1998 ASCI Digital Art Exhibition



September 13 - October 17, 1998
The Technology Gallery, The New York Hall of Science
Opening Reception: Sunday, Sept.13
3-5pm at the New York Hall of Science (718 699-0005)

digital print

web design

-Kim Beckmann-
-George Laumann-
-Sandy Young-
-Maya Drozdz-
-John Maxwell Hobbs-
-Mark Napier-

Introduction

Welcome to Digital98, ASCI's first annual digital art competition. Six artists were chosen in an open competition from a field of 90 entrants around the world (New Zealand to Mexico, L.A. to N.Y.C.) We were delighted to have Tim Druckrey as our judge, as his seasoned eye and international perspective was necessary for such a project. (His Curatorial Statement follows.)

ASCI is pleased to give these digital works a venue both online as a permanent online exhibition, and displayed in the Technology Gallery at the New York Hall of Science. We hope that you will see from the winning selections that the question looming among computer graphics, artist-teaching professionals back in 1994-95... "Is this tool (the computer) indeed creating a new medium for artists or is it, in fact, only being used to mimic other conventional fine art media such as painting, printmaking, and photography?"... finally has an answer. There are now many artists whose evolved personal vision flows naturally from the multitudinous technical & aesthetic options of computer technology. Actually, artists are among those who push the capabilities of this tool the best!

In conjunction with this exhibition, ASCI is hosting a panel, "Collectibility & the Digital Print", on Sunday, September 27th, 1998 at Cooper Union. Come and hear what the experts have to say...
http://www.asci.org/Digital98/digipanel.html

Cynthia Pannucci,
Founder and Director of ASCI

Curatorial Statement

The "revolution" generated by the shift from analogue to digital technology has not come with a unified aesthetic theory. Rather, the accumulating effects of electronic media have transformed and dispersed many of our assumptions about the making of art and its relationship with communication, knowledge, memory, identity, and temporality. Over the past decade, a range of works have matured to the point where some serious re-evaluations are necessary. Computer animation, digital imaging/sound/video, electronic books, hypermedia, interactivity, cyberspace- the terms of a new discourse with the electronic- need to be integrated with a shifting aesthetic discourse reeling in the aftermath of critical theories of representation and postmodern experience and yet invigorated by technologies whose effects encompass literature, cinema, entertainment, and the arts.

It is this situation, in which information, computation, networked exchanges, and a formidable change in the idea of creativity are bound together more formally than at any other time in history, that a statement concerned with the role of art, the 'autonomy' of the artist, and the link between computers and creativity are pivotal to sustaining an art increasingly dispersed and technologized.

Nothing is so crucial as to mobilize artists to claim a stake in the long, long history of the relationship between history, representation, and technology. It is just a hard fact that at every point in the development of media technologies, from the illuminated manuscript and Gutenberg revolution, from the photographic image to the cinematic experiments of the late 19th century to the use of computer graphics at networks, artists have either been central figures in their creation or vital figures in their implementation in the not so marginal world of the image, the text, the sound or, most importantly, in the expression of the meanings made possible through the use of technology.

Developing a persuasive response to these challenges is no simple project. Worn traditions of artistic autonomy are not so easily assimilated into a culture enveloped in planetary metaphors (no less markets). Avoiding the pitfalls of a mere repetition of the artistic strategies of 'art-for-art's-sake' of the faux independence that avant-gardism once brought won't do. Rather, it is in an engagement with culture, representation and signification that art can provoke and elicit ideas of identity, progress and history. But it is also the case that the deep involvement that contemporary artists have with technology marks a turning point in which the issues of the present and issues of the future seem more entangled than ever.

Tim Druckrey
New York City
Competition Judge


"Collectibility & The Digital Print"

An evening panel discussion in the Great Hall @ Cooper Union, NYC
7 East 7th Street at Third Avenue
Sunday, September 27th, 1998
7:00 to 8:30 P. M.
$10 ($5 for Students w/ID)
At Door or Pre-Registration Recommended
For More Information, Visit:
-www.asci.org/DigiPanel


Show Dates
Digital 98

Sept. 13 - Oct. 17, 1998
The Computer Gallery
The New York Hall Of Science
(718)699-0005 (for directions)
Reception: Sept. 13, 3-5pm
The Online Exhibition is Permanent


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