Electronic Superhighway (2016-1966), Whitechapel Gallery, London, to 15 May 2016 BACKWARDS. The Electronic Superhighway is a large installation, constructed with Baltimore Museum Deaccessioning Controversy, Explained: Why a Plan to Sell $65 M. in Art Ignited Debate. The breadth of this selection, which spanned from 2000 to today, was staggering, making for a cluttered display that lacked consistent themes. In Queer Technologies, Zach Blas’s fake products offer a hacktivist challenge to software’s heteronormative default settings. Lynn Hershman Leeson’s Lorna 1979-1982 installation. The video consists of thirty-six chapters that we can switch between at will, with each one revealing something new about Lorna’s personality, fears, relationships, and hopes for the future. All Rights reserved. Celia Hempton’s paintings are made while getting people to pose for her online in a chatroom. The selection ranged from 2014, with Olia Lialina’s take on circular activity on social media networks, http://tilde.club/~olialia/640×480/, to 1995, with the collaborative duo JODI’s almost impregnable technical interface wwwwwwwww.jodi.org. Rauschenberg’s tennis match seems absurd until you realise it prefigures game mechanics that are a living-room fixture 50 years on: think Wii Tennis. London, meanwhile, had Cybernetic Serendipity, held at the Institute of Contemporary Arts in 1968; its concerns – computers and music, the rise of robot workers – are still topical today. You're listening to a sample of the Audible audio edition. How radical that must have seemed in 1969. She has to paint quickly because her subjects might not be there long. The difficulty of answering that question is itself instructive. However, as a survey prompting us to question the present and the future of such work and its social impacts, the show fell short, instead seeming content with trying to wrap up today with what we thought it might have looked like yesterday. Nearly half of the works were displayed in the show’s first gallery. Nam June Paik featured heavily. We go from Jacolby Satterwhite’s phantasmagorical (and anatomically implausible) 2016 HD gay porn-fest, a sort of garden of perpetually morphing unearthly delights, to Peter Sedgley’s captivating fuzzy-focus concentric rings of painted colour at the end, lit by changing coloured lights that significantly alter what you see. Described as Tracartin’s “breakout piece”, this college graduation video set the tone for his subsequent work and put its finger on lives lived as though everyone was participating, in perpetuity, in a reality TV show. Only a few works, such as James Bridle’s “holographic” Orwellian bureaucrat or Douglas Coupland’s op-art mugshots – designed to dazzle not just human eyes, but those of facial-recognition AIs – are more evocative than reflective. Others obsess over image manipulation, from Photoshop to pencil scribbles to CGI. The World's Premier Art Magazine since 1913. Your recently viewed items and featured recommendations, Select the department you want to search in, Proceed to checkout ({qq} items) {$$$.$$}. But the works don’t necessarily have much in common: systems art sits next to interactive fiction and video installations, and there are gaps that make the history hard to parse. Find all the books, read about the author, and more. Beginning with Robert Rauschenberg and Robert Whitman’s 1966 Experiments in Art and Technology (E.A.T.)

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