Monday, 14 May 2018

What is Glitch art ( Digital Transformations part 5 - The death of the art critic and gallery curation )

Nick Yasa - Fuck gac (2017)

If it does not need a gallery to be shown , it follows that it does not need the cozy gate way keeper clique of gallery, curator and collector , and typical cultural audience, that’s why I have a problem with the phrase ‘ new media’ . which I see as a way for traditional art to co-opt newer forms of work to sustain its moribund paradigm.

If art criticism and career art speak has no place who then ascribes value and criticality to glitch art ( or art primarily existing on-line ) my contention is that like the INTERNET itself in a way akin to file sharing criticism itself is as blunt as sharing and reputation likes and novelty - how far does something stretch what can be done , how novel is it and how many times has it been shared and liked , the lifespan of most pieces if i can call them that is truly minimal - a successful piece reaches and perpetuates itself further than most , unsuccessful ones fall into the void .

It also has a level of self criticism , ‘ Where's the glitch fam’ is used when work is just simple photoshop filter fests or after effects laziness , in a recent post to GAC Nick Yasa posted the image above which pokes fun at the laziness and self absorption of some of the posters – titled ‘Fuck gac’ – although the cost of admission is free it requires you at least make the effort .

If the birth of modernism starts with cubism , if the camera killed the need for visual art to be a medium of record, leading to a deeper exploration of the possibilities of representation or the need to be representational at all , so the rise of the network and cheap computing devices attached to those networks kills off the need for physical media or gallery presence and self organises its own criticality . An artists literacy used to be defined by drawing and command of paint , or clay or steel , or more recently curatorial artspeak, now a new literacy has emerged .

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