| Title |
Excerpt |
Author |
Date |
Total Comments |
Recent Comment |
| Blogging For Dummies III: Look for it in 2010! |
I did something pretty exciting this week: I signed a contract to write the third edition of “Blogging For Dummies!” “Blogging For Dummies, 2nd Edition” came out in January of 2008. Shane Birley was my co-author, and we had a lot of fun (there was also some stress) in working… |
Susannah Gardner |
07/16/09 |
1 |
10/08/09 |
| Back on Lab with Leo |
I’ll be critiquing Web sites again on The Lab with Leo this month, so you have a chance to submit your Web site for a quick review on television. It’s a chance to get a little free advice from me, and to get your Web site seen by all the… |
Susannah Gardner |
01/15/08 |
2 |
06/20/08 |
| Get Reviewed in the Web Workshop on Lab with Leo |
I've appeared on the G4 Tech TV show The Lab with Leo several times this summer and fall, and now I'm a fairly regular guest in the Web Workshop segment. It has really been fun to do the show, it's such a different energy than Hop Studios and it's fun… |
Susannah Gardner |
12/05/07 |
0 |
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| Exciting stuff: Blogging for Dummies and SXSW panel |
Hi all, two exciting pieces of news have made me put the blog back in action today. First, I’m working on a new book: Blogging for Dummies, 2nd Edition. The first edition was written by Brad Hill, but the publisher—Wiley—wanted to revise the book this year and Brad wasn’t able… |
Susannah Gardner |
08/23/07 |
7 |
07/31/08 |
| Art-public.com |
Bechy, Hervé |
Susannah Gardner |
04/24/07 |
0 |
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| The Enterprise of Process: Notes on Planning for Public Art |
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Susannah Gardner |
04/24/07 |
0 |
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| National Endowment for the Arts Web Site |
National Endowment for the Arts |
Susannah Gardner |
04/24/07 |
0 |
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| An Event and Awards to Make Note Of |
Chris Abraham of “Because the Medium is the Message” messaged me this week to let me know about the Blogger’s Choice Awards and Postiecon, two thing I thought you should also know about. The Blogger’s Choice Awards, Chris says, are “like a Webbys for blogs.” Nominate yourself or a blog… |
Susannah Gardner |
04/12/07 |
1 |
04/13/07 |
| So long, farewell, and thanks! |
Blogging is still hot, and I’m still hot on blogging, but I’m pretty much tapped out when it comes to blogging about blogging. From this point on, I may update this blog periodically, but—officially—I’m retiring it. Don’t get me wrong! My book, Buzz Marketing with Blogs for Dummies, is still… |
Susannah Gardner |
04/03/07 |
12 |
08/25/07 |
| Spam, Advertising, Offensive Material |
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Susannah Gardner |
03/06/07 |
0 |
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| Hacking |
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Susannah Gardner |
03/06/07 |
0 |
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| Server Downtime |
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Susannah Gardner |
03/06/07 |
0 |
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| Richard Serra and Permanence |
All this to say: There is not way to guarantee the permanence of Internet art without arrangements being made for ongoing review and development of the project, probably by those who originally created it. The very nature of the hardware and software that house Internet art is ephemeral, and anything… |
Susannah Gardner |
03/06/07 |
0 |
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| Reasons to Deaccession Art |
it is of clearly inferior quality; it has received consistently adverse public reaction for a period of five or more years; deaccessioning has been requested by the agency that displays the work; it is not representative of the best work by that artist; it is duplilcative, or excess, in a… |
Susannah Gardner |
03/06/07 |
0 |
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| Public Art Process |
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Susannah Gardner |
03/06/07 |
0 |
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| Parties in commissioning public art |
“The three major parties in public art commissions are artists, who desire artistic freedom, recognition, and security for their work; commissioning public agencies, which are responsible for the promotion of the long-term aesthetic welfare of society, but which also must be concerned with meeting political and procedural expectations regarding their… |
Susannah Gardner |
03/06/07 |
0 |
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| My “Blogging Software is Revolutionary” Rant |
