Ongoing collection to chart the passage for painting in the continuous current, with writing for work informed by or informing painted practice. Images, modelled and actual paint all twisted like a vine, etc.
PAINTED,ETC. is a broad research initiative currently produced by artist
Ry David Bradley to document the practice, understanding and lineage of painting and its descendants in the internet age...
PAINTED,ETC. accepts contributions, brief reviews, short artist essays, statements and images.......
To send work
click here
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PAINTED, ETC.
Manifest.AR cyberartist group announces “The AR Art Manifesto”, the dawn of Augmented Reality as an art form.
The AR Art Manifesto
“All that is Visible must grow beyond itself and extend into the Realm of the Invisible” (Tron, 1982)
Augmented Reality (AR) creates Coexistent Spacial Realities, in which Anything is possible – Anywhere!
The AR Future is without boundaries between the Real and the Virtual. In the AR Future we become the Media. Freeing the Virtual from a Stagnant Screen we transform Data into physical, Real-Time Space.
The Safety Glass of the Display is shattered and the Physical and Virtual are united in a new In-Between Space. In this Space is where we choose to Create.
We are breaking down the mysterious Doors of the Impossible! Time and Space died yesterday. We already live in the Absolute, because we have created eternal, omnipresent Geolocative Presence.
In the 21st Century, Screens are no longer Borders. Cameras are no longer Memories. With AR the Virtual augments and enhances the Real, setting the Material World in a dialogue with Space and Time.
In the Age of the Instantaneous Virtual Collective, AR Activists aggravate and relieve the Surface Tension and Osmotic Pressure between the so-called Networked Virtual and the so-called Physical Real.
Now hordes of Networked AR Creatives deploy Viral Virtual Media to overlay, then overwhelm closed Social Systems lodged in Physical Hierarchies. They create subliminal, aesthetic and political AR Provocations, triggering Techno-Disturbances in a substratosphere of Online and Offline Experience.
Standing firmly in the Real, we expand the influence of the Virtual, integrating and mapping it onto the World around us. Objects, banal By-Products, Ghost Imagery and Radical Events will co-exist in our Private Homes and in our Public Spaces.
With AR we install, revise, permeate, simulate, expose, decorate, crack, infest and unmask Public Institutions, Identities and Objects previously held by Elite Purveyors of Public and Artistic Policy in the so-called Physical Real.
The mobile phone and future Visualization Devices are material witness to these Ephemeral Dimensional Objects, Post-Sculptural Events and Inventive Architectures. We invade Reality with our Viral Virtual Spirit.
AR is not an Avant-Garde Martial Plan of Displacement, it is an Additive Access Movement that Layers and Relates and Merges. It embraces all Modalities. Against the Spectacle, the Realized Augmented Culture introduces Total Participation.
Augmented Reality is a new Form of Art, but it is Anti-Art. It is Primitive, which amplifies its Viral Potency. It is Bad Painting challenging the definition of Good Painting. It shows up in the Wrong Places. It Takes the Stage without permission. It is Relational Conceptual Art that Self-Actualizes.
AR Art is Anti-Gravity, it is Hidden and must be Found. It is Unstable and Inconstant. It is Being and Becoming, Real and Immaterial. It is There and can be Found – if you Seek It.
Endorsed by the founding members of the cyberartist group manifest.AR, 25 January 2011:
Mark Skwarek, Sander Veenhof, Tamiko Thiel, Will Pappenheimer, Christopher Manzione, John Craig Freeman, and Geoffrey Alan Rhodes.
http://www.manifestAR.info
• 26 April 2011
Untitled (Woof)
2011
Andreas Meinich & Piotr Lakomy
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The third publication of MORAVA Publishing House is “Untitled (Woof)” by Andreas Meinich from Norway and Piotr Łakomy from Poland. Meinich prepared digitally a background on which Łakomy made over ten recordings by means of classical tools such as oil paint, spray paint, industrial acrylic, and stencil. Their joint project stands in between a digital and analogue work. Between what can be seen on a computer display panel and what can be
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A complete edition set in: .PDF
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format: 475 x 615 mm
fullcolor offset print + mixed media
paper: Arctica 300 g
edition: 15 (+9AP)
price: 80 Euro + shipping
ORDER BY EMAIL
morava@moravabooks.com
All copies are numbered and signed by authors.
