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Reveling at the intersection of Art and Technology. Managing Director, @1OF1_art.
1989: "Over the past two years, Halaby created a computer art software program that would allow her to paint graphic images lasting from 11 seconds to 5 minutes and incorporate sound into them. 'They are like little abstract movies,' she said."
Below: Stills from 'Rainy Central Park' (1986) & 'Central Park' (1986) by Samia Halaby
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In the 1980s, it would've cost a fortune to achieve large scale display of digitally native works.
Below is a clip behind Palladium Nightclub's 'Giant Screen' - each weighing four tons & containing 25 CRTs each. Keith Haring would've seen this screen often, scarily enough it was also hydraulically actuated. Clip from Beyond 2000, 1987.
13.7. klo 00.21
Keith Haring in 1987: "[I want] a giant screen so I can create huge computer-generated images and change the scales of things. Even better, something that would allow me to project [images] onto the sides of buildings."
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Gregory Crewdson’s photographic process is one you have to see to believe - an astounding level of care, control, & complexity in each composition.
Below is the trailer from the documentary Gregory Crewdson: Brief Encounters, 2012 (which took a decade of filming to make).
12.7. klo 07.00
FELLOWSHIP EARLY PROJECTS
In 2021, @showsupnaked and I had the idea to build a collection of NFTs with some of the "heroes" of Contemporary Photography and their relationship to digital art. Photography was one of the first mediums to embrace digital tools and it has been used in cameras, printing and distribution of these photographic images. The blockchain, coincidently carries one of the mediums intrinsic values which is "stopping time." Photography has always had a shaky relationship with truth. It looks real, but we all know it is not. Blockchains coincide in photo's relationship with time and facts, but in the age of AI, maybe it is the combination of these two tools that will become policy in order to distinguish real from artificial. I'm being a bit provocative as I am leaving many gaps in my argument, but maybe there is something there to explore. I really enjoyed the ideas @culturehacker is dealing with in his programs. It has my head spinning! But anyways, I've been looking back at the first projects we released on @fellowshiptrust and wanted to share them as they were, and are instrumental in our curatorial perspectives with in our various programs. I would argue that each one of these artist are iconic with in contemporary art, especial in the medium of photography. Happy Friday. Enjoy!
📷 Gregory Crewdson:
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It is an absolute honor and privilege to share my new position as Managing Director of @1OF1_art
As steward 1OF1’s collection of iconic 21st-century art, I bring a commitment to honoring and advancing the cultural legacy of not just our collection, but the digital genre as a whole. Very excited for this next chapter :)
10.7. klo 02.19
We are thrilled to announce the appointment of Noah Bolanowski as Managing Director of 1OF1.
Recognized as a passionate leader in the contextualization and education of digital art history, @Noahbolanowski is uniquely positioned to steward 1OF1's collection of iconic 21st-century art, elevating digital artists' rightful recognition to the forefront of the art canon.
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Chris Boon in 1974: "This is art, because the originators are artists first and computer men second. They all produce in a completely different way and you can identify their styles very easily. They’re just using computers as a new medium."
From 'Well, Do You Think It's Art?' by David Snelling in Reading Evening Post, Sept. 5, 1974.
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