On Saturday I gave a presentation at Northern Voice (a Vancouver-based blogging conference) about blogging software and how it can and should be used for building Web sites are more than just a blog, or perhaps look nothing like a blog. The session was podcasted here, and I’ve pasted in… |
Susannah Gardner |
02/27/07 |
15 |
09/23/08 |
| A Personal Definition of Public Art |
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Susannah Gardner |
02/15/07 |
0 |
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| Designing the World’s Best Public Art |
Roots, Garrison |
Susannah Gardner |
02/15/07 |
0 |
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| Vectorial Elevation, Rafael Lozano-Hemmer, 1999 |
At the turn of the 21st centure, the doomsday scenarios that many anticipated—from Biblical Armageddon to Y2K computer malfunctions—failed to materialize. Mexican-born artist Rafael Lozano-Hemmer satisfied an otherwise unquenced thirst for spectable by placing 18 robotic searchlights around Mexico City’s Zócalo, the world’s third largest urban square. In Vectorial Elevation, an ambitious New Media art project that was first presented in Mexico City to celebrate the new millennium, participants used a Web-based interface to control the searchlights, choreographing patterns on the night sky and the urban landscpe. Lozano-Hemmer calls this type of performance “Relational Architecture”, which he defines as “the technological actualization of buildings with alient memory”. In other words, laypeople and passersby (who possess the “alien” memories of outsiders) can construct new meanings for edifices, usually via technological tools—such as Internet software and robotic lights. Lozano-Hemmer cites the work of Thomas Wilfred, an artist who, in the 1920s, was an early innovator in light-based art works, as an influence. Wilfred invented a keyboard-like machine called the “clavilux” to project light onto New York City skyscrapers. When a participant’s design for Vectorial Elevation reached the head of the Web queue, it was beamed into the sky, visible to crows on the ground in Mexico City and, via Web cameras, to a large online audience. The searchlights were connected by data cables and calibrated by Global Positioning System trackers. More than 800,000 people from 89 countries visited the Web site in a two-week period. The light show they produced was visible within a 20-kilometer radius. When each design was executed, its maker received an e-mail linking to an automatically-generated personal Web page displaying both photographic images and virtual renditions of the performance. Each page also featured participants’ uncencored texts, ranging from dedications to political manifestos. The project’s aesthetic effect evokes that of Tribute in Light (2002), a temporary public art memorial to the victims of 9/11, by Julian LaVerdiere and Paul Myoda, who utilized beams supplied by 44 searchlights at Ground Zero in New York to project vertical beams into the night sky above the World Trade Center’s destroyed Twin Towers. Like Tribute in Light, Vectorial Elevation was hard to ignore because of its giant scale and inescapable presence. But Lozano-Hemmer describes his project as an “anti-monument” that serves primarily as a platform for public self-expression. Lozano-Hemmer installed later incarnations of Vectorial Elevation in Spain, France and Ireland, each time drawing large audiences both in the streets and online. New Media artists often make use of technologies in order to critique them. Although Lozano-Hemmer uses technologies that suggest panooptic regimes of control, Vectorial Elevation is primarily a celebration of the potential these technologies have to produce a new kind of participatory spectacle. |
Susannah Gardner |
02/15/07 |
0 |
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| Minds of Concern:: Breaking News |
In May 2202, the artist group Knowbotic Research (Yvonne Wilhelm, Christian Huebler and Alexander Tuchacek), working with Peter Sandbichler, presented Minds of Concern:: Breaking News as part of a group exhibition titled “Open_Source_Art_Hack” at the New Museum of Contemporary Art in New York. Minds of Concern:: Breaking News consisted of… |
Susannah Gardner |
02/15/07 |
0 |
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| Marc Downie, Shelley Eshkar, and Paul Kaiser |
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Susannah Gardner |
02/15/07 |
0 |
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| Umbrella.net project |
