Interactive art is a form of art that involves the spectator in a way that allows the art to achieve its purpose. Some interactive art installations achieve this by letting the observer walk through, over or around them; others ask the artist or the spectators to become part of the artwork in some way.
Postmodern art is a body of art movements that sought to contradict some aspects of modernism or some aspects that emerged or developed in its aftermath. In general, movements such as intermedia, installation art, conceptual art and multimedia, particularly involving video are described as postmodern.
Generative art is post-conceptual art that has been created with the use of an autonomous system. An autonomous system in this context is generally one that is non-human and can independently determine features of an artwork that would otherwise require decisions made directly by the artist. In some cases the human creator may claim that the generative system represents their own artistic idea, and in others that the system takes on the role of the creator.
Software art is a work of art where the creation of software, or concepts from software, play an important role; for example software applications which were created by artists and which were intended as artworks. As an artistic discipline software art has attained growing attention since the late 1990s. It is closely related to Internet art since it often relies on the Internet, most notably the World Wide Web, for dissemination and critical discussion of the works. Art festivals such as FILE Electronic Language International Festival, Transmediale (Berlin), Prix Ars Electronica (Linz) and readme have devoted considerable attention to the medium and through this have helped to bring software art to a wider audience of theorists and academics.
The Pleasure of the Text is a 1973 book by the literary theorist Roland Barthes.
Electronic art is a form of art that makes use of electronic media. More broadly, it refers to technology and/or electronic media. It is related to information art, new media art, video art, digital art, interactive art, internet art, and electronic music. It is considered an outgrowth of conceptual art and systems art.
Information art, which is also known as informatism or data art, is an art form that is inspired by and principally incorporates data, computer science, information technology, artificial intelligence, and related data-driven fields. The information revolution has resulted in over-abundant data that are critical in a wide range of areas, from the Internet to healthcare systems. Related to conceptual art, electronic art and new media art, informatism considers this new technological, economical, and cultural paradigm shift, such that artworks may provide social commentaries, synthesize multiple disciplines, and develop new aesthetics. Realization of information art often take, although not necessarily, interdisciplinary and multidisciplinary approaches incorporating visual, audio, data analysis, performance, and others. Furthermore, physical and virtual installations involving informatism often provide human-computer interaction that generate artistic contents based on the processing of large amounts of data.
Lawrence Reginald Alloway was an English art critic and curator who worked in the United States from 1961. In the 1950s, he was a leading member of the Independent Group in the UK and in the 1960s was an influential writer and curator in the US. He first used the term "mass popular art" in the mid-1950s and used the term "Pop Art" in the 1960s to indicate that art has a basis in the popular culture of its day and takes from it a faith in the power of images. From 1954 until his death in 1990, he was married to the painter Sylvia Sleigh.
Algorithmic art or algorithm art is art, mostly visual art, in which the design is generated by an algorithm. Algorithmic artists are sometimes called algorists.
Roy Ascott FRSA is a British artist, who works with cybernetics and telematics on an art he calls technoetics by focusing on the impact of digital and telecommunications networks on consciousness. Since the 1960s, Ascott has been a practitioner of interactive computer art, electronic art, cybernetic art and telematic art.
Richard Allen was a British Minimalist, Abstract, Systems, Fundamental, and Geometric painter and printmaker. Allen worked prolifically from 1960 until his death, in 1999, from motor neurone disease.
Telematic art is a descriptive of art projects using computer-mediated telecommunications networks as their medium. Telematic art challenges the traditional relationship between active viewing subjects and passive art objects by creating interactive, behavioural contexts for remote aesthetic encounters. Telematics was first coined by Simon Nora and Alain Minc in The Computerization of Society. Roy Ascott sees the telematic art form as the transformation of the viewer into an active participator of creating the artwork which remains in process throughout its duration. Ascott has been at the forefront of the theory and practice of telematic art since 1978 when he went online for the first time, organizing different collaborative online projects.
Jack Wesley Burnham Jr. was an American writer and theorist of art and technology, who taught art history at Northwestern University and the University of Maryland. He is one of the main forces behind the emergence of systems art in the 1960s.
Edward A. Shanken is an American art historian, whose work focuses on the entwinement of art, science and technology, with a focus on experimental new media art and visual culture. Shanken is Professor, Arts Division, at UC Santa Cruz. His scholarship has appeared in numerous journals and anthologies and has been translated into many languages. Shanken is the author of Art and Electronic Media, among other titles.
Cybernetics is the transdisciplinary study of circular processes such as feedback systems where outputs are also inputs. It is concerned with general principles that are relevant across multiple contexts, including in ecological, technological, biological, cognitive and social systems and also in practical activities such as designing, learning, and managing.
20th-century Western painting begins with the heritage of late-19th-century painters Vincent van Gogh, Paul Cézanne, Paul Gauguin, Georges Seurat, Henri de Toulouse-Lautrec, and others who were essential for the development of modern art. At the beginning of the 20th century, Henri Matisse and several other young artists including the pre-cubist Georges Braque, André Derain, Raoul Dufy and Maurice de Vlaminck, revolutionized the Paris art world with "wild", multi-colored, expressive landscapes and figure paintings that the critics called Fauvism. Matisse's second version of The Dance signified a key point in his career and in the development of modern painting. It reflected Matisse's incipient fascination with primitive art: the intense warm color of the figures against the cool blue-green background and the rhythmical succession of the dancing nudes convey the feelings of emotional liberation and hedonism.
Neil Williams, was an American painter and educator. Williams was an abstract painter primarily known for his pioneering work with shaped canvases in the early 1960s. His paintings of the 1960s, 1970s and 1980s are associated with geometric abstraction, hard-edge painting, color field, and lyrical abstraction, although he did not readily subscribe to any category for his work. He taught fine arts at the School of Visual Arts, from the late 1970s until the early 1980s.
New media art includes artworks designed and produced by means of electronic media technologies. It comprises virtual art, computer graphics, computer animation, digital art, interactive art, sound art, Internet art, video games, robotics, 3D printing, immersive installation and cyborg art. The term defines itself by the thereby created artwork, which differentiates itself from that deriving from conventional visual arts such as architecture, painting or sculpture.
Minimalism describes movements in various forms of art and design, especially Visual art and music, where the work is set out to expose the essence, essentials or identity of a subject through eliminating all non-essential forms, features or concepts. As a specific movement in the arts it is identified with developments in post–World War II Western Art, most strongly with American visual arts in the 1960s and early 1970s. Minimalism is often interpreted as a reaction to abstract expressionism and a bridge to postminimal art practices. Prominent artists associated with this movement include Ad Reinhardt, Nassos Daphnis, Tony Smith, Donald Judd, John McCracken, Agnes Martin, Dan Flavin, Robert Morris, Larry Bell, Anne Truitt, Yves Klein and Frank Stella. Artists themselves have sometimes reacted against the label due to the negative implication of the work being simplistic.
Cybernetic art is contemporary art that builds upon the legacy of cybernetics, where feedback involved in the work takes precedence over traditional aesthetic and material concerns. The relationship between cybernetics and art can be summarised in three ways: cybernetics can be used to study art, to create works of art or may itself be regarded as an art form in its own right.
