Blog posts tagged with: Art history

Posted Feb 20, 2014
By
Andrew Clifford
Julian Dashper, Untitled (Interviews) 2001-02, still from a double DVD in an edition of three

Towards the end of the second disk of Julian Dashper’s Untitled Interviews 2001-2002, Dashper contemplates the potential for documentation in a digital age. Should he keep all the emails he has exchanged with other artists, curators or institutions – we have the technology so why not? But if you keep everything, it becomes impossible to understand what you thought was important. Do you keep everything or do you edit it?

Posted Feb 20, 2014
By
Andrew Clifford
Julian Dashper, Untitled (Interviews) 2001-02, still from a double DVD in an edition of three

Towards the end of the second disk of Julian Dashper’s Untitled Interviews 2001-2002, Dashper contemplates the potential for documentation in a digital age. Should he keep all the emails he has exchanged with other artists, curators or institutions – we have the technology so why not? But if you keep everything, it becomes impossible to understand what you thought was important. Do you keep everything or do you edit it?

Posted Feb 20, 2014
By
Andrew Clifford
Julian Dashper, Untitled (Interviews) 2001-02, still from a double DVD in an edition of three

Towards the end of the second disk of Julian Dashper’s Untitled Interviews 2001-2002, Dashper contemplates the potential for documentation in a digital age. Should he keep all the emails he has exchanged with other artists, curators or institutions – we have the technology so why not? But if you keep everything, it becomes impossible to understand what you thought was important. Do you keep everything or do you edit it?

Posted Feb 20, 2014
By
Andrew Clifford
Julian Dashper, Untitled (Interviews) 2001-02, still from a double DVD in an edition of three

Towards the end of the second disk of Julian Dashper’s Untitled Interviews 2001-2002, Dashper contemplates the potential for documentation in a digital age. Should he keep all the emails he has exchanged with other artists, curators or institutions – we have the technology so why not? But if you keep everything, it becomes impossible to understand what you thought was important. Do you keep everything or do you edit it?

Posted May 27, 2013
By
Thomasin Sleigh
Alex Monteith, Green Island Big Wave Surfing, 2013. Courtesy of the artist

The word ‘immersive’ has always been problematic for me. I think because in some instances it has been anaesthetised by art speak (and I am guilty of this as much as anyone). A video installation or a sculptural installation is often described as ‘immersive’ simply because it takes up a large space, or uses a variety of layered materials, or bright, confrontational colours, or loud sound, or fast-paced, flickering images.

Posted May 27, 2013
By
Thomasin Sleigh
Alex Monteith, Green Island Big Wave Surfing, 2013. Courtesy of the artist

The word ‘immersive’ has always been problematic for me. I think because in some instances it has been anaesthetised by art speak (and I am guilty of this as much as anyone). A video installation or a sculptural installation is often described as ‘immersive’ simply because it takes up a large space, or uses a variety of layered materials, or bright, confrontational colours, or loud sound, or fast-paced, flickering images.

Posted May 27, 2013
By
Thomasin Sleigh
Alex Monteith, Green Island Big Wave Surfing, 2013. Courtesy of the artist

The word ‘immersive’ has always been problematic for me. I think because in some instances it has been anaesthetised by art speak (and I am guilty of this as much as anyone). A video installation or a sculptural installation is often described as ‘immersive’ simply because it takes up a large space, or uses a variety of layered materials, or bright, confrontational colours, or loud sound, or fast-paced, flickering images.

Posted Mar 28, 2013
By
Mark Williams
Screen grab from Dinner with Henry (1979)

When is a video an artwork? How does representation on CIRCUIT support the collection of moving image works?

Posted Mar 28, 2013
By
Mark Williams
Screen grab from Dinner with Henry (1979)

When is a video an artwork? How does representation on CIRCUIT support the collection of moving image works?

Posted Mar 28, 2013
By
Mark Williams
Screen grab from Dinner with Henry (1979)

When is a video an artwork? How does representation on CIRCUIT support the collection of moving image works?

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