The project consists of 10 Bluetooth-equipped umbrellas each with an accompanying Personal Digital Assistant (PDA) that is running the networking software. When opened, the hardware on the umbrellas, communicate to the PDAs to initiate a network connection to a nearby umbrella. The umbrellas illuminate their states with bright LEDs. There are 3 states: 1) Pulsing red if searching for nodes, 2) Pulsing blue if connected to other umbrellas, 3) Flashing blue if transmitting data between umbrellas. These visual cues allow the general public to engage with the project. Those holding the umbrellas will be able to use the built-in chat program on the PDAs to communicate with other participants. There is also a visualization of the network displayed on the iPaq screens to show each person where they are in relation to others in the network and illustrate the multi-hop routing structure of the project. About Jonah Brucker-Cohen and Katherine Moriwaki: Jonah Brucker-Cohen is an artist, researcher, and Ph.D. candidate in the Disruptive Design Team of the Networks and Telecommunications Research Group (NTRG) at Trinity College Dublin. He is currently an HEA researcher in the Human Connectedness Group at Media Lab Europe in Dublin, Ireland. His writing has appeared in numerous international publications including Wired Magazine and Rhizome.org and he the co-founder of the Dublin Art and Technology Association (DATA Group).His work has been shown at events such as DEAF (03,04), UBICOMP (02,03,04), CHI (04) Transmediale (02,04), ISEA (02,04), Institute of Contemporary Art in London (04), Whitney Museum of American Art’s ArtPort (03), Ars Electronica (02,04) and others. Katherine Moriwaki is an artist and researcher investigating clothing and accessories as the active conduit through which people create network relationships in public space. Currently a Ph.D. Candidate in the Disruptive Design Team of the Networks and Telecommunications Research Group at Trinity College Dublin, her work has appeared in IEEE Spectrum Magazine, and numerous festivals and conferences including numer.02 at Centre Georges Pompidou (02), Break 2.2 (03), Ubicomp (03,04), eculture fair (03), Transmediale (04), CHI (04), ISEA (04), and DEAF (04). She is a 2004 recipient of the Araneum prize from the Spanish Ministry for Science and Technology and Fundación ARCO. http://www.undertheumbrella.net/background.php : UMBRELLA.net uses ad-hoc networking as a means to connect people who share the same physical space and who might engage in similar, yet individual activities. Since ad-hoc systems exist as networks that can spontaneously form and dissipate based on the amount of clients present, they are a perfect testing bed for examining how new relationships can form based on proximity and chance conditions. “Coincidence of need” can be defined as seemingly individual activities that are also common experiences based on factors beyond the individual’s immediate control. In the case of UMBRELLA.net, this is the act of opening one’s umbrella when rain begins to fall: an individual action spurned by an environmental effect that is part of a collective social network. Therefore UMBRELLA.net attempts to discover how coincidence of need provides the context for looking at co-location of individuals and how this need could lead to new types of connections amongst strangers or friends in public space. // Scenario // In Dublin, Ireland, rainfall is frequent and unpredictable. Often individuals carry umbrellas with them in case they are caught in a downpour. It is common to witness during a sudden and unexpected flash of rain, a sea of umbrellas in the crowded streets sweeping open as raindrops first hit the ground. This collective, yet isolated act of opening an umbrella creates a network of individuals who are connected through similarity of action, and intent. The manifestation of open umbrellas on the street could be tied to a temporary network which is activated through routers and nodes attached to the umbrella, which operate only while it rains. While the coincidence of need exists, the network operates. When the necessity of action and intent ceases, it disappears. We believe these transitory networks can add surprise and beauty to our currently fixed communication channels. |
Susannah Gardner |
02/08/07 |
0 |
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| Spectropolis: |
NYCwireless, Lower Manhattan Cultural Council, and The Alliance for Downtown New York |
Susannah Gardner |
02/08/07 |
0 |
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| Strategies for Preserving New Media Art |
“Because of its often immaterial nature and its reliance on software and equipment that rapidly becomes obsolete and unavailable, New Media art is particularly difficult to preserve. Just as most of Eva Hesse’s latex sculptures from the 1960s and ‘70s have deteriorated, many works of New Media art will soon… |
Susannah Gardner |
02/08/07 |
0 |
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| Vectorial Elevation Project |
