturally diverse , and technologically advancing world. Their art is a dynamic combination of materials , methods, concepts, and subjects that continue the challenging of boundaries that

1440-655: The Invisible" displayed the normally unseen library metadata of items recently checked out at the Seattle Public Library on six LCD monitors behind the circulation desk. Database aesthetics holds at least two attractions to new media artists: formally, as a new variation on non-linear narratives; and politically as a means to subvert what is fast becoming a form of control and authority. Many new media art projects also work with themes like politics and social consciousness, allowing for social activism through

1500-492: The United States, many Bachelor's and Master's level programs exist with concentrations on Media Art, New Media, Media Design, Digital Media and Interactive Arts. Notable art theorists and historians working in this field include: The term New Media Art is generally applied to disciplines such as: Contemporary art Art of Central Asia Art of East Asia Art of South Asia Art of Southeast Asia Art of Europe Art of Africa Art of

1560-409: The art system, who not only have different training and technocultures, but have different artistic production. This should be taken into account in examining the several themes addressed by new media art. Non-linearity can be seen as an important topic to new media art by artists developing interactive, generative, collaborative, immersive artworks like Jeffrey Shaw or Maurice Benayoun who explored

1620-490: The art world is dependent on art institutions, ranging from major museums to private galleries, non-profit spaces, art schools and publishers, and the practices of individual artists, curators, writers, collectors, and philanthropists. A major division in the art world is between the for-profit and non-profit sectors, although in recent years the boundaries between for-profit private and non-profit public institutions have become increasingly blurred. Most well-known contemporary art

1680-628: The commercial sector. For instance, in 2005 the book Understanding International Art Markets and Management reported that in Britain a handful of dealers represented the artists featured in leading publicly funded contemporary art museums. Commercial organizations include galleries and art fairs. Corporations have also integrated themselves into the contemporary art world , exhibiting contemporary art within their premises, organizing and sponsoring contemporary art awards, and building up extensive corporate collections. Corporate advertisers frequently use

1740-414: The components of the piece. In New Media programs, students are able to get acquainted with the newest forms of creation and communication. New Media students learn to identify what is or isn't "new" about certain technologies. Science and the market will always present new tools and platforms for artists and designers. Students learn how to sort through new emerging technological platforms and place them in

1800-932: The concept of "distributed authorship" in his worldwide telematic project La Plissure du Texte for Frank Popper 's "Electra" at the Musée d'Art Moderne de la Ville de Paris . The development of computer graphics at the end of the 1980s and real time technologies in the 1990s combined with the spreading of the Web and the Internet favored the emergence of new and various forms of interactive art by Ken Feingold , Lynn Hershman Leeson , David Rokeby , Ken Rinaldo , Perry Hoberman , Tamas Waliczky ; telematic art by Roy Ascott , Paul Sermon , Michael Bielický ; Internet art by Vuk Ćosić , Jodi ; virtual and immersive art by Jeffrey Shaw , Maurice Benayoun , Monika Fleischmann , and large scale urban installation by Rafael Lozano-Hemmer . In Geneva,

1860-414: The conventional linear narrative coming from novels, theater plays and movies. Non-linear art usually requires audience participation or at least, the fact that the "visitor" is taken into consideration by the representation, altering the displayed content. The participatory aspect of new media art, which for some artists has become integral, emerged from Allan Kaprow 's Happenings and became with Internet,

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1920-413: The dichotomy of beauty and the grotesque in the natural world and their relation to the female experience. The large-scale 360-degree installation featured breast-shaped projectors and circular pink pillows that invited viewers to relax and immerse themselves in the vibrant colors, psychedelic music, and partake in meditation and yoga. American filmmaker and artist Lynn Hershman Leeson explores in her films

1980-418: The early part of the 20th century has been the question of what constitutes art. In the contemporary period (1970 to now), the concept of avant-garde may come into play in determining what artworks are noticed by galleries, museums, and collectors. The concerns of contemporary art come in for criticism too. Andrea Rosen has said that some contemporary painters "have absolutely no idea of what it means to be

2040-473: The early twentieth century avant-garde art movement Futurism was the birthplace of the merging of technology and performance art. Some early examples of performance artists who experimented with then state-of-the-art lighting, film, and projection include dancers Loïe Fuller and Valentine de Saint-Point . Cartoonist Winsor McCay performed in sync with an animated Gertie the Dinosaur on tour in 1914. By

2100-479: The first musicians to perform with a synthesizer. The twenty-first century has seen a resurgence of Afrofuturism aesthetics and themes with artists and cooperation's like Jessi Jumanji and Black Quantum Futurism and art educational centers like Black Space in Durham, North Carolina. Japanese artist Mariko Mori 's multimedia installation piece Wave UFO (1999–2003) sought to examine the science and perceptions behind

