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Site specific art • Video art • Plop art • Guerilla art • Interactive art • Performance art • New media art
Installation art is art that, through the use of sculptural materials
and other media, seeks to modify the way we experience a particular
space. Installation art is not necessarily confined to gallery spaces
and can refer to any material intervention in everyday public or
private spaces.
Site specific art is artwork created to exist in a certain place. Typically, the artist takes the location into account while planning and creating the artwork. Outdoor site-specific artworks often include landscaping combined with permanently sited sculptural elements. Indoor site-specific artworks may be created in conjunction with (or indeed by) the architects of the building. More broadly, the term is sometimes used for any work that is (more or less) permanently attached to a particular location. In this sense, a building with interesting architecture could be considered a piece of site specific art.
Video art, as opposed to television and
theatrical cinema, is a subset of artistic works which relies on
"moving pictures" and is comprised of video and/or audio data. The
precise medium of storing this data is variable and at the discretion
of the artist; the medium of storage is usually magnetic video tape
although the data may also be stored as a computer file (or files) on a
hard disk, CD-ROM, DVD, solid state, indeed any electronic storage
format. However, despite obvious parallels and relationships, video is
not film. One of the key differences between video art and theatrical
cinema is that video art does not necessarily rely on many of the
conventions that define theatrical cinema. Video art may not employ the
use of performers, may contain no dialogue, may have no discernible
narrative or plot, or adhere to any of the other conventions that
construct cinema as entertainment. This distinction is important
because it delineates video art not only from cinema but also from the
subcategories where those definitions may become muddy (as in the case
of avant garde or short films). Perhaps the simplest, most
straightforward defining distinction in this respect would then be to
say that (perhaps) cinema's ultimate goal is to entertain, whereas
video art's intentions are more varied, be they to simply explore the
boundaries of the medium itself (e.g., Peter Campus, Double Vision) or
to rigorously attack the viewer's expectations of video as shaped by
conventional cinema (e.g., Joan Jonas, Organic Honey's Vertical Roll).
Plop art is a derogatory term for public
art sculptures made for corporate office plazas, the spaces in front of
government buildings, and other public areas, including parks. The term
implies that the work is considered unattractive, inappropriate to the
location, or both. The term is a pun on pop art. Of similar use is the
phrase "the turd on the plaza".
Guerilla art is the surreptitious, and often sudden, creation or
installation of unauthorized public art, often with the purpose of
making an overt political statement. The term is often used
interchangeably with "street art." It has arisen as a small
underground movement starting in the 1980s, partially as a response to
the perceived takeover of public space by commercial interests, the
perceived banality of many authorized public art pieces, and the
frequent lack of authorized exhibition opportunities for artists.
Interactive art is a piece of art
that involves the spectator in some way. Some sculptures achieve this
by letting the observer walk in, on, and around the piece. Other works
include computers and sensors to respond to motion, heat or other types
of input. Many pieces of Internet art and electronic art are highly
interactive. Sometimes visitors are able to navigate through a
hypertext environment; some works accept textual or visual input from
outside; sometimes an audience can influence the course of a
performance or can even participate in it. Interactive Art can be
distinguished from Reactive Art, Electronic Art, or Immersive Art in
that it is a dialog between the piece and the participant;
specifically, the participant has "agency" (the ability to act upon)
the piece and is furthermore invited to do so in the context of the
piece, i.e. the piece has "affordance" or "affords" the interaction. In
contrast, Reactive Art tends to be a monologue -- the artwork may
change form in the presence of the viewer but the viewer may not be
invited to engage in the reaction but "merely" enjoy it. By far the
most popular form of Interactive Art is video games. Due to the
commercial forces which shape their design and content, however, video
games are sometimes denigrated as a "lesser" form of the art. In terms
of the creation of agency, however, many video games are at the
forefront of the artistic exploration of interactivity.
Performance art is art where the
actions of an individual or a group at a particular place and in a
particular time, constitute the work. It can happen anywhere, at any
time, or for any length of time. Performance art can be any situation
that involves four basic elements: time, space, the performer's body
and a relationship between performer and audience. It is opposed to
painting or sculpture, for example, where an object constitutes the
work.
New media art (also known as media
art) is a generic term used to describe art related to, or created
with, a technology invented or made widely available since the mid-20th
Century. The term differentiates itself by its resulting cultural
objects, which can be seen in opposition to those deriving from old
media arts (i.e. traditional painting, sculpture, etc.) New Media
concerns are often derived from the telecommunications, mass media and
digital modes of delivery the artworks involve, with practises ranging
from conceptual to virtual art, performance to installation. The term
is generally applied to disciplines such as: Computer art
Digital art
It is art created on a
computer in digital form. Digital art can be purely computer-generated,
such as fractals, or taken from another source, such as a scanned
photograph, or an image drawn using vector graphics software using a
mouse or graphics tablet. The term is usually reserved for art that has
been non-trivially modifed by a computing process (such a computer
program, microcontroler or any electronic system capable of
interpreting an input to create an output); digitized text data and raw
audio and video recordings are not usually considered digital art in
themselves, but can be part of a larger project. The availability and
popularity of photograph manipulation software has spawned a vast and
creative library of highly modified images, many bearing little or no
hint of the original image. Using electronic versions of brushes,
filters and enlargers, these "Neographers" produce images unattainable
through conventional photographic tools. In addition, digital artists
may manipulate scanned drawings, paintings, collages or lithographs, as
well as using any of the above-mentioned techniques in combination.
Artists also use many other sources of information and programs to
create their work. Generative art
It is art or design
generated, composed, or constructed through computer software
algorithms, or similar mathematical or mechanical autonomous processes.