This website includes a program with a virtual model of downtown Dublin where you can direct the searchlights and view the resulting matrix of light from any angle. Currently this program is operative but since the lights are no longer in the city it will simply search the archive for the five designs closest to the one you submitted. The site also presented a live broadcast from four video cameras placed at Liberty Hall, Wynn’s Hotel, the Post Office and the Liver Building (this is currently showing a prerecorded video). The system made a web page documenting each design and wrote an email to the participant when it was done; these pages can be visited in the design archive section. This version of “Vectorial Elevation” was commissioned and funded by the Department of Arts, Sport and Tourism for Ireland 2004 Presidency of the European Union and was produced by St. Patrick’s Festival. The installation “Vectorial Elevation” was presented for the first time at the Zócalo Plaza in Mexico City for the Millennium celebrations. More than 800,000 people from 89 countries visited the web site in a two-week period. In 2002 the project was set up again in the city of Vitoria-Gasteiz for the opening of the Basque Centre for Contemporary Art, Artium. The site was visited by almost 300,000 participants from 63 countries, who downloaded more than 3.5 million files. In December of 2003, the piece transformed the Place Bellecour in Lyon, France, for the UN’s World Summit of Cities and the Fête des Lumières. In seven nights over 600,000 people visited the project with over 6.5 million web pages served. The piece has received several prestigious Art awards, including the Golden Nica at the Prix Ars Electronica 2000 in Austria, a distinction at the SFMOMA Webby Awards 2001 in San Francisco, an Excellence Prize at the CG Arts Media Art Festival in Tokyo and a Trophée des Lumières 2003 in Lyon. Dublin statistics: Total number of hits (documents or images served): 19,330,372 Estimated number of unique visitors to the website: 522,442 Total amount of data transfered: 206 Gigabytes Number of designs rendered in the sky: 14,364 Total number of countries were traffic originated: 100 Countries with more than 1,000 unique visitors: 25.74 % Ireland (.ie and eircom.net) 15.80 % Network domains (.net) 14.30 % Commercial domains (.com) 3.18 % United Kingdom (.uk) 2.04 % Netherlands (.nl) 1.15 % Canada (.ca) 0.84 % France (.fr) 0.69 % Australia (.au) 0.45 % Belgium (.be) 0.30 % Sweden (.se) 0.24 % Italy (.it) 0.24 % Japan (.jp) 0.23 % Poland (.pl) 0.20 % Finland (.fi) 0.19 % Brazil (.br) 0.19 % Germany (.de) 0.19 % Mexico (.mx) (note: clearly there were many visitors from the United States, but they are mostly within .com and .net domains) Countries with between 1,000 and 100 visitors: Denmark, New Zealand, Switzerland, Spain, Austria, Norway, Romania, Hungary, Argentina, Czech Republic, Portugal, Croatia, Colombia, Estonia, Iceland, Israel, Lithuania, Singapore, Turkey, Chile, Cyprus, Greece, Hong Kong, Latvia, Luxembourg, Malta, Peru, Russian Federation, Slovenia, South Africa, and Uruguay. Countries with less than 100 visitors: Albania, Andorra, Angola, Antigua and Barbuda, Aruba, Belarus, Bermbuda, Bolivia, Bosnia and Herzegovina, Bulgaria, Cayman Islands, Christmas Islands, Cocos (Keeling) Islands, Costa Rica, Cuba, Dominican Republic, Ecuador, Egypt, Georgia, Guatemala, India, Indonesia, Kenya, Kyrgyzstan, Lebanon, Liechtenstein, Madagascar, Malaysia, Mauritius, Micronesia, Morocco, Nepal, Nicaragua, Niue, Oman, Paraguay, Philippines, Samoa, San Marino, Saudi Arabia, Seychelles, Slovak Republic, Solomon Islands, South Korea, Taiwan, Thailand, Tonga, Trinidad and Tobago, Tuvalu, Ukraine, United Arab Emirates, Venezuela and Yugoslavia. Visitors by Language: 97.2 % visits to the English pages 2.8 % visits to the Irish pages (i.e. around 15,000 visitors chose to view the Irish site). |
Susannah Gardner |
02/08/07 |
0 |
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| Vectorial Elevation |
Lozano-Hemmer, Rafael |
Susannah Gardner |
02/08/07 |
0 |
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| Internet as Public Space |
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Susannah Gardner |
02/08/07 |
0 |
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| Internet Art and Globalization |
“This shift was part of a much larger historical trend: the globalization of cultures and economies. Globalization was both a cause and an effect of the widespread use of the Internet, wireless telephones and other information and communication technologies. The emregence of a “global village” of the sort that Marshall… |
Susannah Gardner |
02/08/07 |
0 |
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| Internet art technologies |
“Other technologies that play a significant role in New Media art include video and computer games, surveillance cameras, wireless phones, hand-hald computers and Global Positioning System (GPS) devices. But New Media art is not defined by the technologies discussed here; on the contrary, by deploying these technologies for critical or… |
Susannah Gardner |
02/08/07 |
