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Nicolas Bourriaud

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A couple of quotes from Nicolas Bourriaud, The Radicant, Sternberg Press, New York 2009:

“today, one must struggle, not – as Greenberg did – for the preservation of an avant-garde that is self sufficient and focused on the specificities of its means, but rather for the indeterminacy of art’s source code, its dispersion and dissemination, so that it remains impossible to pin down – in opposition to the hyperformatting that, paradoxically, distinguishes kitsch.”

“home computing has gradually spread to all modes of thought and production. At the moment, however, its most innovative artistic applications stem from artists whose practice is quite distant from digital art of any kind – no doubt while waiting for something better to come along.”

Paul Slocum

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“New media art may eventually find its market, but since it currently has not, its prominence in the art archive may depend on those in the field writing avidly about the unique experiences they’re having with art, computers and the Internet. New media artists are pouring themselves online every day to see a fuller picture, and they must report back often lest others miss out on the astonishing beauty of the Internet.”

Paul Slocum, New Media and the Gallery, in Artlies, Issue 67, 2010

The whole issue is quite gorgeous, featuring texts by / about Charles Broskoski, Beryl Graham & Sarah Cook, Angelo Plessas, Kenneth Tin-Kin Hung, Guthrie Lonergan, Tobias Leingruber

Arns & Lillemose

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“[…] both within the computer based art world and the non-computer based art forces are working against an integration of the two worlds that actually both would benefit from.”

Inke Arns & Jacob Lillemose, “It’s contemporary art, stupid”. Curating computer based art out of the ghetto, 2005

Graham & Cook

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“One problem as far as the acceptance of new media art into the mainstream of the art system is that it has been briefly taken up as a novelty and shown only for its newness. The hype surrounding the technology driving new media art hasn’t helped its long-term engagement with the art world.” 

Beryl Graham and Sarah Cook, Rethinking Curating. Art after New Media, 2010

Lev Manovich

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“As digital and network media are rapidly became an omni-presence in our society, and as most artists came to routinely use it, new media field is facing a danger of becoming a ghetto whose participants would be united by their fetishism of latest computer technology, rather than by any deeper conceptual, ideological or aesthetic issues – a kind of local club for photo enthusiasts.”

Lev Manovich, “From Borges to HTML”, 2003

Seth Price

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“Some of the most interesting recent artistic activity has taken place outside the art market and its forums. Collaborative and sometimes anonymous groups work in fashion, music, video, or performance, garnering admiration within the art world while somehow retaining their status as outsiders, perhaps due to their preference for theatrical, distribution-oriented modes. Maybe this is what Duchamp meant by his intriguing throwaway comment, late in life, that the artist of the future will be underground.” 

Seth Price, in Dispersion, 2002 – ongoing

Lauren Cornell

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“In contemporary art, [the Internet’s] pervasiveness seems often misunderstood or overlooked, While the field of art online continues to thrive, art engaged with the internet does not need to exist there; because the internet is not just a medium, but also a territory populated and fought over by individuals, corporations, and governments; a communications tool; and a cultural catalyst.”

Lauren Cornell, in “Walking Free”, essay published in the online catalogue of the ehibition Free (New Museum, New York, October 20, 2010 – January 23, 2011).