Tag: galleries

  • I spent 24 hours watching The Clock – MoMA

    The meta-study “Severe Sleep Deprivation Causes Hallucinations and a Gradual Progression Toward Psychosis with Increasing Time Awake” (Frontiers of Psychiatry, 2018) found that subjects’ “perceptual distortions, anxiety, irritability, depersonalization, and temporal disorientation started within 24–48 h of sleep loss.” I can offer anecdotal confirmation. It is after 2:00 p.m. and I have been awake for 28 hours. I’m not hallucinating (yet) but I definitely hate everyone and, although I’m literally sitting in a clock, time is meaningless. One hour flies by and the next is like spending an afternoon at the DMV. Paul Hogan pretends to tell the time by looking at the sun (Crocodile Dundee, 1986) and I laugh for the first time in hours.

  • The second wave of immersive institutions has arrived—how can traditional museums and galleries harness their power? – The Art Newspaper

    Museums and galleries have a fresh opportunity to work with a new type of digital art venue that is spreading around the world, with the power to tell interactive stories of cultural heritage to multiple users using free-roam VR headsets

  • DOOM: The Gallery Experience – Newgrounds

    DOOM: The Gallery Experience was created as an art piece designed to parody the wonderfully pretentious world of gallery openings. In this experience, you will be able to walk around and appreciate some fine art while sipping some wine and enjoying the complimentary hors d’oeuvres in the beautifully renovated and re-imagined E1M1 of id Software’s DOOM (1993).

  • National Gallery mixtape – Google Arts & Culture

    Mix a personalized soundtrack inspired by paintings from the National Gallery with the help of Google AI.

  • Electric Dreams: Art and technology before the internet – Tate

    As the field gained international popularity in the 1960s, second-generation cyberneticists introduced principles of ‘observation’ and ‘influence’. This allowed them to link systems together into complex ecologies. Cybernetics became applied more widely to various social, environmental and philosophical contexts. It developed a cultural dimension among the 1960s hippie counterculture. They experimented with new technologies alongside their interest in alternative lifestyles and mind-altering experiences.

    Many artists and thinkers turned to cybernetics to make sense of a newly interconnected world, increasingly driven by technological development and interactions with machines. As a field concerned with constructing systems, cybernetics also holds the potential to dismantle existing structures and rebuild them anew. Artists responded to these ideas by creating systems-based works that performed creative acts with minimal human intervention, or which responded in real-time to the interactions of their viewers

  • The Painted Protest: How politics destroyed contemporary art – Harper’s Magazine

    It was the most depressing exhibition I had ever seen at the gallery, hardly worth a visit, let alone losing one’s legs. While Unravel pretended to be politically radical—even revolutionary—it didn’t seem to stand for much beyond liberal orthodoxy and feel-good ambient diversity. It offered fantasies of resistance, but had little to offer in terms of genuine, substantive social change or artistic experimentation. The works were almost entirely produced with traditional methods and materials, in recognizable aesthetics, and might as well have dated from half a century ago, if not much earlier. […]

    The extent to which the art world has taken up these concerns raises another question: When the world’s most influential, best-funded exhibitions are dedicated to amplifying marginalized voices, are those voices still marginalized? They speak for the cultural mainstream, backed by institutional authority. The project of centering the previously excluded has been completed; it no longer needs to be museums’ main priority and has by now been hollowed out into a trope. These voices have lost their own unique qualities. In a world with Foreigners Everywhere, differences have flattened and all forms of oppression have blended into one universal grief. We are bombarded with identities until they become meaningless. When everyone’s tossed together into the big salad of marginalization, otherness is made banal and abstract.