2160-458: The forms of cultural practice that arise concurrently with emerging technological platforms, and question the focus on technological media per se. New Media art involves complex curation and preservation practices that make collecting, installing, and exhibiting the works harder than most other mediums. Many cultural centers and museums have been established to cater to the advanced needs of new media art. The origins of new media art can be traced to

2220-498: The interactive nature of the media. New media art includes "explorations of code and user interface; interrogations of archives, databases, and networks; production via automated scraping, filtering, cloning, and recombinatory techniques; applications of user-generated content (UGC) layers; crowdsourcing ideas on social- media platforms; narrowcasting digital selves on "free" websites that claim copyright; and provocative performances that implicate audiences as participants". Afrofuturism

2280-411: The lab, joined by Maxine D. Brown as Associate Director 1987. In 2001, Sandin retired from teaching, but continued to co-direct the lab with DeFanti until his retirement in 2004. EVL PhD graduate, Jason Leigh took the helm from 2004 through 2014, after which Brown became EVL Director joined by longtime collaborator and computer science professor Andrew Johnson as Director of Research. Work at EVL over

2340-500: The literary works of Jorge Luis Borges , Italo Calvino , and Julio Cortázar . In the book New Media Art , Mark Tribe and Reena Jana named several themes that contemporary new media art addresses, including computer art , collaboration , identity , appropriation , open sourcing , telepresence , surveillance, corporate parody, as well as intervention and hacktivism . In the book Postdigitale , Maurizio Bolognini suggested that new media artists have one common denominator, which

2400-458: The mid '80s to present. At SIGGRAPH '92, EVL organized the "Showcase" event, where researchers demonstrated 35 projects in state-of-the-art computational science and scientific visualization . At SIGGRAPH '94, EVL organized the VROOM event, demonstrations of the state of virtual reality technology. In 1998, Brown received the first ever SIGGRAPH Outstanding Service Award for her contributions to

2460-417: The mid-90s, the issue of storing works in digital form became a concern. Digital art such as moving images, multimedia, interactive programs, and computer-generated art has different properties than physical artwork such as oil paintings and sculptures. Unlike analog technologies, a digital file can be recopied onto a new medium without any deterioration of content. One of the problems with preserving digital art

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2520-599: The moving image inventions of the 19th century such as the phenakistiscope (1833), the praxinoscope (1877) and Eadweard Muybridge's zoopraxiscope (1879). From the 1900s through the 1960s, various forms of kinetic and light art, from Thomas Wilfred 's 'Lumia' (1919) and 'Clavilux' light organs to Jean Tinguely 's self-destructing sculpture Homage to New York (1960) can be seen as progenitors of new media art. Steve Dixon in his book Digital Performance: New Technologies in Theatre, Dance and Performance Art argues that

2580-625: The oldest art and engineering collaborations in the United States. It was founded in 1973 by Tom DeFanti (then of the UIC Chemistry Department, later Computer Science) and Dan Sandin (of the Art Department). The lab was originally known as the Circle Graphics Habitat , in reference to the then-name of UIC, the University of Illinois at Chicago Circle . DeFanti and Sandin served as Co-Directors of

2640-511: The organization, and 1979 conference chair. Brown has served as Vice Chair for Operations (1985-1987) and Secretary (1981-1985), and chaired the 1992 conference. According to Jim Blinn , the popular Electronic Theatre "started out as a bunch of people crowding into Dan Sandin’s dorm room to watch videotapes." In 1979, DeFanti established the SIGGRAPH Video Review, which has been edited and administered by EVLer Dana Plepys since

2700-562: The original methods of the art world when it comes to documentation, its approach to collection and preservation. Technology continues to advance, and the nature and structure of art organizations and institutions will remain in jeopardy. The traditional roles of curators and artist are continually changing, and a shift to new collaborative models of production and presentation is needed. see also Conservation and restoration of new media art New media art encompasses various mediums all which require their own preservation approaches. Due to

2760-700: The preservation and documentation of the fragile media arts heritage (see DOCAM – Documentation and Conservation of the Media Arts Heritage ). Methods of preservation exist, including the translation of a work from an obsolete medium into a related new medium, the digital archiving of media (see the Rhizome ArtBase , which holds over 2000 works, and the Internet Archive ), and the use of emulators to preserve work dependent on obsolete software or operating system environments. Around

2820-554: The prestige associated with contemporary art and coolhunting to draw the attention of consumers to luxury goods . The institutions of art have been criticized for regulating what is designated as contemporary art. Outsider art , for instance, is literally contemporary art, in that it is produced in the present day. However, one critic has argued it is not considered so because the artists are self-taught and are thus assumed to be working outside of an art historical context. Craft activities, such as textile design, are also excluded from

