Networked art in Lockdown: how can we be creative in new ways?

What if we could adjust to new creative ways of doing things, to make and experience art to keep it relevant during times of Lockdown? Use of digital technologies facilitates an art made for networks and is a way for people to have a connection through art across the globe when museums and galleries are unable to open to the public. Read my article published today in Studio International.

Ernest Edmonds, H Space, 2020. Distributed Augmented Reality interactive installation. Sydney, communicating with Guangzhou [Photo: Ernest Edmonds]

Review of the Barbican’s new AI: More than Human show for SI

teamLab’s immersive, interactive digital artworkWhat a Loving and Beautiful World

Very soon, artificial intelligence (AI) will probably be present in all aspects of our lives. The Barbican’s new exhibition (till 26 August) attempts to address the question where do we end and where does it begin? Read my review just published in Studio International.

Review of CHANCE & CONTROL at the V&A

Installation view of Chance and Control at the V&A, showing early and mid-period drawings by Harold Cohen

Read my review in Studio International of the new display of computer art at the Victoria & Albert Museum London – Chance and Control: Art in the age of Computers and learn of the remarkable diversity of the V&A’s collection and how it has grown from early beginnings in just ten years.  Among many things of interest here are three fabulous works by Harold Cohen from his early, mid and later period.  Exhibition on now until 18 November 2018.

Remembering Cybernetic Serendipity

Fifty years on from Cybernetic Serendipity, the 1968 exhibition of computer art, Studio International remembers the impact and legacy of this seminal show.  Read my article which looks at the history of the exhibition and how it has shaped digital art in the years since.

AND Congratulations to Paul Brown for his show Process, Chance, and Serendipity: Art That Makes Itself at the National Academy of Sciences in Washington D.C. on now until 15 July 2018.  Read a review in the New Scientist.