WHAT MAKES YOU CLICK?|
Are you Nutz?
By H. Gay Allen
Adapted from MOCA's editorial pages
Are you Nutz?
Why do you spend huge increments of time, thousands of eye movements, large amounts of "butt-in-seat" duty and a gazillion mouse clicks, doing what ever it is you do to make art on the computer? Are you nutz? Many of my art friends have concluded that's exactly what we are. Little do they know!
Of course, we all agree, you have to be motivated and it does take a huge commitment to create in this way. But I believe that the investments (time, energy, dollars) are definitely worth it. Let's take a look at the evidence.
Since the first cave woman picked up a piece of charcoal or colored rock and converted her thoughts about life in those times into drawings on the cave wall, humans have been using visual images to communicate. Before there was an alphabet there were pictures. Before there were computers there were many other creative tools of choice: tea, henna, hand-ground oil paints, tempera, water colors, clay, metals, glass, crayons. And those are just a beginning of media used as things that are applied to two dimensional surfaces. And would anyone deny the popularity, success and downright awesomeness of three-dimensional offerings the likes of Rodin, F. L. Wright, Chahuly, or the sand paintings of the Tibetan Lamas? I can even see the allure of well done performance art and I understand, but do not participate in, the trend of using tattoos as body art.
So why is it that, those who choose the computer as our method/tool/medium of expression are willing to withstand being thought of as "nutz," or feeling that we are not totally understood by the "mainstream" art world?
Perhaps it's because, on the one hand, we have a huge sense of accomplishment for having mastered the technical; and at the same time, an enormous, insatiable craving for the thrill of the mysterious. That is why we click! It's that contrast; that feeling of power because of what we know and can do; mixed with the total exhilaration that comes from using that power to delve into the unknown and create new things. It's hard work, but the work just paves the way for the magic that happens.
As a professional photographer for the arts I knew my photographs were artistic (they were images that pleased, told a story, used light, shape and movement). I also knew what each was likely to look like after processing, because I had seen it in the camera. Now, I can let go of expectations, precedents, rules and limitations and absolutely "free fall" into my creativity. No reportage; no moody, lean and lost faces on the back roads of life; no having to look for the celebrated works of others to pattern after; and no more worrying about whether I'm using the tools correctly. I am. You are.
That is the message of the artistic computer age. It tells us not to be limited by materials and historical methods; not to give into other's expectations of us; not to worry about who and what is winning awards; but to forge ahead to the new, latch on to the power and never look back. Just keep on clickin!
It's just the beginning
by Solomon Walker
Interesting thoughts on the new medium of digital [in your blogs], both the positive and the negative. I do have to point out that some of the frustrations mentioned about the creative art form, both in the articles and feedbacks, need expanded research to give readers a better understanding on the current state of affairs in the art arena and art market as a whole.
-- One glaring mis-conception is that, there are no ground-level galleries carrying or displaying digitally made art.
There are in fact many that carry this new art form, including most of the largest ground-level galleries and museum in the world.
-- Another mis-conception is that, there are no juried process for digitally made artwork.
There are in-fact many, including those offered through the popular LACDA, in Los Angeles, California. And also, in Germany, and distinctively with the Lumen Prize, which just wrapped up their annual events in the UK and Hong Kong.
The problem I find with the new medium is partially, if not largely, with those producing their work. Most seem to lack direction and knowledge about the medium, about the processing of the work, about marketing the artwork, and even about art history itself.
Overall, at the end of the day, the good thing is that photography and photographers went through similar development process already, and has left workable blueprints for us to follow in breaking through the traditional art world. It's just the beginning.
The genius of Jan Kölling is the persistence of his vision. Kolling emerged into digital art after a more conventional career as a painter. His digital tools, some of which he devised himself, enabled him to incorporate photographic techniques into his art. Thus was born slowly but inevitably a highly personalized idiosyncratic style that Kolling pursued with uncompromising determination and courage. It is sometimes hard to tell now whether Kölling's art is a menage of photography and drawing, or neither or both. It exists in a third world, or in another world, beyond photography and painting. There is no conventional wisdom in Kolling's art. There is no "beauty" in the ordinary sense, no portraiture, almost no objectivity that we can ordinarily recognize. It is beyond abstraction. It is not an easy style and it may be indecipherable. It is a style that he alone has pursued. Kölling is working beyond talent. He is working where talent, discipline and courage converge.
Sören Kierkegaard: "I'd rather be an apostle than a genius".
Art by Jan Kölling
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MUSEUMS, COMMUNITIES, GALLERIES|
Digital Art Gallery Online
Digital Art Served
Soho Arthouse (Soho Gallery For Digital Art)
DAM - Digital Art Museum
Los Angeles Center for Digital Art
Museum of Computer Art
Digital Art Online
Museum of Digital Fine Arts
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Comment by Ellen Rothstein
"These four pieces by Cooky Goldblatt are wonderful. They inspire, move me to a meditative place, are beautiful like the wilderness and create a desire in me to see more. Thank you!"
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