2880-406: The realm of contemporary art, despite large audiences for exhibitions. Art critic Peter Timms has said that attention is drawn to the way that craft objects must subscribe to particular values in order to be admitted to the realm of contemporary art. "A ceramic object that is intended as a subversive comment on the nature of beauty is more likely to fit the definition of contemporary art than one that

2940-399: The study of consciousness and neuroscience. Exploring the ways that these fields undertake research in a materially reductionist manner. Mori's work emphasized the need for these fields to become more holistic and incorporate incites and understanding of the world from philosophy and the humanities. Swiss artist Pipilotti Rist 's (2008) immersive video installation Pour Your Body Out explores

3000-419: The term as an approach to looking at varying forms of digital projects where the content relays on the user's experience. This is a key concept since people acquired the notion that they were conditioned to view everything in a linear and clear-cut fashion. Now, art is stepping out of that form and allowing for people to build their own experiences with the piece. Non-linearity describes a project that escape from

3060-535: The term were founded in the 1930s, such as in 1938 the Contemporary Art Society of Adelaide , Australia , and an increasing number after 1945. Many, like the Institute of Contemporary Art, Boston changed their names from ones using "modern art" in this period, as Modernism became defined as a historical art movement , and much "modern" art ceased to be "contemporary". The definition of what

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3120-532: The terms modern art and contemporary art by non-specialists. The classification of "contemporary art" as a special type of art, rather than a general adjectival phrase, goes back to the beginnings of Modernism in the English-speaking world. In London , the Contemporary Art Society was founded in 1910 by the critic Roger Fry and others, as a private society for buying works of art to place in public museums. A number of other institutions using

3180-497: The themes of identity, technology and the erasure of women's roles and contributions to technology. Her (1999) film Conceiving Ada depicts a computer scientist and new media artist named Emmy as she attempts and succeeds at creating a way to communicate through cyberspace with Ada Lovelace , an Englishwoman who created the first computer program in the 1840s via a form of artificial intelligence. With its roots in outsider art, New Media has been an ideal medium for an artist to explore

3240-418: The topics of identity and representation. In Canada, Indigenous multidisciplinary artists like Cheryl L'Hirondelle and Kent Monkman have incorporated themes about gender, identity, activism, and colonization in their work. Monkman, a Cree artist, performs and appears as their alter ego Miss Chief Eagle Testickle, in film, photography, painting, installation, and performance art. Monkman describes Miss Chief as

3300-498: The vast technical aspects involved no established digital preservation guidelines fully encompass the spectrum of new media art. New media art falls under the category of "complex digital object" in the Digital Curation Centre's digital curation lifecycle model which involves specialized or totally unique preservation techniques.  Complex digital objects preservation has an emphasis on the inherent connection of

3360-468: The very notion of an artwork . She regards Duchamp 's Fountain (which was made in the 1910s in the midst of the triumph of modern art) as the starting point of contemporary art, which gained momentum after World War II with Gutai 's performances, Yves Klein 's monochromes and Rauschenberg 's Erased de Kooning Drawing . Contemporary artwork is characterised by diversity: diversity of material, of form, of subject matter, and even time periods. It

3420-705: The years has included: Highlights of the electronic art work done at EVL include: EVL was featured in the Chicago New Media 1973-1992 exhibition centering the artwork that was created with the EVL and a demonstration of CAVE 2 was held during the time of the exhibition. The exhibition was held at UIC's gallery 400, and curated by Jon Cates. The members of EVL have been involved with the SIGGRAPH organization and conference ever since its inception. DeFanti has served as Secretary (1977-1981) and Chair (1981-1985) of

3480-509: Was Donna Cox , she collaborated with mathematician George Francis and computer scientist Ray Idaszak on the project Venus in Time which depicted mathematical data as 3D digital sculptures named for their similarities to paleolithic Venus statues . In 1982 artist Ellen Sandor and her team called (art)n Laboratory created the medium called PHSCologram , which stands for photography, holography, sculpture, and computer graphics. Her visualization of

3540-460: Was already well underway in the 20th century. Diverse and eclectic, contemporary art as a whole is distinguished by the very lack of a uniform, organising principle, ideology, or " -ism ". Contemporary art is part of a cultural dialogue that concerns larger contextual frameworks such as personal and cultural identity, family, community, and nationality. In English, modern and contemporary are synonyms , resulting in some conflation and confusion of

3600-466: Was artist Jonty Hurwitz who created the first known anamorphosis sculpture using this technique. As the technologies used to deliver works of new media art such as film , tapes , web browsers , software and operating systems become obsolete, New Media art faces serious issues around the challenge to preserve artwork beyond the time of its contemporary production. Currently, research projects into New media art preservation are underway to improve

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