The most common forms of generative art are graphics that visually
represent complex processes, music, or language-based compositions like
poetry. Other applications include architectural design, models for
understanding sciences such as evolution, and artificial intelligence
systems.
It is the writing of code,
or otherwise manipulating bits, to promote political ideology. Taking
Lessig's message to heart, hacktivism believes that proper use of code
will have leveraged effects similar to regular activism (or civil
disobedience). Fewer people can write code, but code affects more
people. Freenet is a prime example of translating political thought
(anyone should be able to speak) into code. Hacktivismo is an offshoot
of the CULT OF THE DEAD COW, whose beliefs include access to
information as a basic human right. Oxblood Ruffin, the self appointed
"foreign affairs" minister of Hacktivismo, has argued forcefully
against definitions of hacktivism that include web defacements or
denial-of-service attacks. Software art
Artistic computer game modification It involves the use of a computer game for the creation of a digital artwork. Also referred to as art modding, and game modding. Art mods are not quite the same as art games, although they do share some similarities. Various genres and styles of art modding exist. Genres or categories are rarely clear cut in this multi-media format, however than can be roughly described based on either techniques or outcomes.
(source of the article is Wikipedia, the free Encyclopedia on-line) |
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| Play the Life! creation - 2005 mail: info@playthelife.com | ||||||
Stickers, stencils and poster art are increasingly influential—Robbie
Conal regularly uses Los Angeles as his personal gallery space. Other
prominent members of the movement include the billboard liberation
front, Adbusters, Bansky and the Guerilla Girls. Although guerilla art
is sometimes equated with the use of disposable media, one of the most
famous pieces of guerilla art was the installation of the bronze
sculpture Charging Bull by Arturo Di Modica in front of the New York
Stock Exchange in December 1989. Although unauthorized, the sculpture
became an immediate hit with many New Yorkers, leading to its permanent
installation a few blocks away in Bowling Green plaza. Guerilla art
consists of reclaiming space and changing its dynamics with images or
counter images, art that has been created anonymously and left on walls
or in places such as public squares. Guerrilla art is not only spray
paint and text and images. It can also encompass theater and film
projections projected on walls of buildings.
Although performance art could be said to include relatively mainstream
activities such as theater, dance, music, and circus-related things
like fire breathing, juggling, and gymnastics, these are normally
instead known as the performing arts. Performance art is a term usually
reserved to refer to a kind of usually avant-garde or conceptual art
which grew out of the visual arts. Performance art, as the term is
usually understood, began to be identified in the 1960s with the work
of artists such as Allan Kaprow, who coined the term happenings, Vito
Acconci, Hermann Nitsch and Joseph Beuys. Western cultural theorists
often trace performance art activity back to the beginning of the 20th
century. Dada for example, provided a significant progenitor with the
unconventional performances of poetry, often at the Cabaret Voltaire,
by the likes of Richard Huelsenbeck and Tristan Tzara. However, there
are accounts of Renaissance artists putting on public performances that
could be said to be early ancestors to modern performance art. Some
performance artists point to other traditions, ranging from tribal
ritual to sporting events. Performance art activity is not confined to
European art traditions; many notable practitioners can be found among
Asian, Latin American, Third World and First Nations artists.
It is any art in which
computers played a role in production or display of the artwork.
Computer art is by nature evolutionary, it relies on rapid changes in
technology and software for the substance of its creative work. With so
many traditional disciplines integrating digital technologies, the
lines between traditional works of art and new media works created by
computers continue to blur. Defining computer art by its end product
proves to be quite difficult, the finished work can exist as an image,
sound, animation, video, CD-ROM, DVD-ROM, Web site, algorithm,
performance or gallery installation. The only true definition of
computer generated art can be found with the creator, a person who in
fact uses the computer as his or her primary tool.
3D graphics are created via the process of designing complex imagery
from geometric shapes, polygons or NURBS curves to create realistic 3
dimensional shapes, objects and scenes for use in various media such as
film, television, print and special visual effects. There are many
software programs for doing this. The technology can enable
collaboration, lending itself to sharing and augumenting by a creative
effort similar to the open source movement, and the creative commons in
which users can collaborate in a project to create unique pieces of
art. The mainstream media uses a lot of digital art in advertisements,
and computers are used extensively in film to produce special effects.
Desktop publishing has had a huge impact on the publishing world,
although that is more related to graphic design.
Nonetheless, digital art is yet to gain the acceptance and regard
reserved for "serious" artforms such as sculpture, painting and
drawing, perhaps due to the erroneous impression of many that "the
computer does it for you" and the suggestion that the image created
could be infinitly repeatable. Computers are also commonly used to make
music, especially electronic music, since they present an easy and
powerful way to arrange and create sound samples. It is possible that
general acceptance of the value of digital art will progress in much
the same way as the increased acceptance of electronically produced
music over the last three decades. Some say we are now in a postdigital
era, where digital technologies are no longer a novelty in the art
world, and "the medium is no longer the message."
It refers to works of art
where software, or concepts from software, play an important role; for
example software applications which were created by artists and which
were intended as artworks. Software art as an artistic discipline has
attained growing attention since the late 1990s. It is closely related
to Internet art since it heavily relies on the Internet, most notably
the World Wide Web, for dissemination and critical discussion of the
works. Browser art is an important subset of software art. Since 2000,
software art has become a genre worthy of critical speculation and
merit. Art festivals such as Transmediale (Berlin), Prix Ars
Electronica (Linz) and readme (Helsinki) have devoted considerable
attention to the medium and through this have helped to bring software
art to a wider audience of theorists and academics. However, there is
some concern over whether software art as a specific genre is merely a
passing trend.