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Art as teleportation via the internet

27 Aug

Artist Mariele Neudecker has expressed a fascination for the ability to create art in multiple locations simultaneously, via the internet.
Mariele Neudecker visual artist

‘Divorced, beheaded, died. Divorced, beheaded, survived’ (2000) is her sculpture of a stretched skull based on the skull in Holbein’s painting ‘The Ambassadors.’ Her 3D digital image of the skull is machine-carved out of resin. ‘The stereo lithography machine cut that 3 dimensional, virtual object out into resin,’ she says of the new technology, which she sees as ‘a kind of a forerunner of teleportation, I suppose, because in theory, you could have a computer sitting in Cardiff and send all the information and data down to Australia, and have the machine cut out exactly the same object. You can put any object, any three dimensional object, from the computer into reality’ (Neudecker, 2002).


Art, the Net and the corporate door

19 Jul

‘It was my belief that the development of the web would be an extraordinary opportunity for art to desegregate itself, and (re)gain a central position in ambient cultural discourse and practice. … Rather than knocking at the corporate door asking for ‘charity’, we thought we could convince them that art could be a valuable asset … it could be understood as a form of creative research which could make them understand better the medium they were investing in.’

Benjamin Weil, founder of adaweb, 1998


The great advantage of the Internet for artists

12 Jul

‘Anyone with access to a networked computer can put work on the Net without the say-so of an art institution (public or commercial), and anyone with access to a networked computer can, in principle, take a look.’

Julian Stallabrass (2003)

What the internet can do for you

28 Jun

It’s Monday morning. While you’re fretting about going to work,remember all the good things that the internet can help you achieve!


Just for fun! With thanks to Dean Morris.

Quote #2

17 Jun

Tony Cattermole is a business advisor who specialises in SMEs (small and medium enterprises) and has looked in depth at their online presence. The Business Link website features this pertinent quote:

“The results prove that there is a digital divide among London’s SMEs – those that embrace the Internet as an important component of their business and those that think they can do without. That mindset could hamper their road to recovery. Websites are a cost-effective way of generating sales, reaching customers and launching new products and services.”

I went to see Mr Cattermole, and again and again he said; “websites and not events, they are processes.”

His 5 top tips are:

  1. This is a form of marketing not technology – communicate with your customers
  2. Put your customers first – make sure the website meets their needs and answer their questions
  3. It’s your words that matter – stylishness is less important
  4. How will customers find your website? Make sure that you optimise it for popular search engines such as Google
  5. Don’t delegate the content to your developer – you know your customers best

Quote #1

22 May

‘There will always be a place in our dizzying world for the artist, the craftsman, and the lone inventor, but the seismic shifts taking place in every industry demand a new design practice: collaborative but in a way that amplifies, rather than subdues, the creative powers of individuals’…

Tim Brown, Change by Design (New York: HarperCollings, 2009) p. 37

Tip #1

22 May

‘If you have your own website, try to establish hypertext links with local art groups and other useful organisations. It’s a simple form of promotion to provide art societies to which you belong with JPEGs for posting on the Internet. For example, Fine Art Trade Guild members have their own web pages and are eligible to submit work for the online Guild Artist’s Exhibition; both of them can also link to the artist’s own website. Above all, maximise every opportunity to publicise your web address.’

Annabelle Ruston, The Artist’s Guide to Selling Work (London: Fine Art Trade Guild, 2005) p. 24