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© MORAVA 2011, Andreas Meinich, Piotr Łakomy
• 26 April 2011
I spent the majority of April Fools’ Day reading about Dada for an essay that I’m writing. For a quick laugh, I imagined a twenty-first century equivalent called DATA, a movement of artists who embrace the Dada ethos, but who work with software and data. During the following day, the more I thought about it, the more I thought there might be something to it. The idea of DATA (based on Dada ideas) might be a way to group together related work from the last decade into a coherent narrative. I’ve only done about fifteen minutes of work on the topic; it’s half-formed and raw. We’ll see what time and other opinions bring. I’m not going to do more with it for now, so feel free to tear it apart or to build on it. Even if the name DATA is entirely wrong, I think there’s something beyond the name that might make sense.
I’ve started a list of works to think through the idea:
[V]ote-auction, Ubermorgan. 2000-2006. (Or something more recent)
http://www.vote-auction.net/
Invisible Threads. Jeff Crouse and Stephanie Rothenberg. 2008.
http://www.doublehappinessjeans.com/
My%Desktop. Jodi. 2002 (Or something more recent)
http://mydesktop.jodi.org/
net.art generator. Cornelia Sollfrank. 2003?
http://www.obn.org/generator/
The New York Time Special Edition. Steve Lambert and Andy Bichlbaum (The Yes Men). 2008
http://visitsteve.com/made/the-ny-times-special-edition/
No Fun. Eva and Franco Mattes aka 0100101110101101.ORG. 2010
http://vimeo.com/11467722
Carnivore. RSG. 2001-present
http://r-s-g.org/carnivore/
Electroboutique. Alexei Shulgin and Aristarkh Chernyshev. 2005+
http://www.electroboutique.com/
Satromizer OS. Ben Syverson and Jon Satrom. 2010
http://satromizer.com/sOS/
Cory Arcangel. Data Diaries. 2003 (Or something more recent)
http://www.turbulence.org/Works/arcangel/
Something from G.R.L. and/or F.A.T.
Casey Reas
via Leaf Tierney
• 20 April 2011
[T]he experience of making and taking in culture is now, for the first time in human history, a condition of almost paralyzing overabundance. For millennia it was a condition of scarcity; and all the ways we regard things we want but cannot have, in those faraway days, stood between people and the art or music they needed to have: yearning, craving, imagining the absent object so fully that when the real thing appears in your hands, it almost doesn’t match up. Nobody will ever again experience what Keith Richards and Mick Jagger experienced in Dartford, scrounging for blues records.
Dan Chiasson, New York Review of Books
Point taken—but let’s remember it’s a small sacrifice. I have this or that fetish object—the White Album on two 8-tracks in a black custom case, for example, or a rare Elvis Costello picture disc. And I remember the joy of the find. But it’s hard to feel bad about the end of rarity; didn’t a lot of the thrill come from feeling superior when you had something others didn’t? You really want to get nostalgic about that? We’re finally approaching that nirvana for fans, scholars, and critics: Everything available, all the time. (Certainly Richards and Jagger would approve.) It’s not an ideal state of affairs for a rights holder, of course. But for the rest of us, what is there to complain about?
Mark Frauenfelder
via Michael Fitzgerald
• 20 April 2011
What appear to be Duchampian (R.Mutt-style) Urinals from Jon Rafman’s Brand New Paint Job are currently on display in BARMEDICAL PROJECTS inaugural online gallery show, FREE 4 ALL, presented by Butcher Gallery in Toronto, who state:
Unifying artists working both immaterially and physically. The high-gloss, hyper-real finish of the rendered exhibition obscures the boundaries between Real and Representation. So shiny, so irresistible by virtue of its digitallness, FREE 4 ALL supersedes certainty.
Check out the full gallery show without leaving your desk-chair, right here.
• 18 April 2011
David Hockney
Me Draw On Ipad
Louisiana Musuem of Modern Art
8 April - 28 August 2011
• 13 April 2011
Replaced Mona Lisa
2011
Mike Ruiz
Oil on Canvas
77 x 53 cm
The Mona Lisa with the lady selected then put through Content-Aware Fill (a Photoshop CS5 tool that automatically generates content based on the existing surrounding content of the image and fills in selected area). The resulting image is a potential landscape as interpreted by the software. The image was sent to a painting manufacturer in China where an oil painting was produced.
• 4 April 2011
Solvents After Exceptions
2011
Artie Vierkant
• 2 April 2011
