Lynn Hershman Leeson, Roberta Breitmore, 1974-1978. External Transformations: Roberta’s Construction Chart, No. 1, Dye transfer print, 40″ x 30″, 1975. Courtesy of the artist. How has the rendering of the concept of the ‘self’ in art changed from the early 1400s to the digital present? To explore self-representation in self-portraiture, a number of paintings, photographs, […]
But how does recognisable repetition operate as a unique kind of site for invention, and for speech? And how might we see a Global South engagement with the tragic canon as a de-stabilizing gesture – an un-working, rather than a re-working?
Lucy Jolin interviewed Re- Network founder Clare Foster about the popularity of social forms of re-enactment for the latest issue of CAM magazine. CRASSH reports on it here. “Emily Zhang is loitering with intent in Grantchester Meadows. She is on a mission: to overthrow a mysterious artificial intelligence that has been terrifying her people. Eventually, […]
What gives rise to a canon, or makes something iconic? How are those processes similar, and different?
Factum Arte’s prodigious industry since the mid-nineties means we will have to rethink what we mean by original, copy, and authenticity. Technologies developed under its aegis mean it is now possible to capture and record data about an artwork to an accuracy of 100 microns (100 million measured spatial points per square meter) – and for the first time, this year, these works can now be rematerialized to an accuracy of 20 microns. This is, as Simon Schaffer says, marks a ‘complete revolution in the last two decades’