In my experience most artists, especially those I meet in the US, feel
marginalized. I wonder if at the root of Patrick and Steve's points in
this regard is not the perceived favoring of one media over another, but
a generalized lack of support or prioritization for all experimental,
formalist aesthetic investigation, especially in the US. Here artists
ARE marginalized, the value of the cultural dollar continues to drop.
There is so little to go around, we don't really even fit into academia.
Very telling that, in some grants I have applied for lately, it is
necessary to explain to artists why they should pay themselves for their
production time when making a budget...
sorry for following Steve's side track...I think that the Top 15+3
criteria are wonderful, thanks Sarah for sending it around. Another
criteria that I would add is that the web documentation of the
interactive new media installation should always precede the
installation itself.....then we can get everything right.
School of Art
Bowling Green State University
Bowling Green, OH
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> -------- Original Message --------
> Subject: [NEW-MEDIA-CURATING] Painging as marginal media
> From: Patrick Lichty <[log in to unmask]>
> Date: Wed, September 10, 2008 11:16 am
> To: [log in to unmask]
> Very good point -
> When I was in grad school, I spent a lot of time with a painter on the faculty who was scared to death of New Media. She went on a great deal about how painting had been marginalized in the school and internationally, and all of theis media art, expecially New Media, had taken the fore.
> Last year, I went to NYC with my long time collaborator and later grad advisor Greg Little, and we hit all the major galleries... I woudl frequently, look at him with astonishment and say, "You know? I think I see - a PAINTING! Oh my God! Thsi place is filled with them! Look over there! There are more! Chelsea must be horribly out of touch, as obviously they don't know painting is passe' now. How gauche..."
> When I spoke at Video Vortex as well, last year, I remarked that although there is a flattening of culture, the power center of the art world is relatively unaffected, exceopt that new forms are intregrating into it, which is not new.