0 |
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| New Media Art |
Tribe, Mark and Jana, Reena |
Susannah Gardner |
02/08/07 |
0 |
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| Defining Internet Art |
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Susannah Gardner |
02/06/07 |
0 |
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| Warchalking |
“The word is formed by analogy to wardriving, the practice of driving around an area in a car, to detect open Wi-Fi nodes. That term in turn is based on wardialing, the practice of dialing many phone numbers hoping to find a modem. See also demon dialing. Having found a… |
Susannah Gardner |
02/06/07 |
0 |
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| Wikipedia: The Free Encyclopedia |
Wikimedia Foundation |
Susannah Gardner |
02/06/07 |
0 |
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| Technical Issues |
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Susannah Gardner |
02/06/07 |
0 |
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| London.pl |
“London.pl consists of a program that calculates the collective lung capacity of children in London who have been, in the artist’s words, ‘beaten, enslaved, fucked, and exploited to death’ since 1972 (at the time of Britain’s Industrial Revolution). The vital statistic is used to time a scream—the collective scream of… |
Susannah Gardner |
02/06/07 |
0 |
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| Context |
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Susannah Gardner |
02/06/07 |
0 |
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| Stats about Internet Use |
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Susannah Gardner |
02/06/07 |
0 |
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| Internet World Stats: |
Miniwatts Marketing Group |
Susannah Gardner |
02/06/07 |
0 |
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| Technology manifests social relationships |
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Susannah Gardner |
02/06/07 |
0 |
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| Database Politics and Social Simulations |
Jeremijenko, Natalie |
Susannah Gardner |
02/06/07 |
0 |
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| Why is it worth doing public art on the Internet? |
Not all artists choose to work on the Internet; not all artists choose to work in paint. This fact does not invalidate either medium, nor make either less or more valid a choice. Why is it worth doing public art on the Internet? Why is worth doing any art? |
Susannah Gardner |
02/06/07 |
0 |
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| Internet Art Plagiarism: Lialina |
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Susannah Gardner |
02/01/07 |
0 |
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| Internet Art Copyright Issues |
While Levine’s work articulated feminist positioning in official art-historical canons by using the proposition ‘after’ to denote a hierarchical relationship, Cosic’s clone seemed to denigrate the original by offering it a web address subservient to a Slovenian art lab and then the artist’ domain: http://www.ljudmila.org/~vuk/dx/. Describing Documenta Done as a… |
Susannah Gardner |
02/01/07 |
0 |
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| A Means of Mutation: Notes on I/O/D 4: The Web Stalker |
Fuller, Matthew |
Susannah Gardner |
01/25/07 |
0 |
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| The Autonomy of the Object |
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Susannah Gardner |
01/25/07 |
0 |
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| Advantages to Internet Art |
“With little but a thematic presense and server space to host files, or even more minimally, with a web page programmed to link to other net art projects, one could build and host shows easily, assuming the role of curator and exhibition-space proprietor within a matter of hours. A key… |
Susannah Gardner |
01/25/07 |
0 |
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| Why Galleries Weren’t Interested in Internet Art |
“Like media art, performance or moving-image work, internet art was difficult to sell: it was ephemeral and prone to technical obsolescence, it had unfamiliar display aesthetics, and projects were technically complex. For many galleries, their own identity was associated with a physical location and actual artworks, and internet-based work simply… |
Susannah Gardner |
01/25/07 |
0 |
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| Public Art New Directions |
Redstone, Louis G. with Redstone, Ruth R. |
Susannah Gardner |
01/23/07 |
0 |
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| Public Art, Public Controversy |
American Council for the Arts |
Susannah Gardner |
01/23/07 |
0 |
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