Tag Archives: music

What We’re Reading Now: Art (x) Design (x) Technology

At Niio, we are passionate about the intersection of Art, Design & Technology. From code-based and algorithmic artwork, to AR & VR installations, blockchain, and the new .ART domain, digital art was everywhere in ’17.  Check out some of the great stories that we’re reading now and look out for lots more in ’18.

 

ARTNEWS // 
The Year in Screens, in Museums, Galleries, and So On

“It’s estimated that the average American spends about ten hours looking at screens—on phones, laptops, desktops, tablets, televisions, and so on—every day. Screens are more than a little ubiquitous at this point, and I realized, perhaps not so surprisingly, that many of my favorite exhibitions from this year involved the use of screens.”  Read more.

Installation view of “Haroon Mirza: ‘ããã – Fear of the Unknown remix,” 2017, at Lisson Gallery, New York. COURTESY THE ARTIST AND LISSON GALLERY

 

THE VERGE  //
Miami Art Basel: Where Art Reckons With Technology

“In the mass of confusion that is Miami Art Basel, there’s more discussion about the issues of our time, and much of that is framed around technology and the way it is making us think, react, and exist. In the midst of traditional paintings and sculpture on view, Miami Art Basel is demonstrative of how the art world is catching up to internet culture.”  Read more.

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“Members Only” by Brian Bress, a high-definition single-channel video (color), high-definition monitor and player, wall mount, framed. Courtesy of the artist and Cherry and Martin, Los Angeles

 

BOSTON GLOBE //
Boston Arts Groups Team up for Sprawling Look at Art, Technology

“This February, 12 Boston-area arts organizations will band together to present a sprawling series of exhibitions exploring the symbiotic relationship between art and technology — a rare cross-institutional collaboration that includes painting, film, and Web-based art, among others.”  Read more.

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Jon Rafman’s “View of Harbor, 2017” will be part of “Art in the Age of the Internet, 1989 to Today” at the Institute of Contemporary Art.

 

OCEAN DRIVE //
Julia Stoscheck Talks Her Inspiring Collection of Time-Based Media Art

“Art that exists only when installed? Whose every iteration can be considered a different representation of the work? Employing essential equipment and technology that can fail or become obsolete? None of it fazes Julia Stoschek, a leading collector of time-based media art, who gives these pieces the space they need to unfold their magic.”  Read more.

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Imi Knoebel, Projektion X, 1972, and Klaus vom Bruch, Das Alliiertenband (Allies Tape), 1982, from the exhibition “Generation Loss” at the Julia Stoschek Collection, Dusseldorf.

 

The 25 People Who Defined Visual Culture This Year

“What, exactly, is visual culture? In a world where we communicate increasingly with images, it’s an ever-expanding field, comprising not just art, photography, and design, but also memes, advertising, histories of representation, and the very technologies through which all this flows.”  Read more.

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Magic Leap One, Lightwear. Courtesy of Magic Leap.

 

THE ART NEWSPAPER //
UK’s First Permanent Virtual Reality Space in an Arts Institution to Open in London

“This year saw Virtual Reality (VR) reach new heights and capabilities in the art world and now London is getting its first free and permanent public VR space.”  Read more.

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Rachel Rossin’s I Came and Went as a Ghost Hand (Cycle 2, 2015) Courtesy the artist, Zabludowicz Collection and ZieherSmith, New York

 

VENTURE BEAT //
AR and VR Could be Educational — and Profitable — Tools For Museums

“When introduced to new technology, many people react with a mixture of fear and confusion, rather than excitement for the possibilities that the future may hold. Museums are in an even more difficult position: balancing the archiving and preservation of our history and remaining relevant to our society in the present and future, while being cognizant of major financial considerations.”  Read more.

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The Kerry James Marshall exhibit at L.A.’s Museum of Contemporary Art.

 

UPROXX REPORTS //
This Artist Explores the Intersection of Art and Tech by Using Bitcoin 

“I make art that that tries to sort of shine a spotlight on the connection between humans and technology,” Bauch says.  Read more.

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Uproxx

 

THE ART NEWSPAPER //

High-tech Art in Houston: Data-driven Installations Look at Issues Like Hurricane Harvey and Mass Incarceration:

“While musical acts like Nine Inch Nails, Solange and Radiohead’s Thom Yorke might have taken most of the spotlight at this year’s Day for Night, a music and art festival in Houston, Texas, the visual art on offer was just as attention-grabbing.”  Read more.

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The Mill, Uproar (2017) at Day for Night Victoria Stapley-Brown


HYPER ALLERGIC //
Women Artists Working with Technology

“This rigorous exhibition uses art to critique the stereotype that men and technology go hand in hand.” Read more.

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Installation view of “Making/Breaking the Binary” (2017), Rosenwald-Wolf Gallery, Philadelphia


THE VERGE //
Artist Daniel Canogar Visualizes Real-time Environmental Shifts With LED Sculptures

It sometimes seems like technology is at odds with the art world — a tension between brain and heart. But plenty of artists, from Da Vinci to Cory Arcangel, have proved that’s not true, and continue to prove it as technology evolves. In Technographica, we explore how contemporary artists are using technology in unusual and unexpected ways. Read more.

 

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Basin by Daniel Canogar; Photography by Amelia Holowaty Krales for the Verge. Daniel is represented by bitforms.

 

RHIZOME //
What is the Future of Digital Art? 

“A new video from the Thoma Art Foundation brings together answers from ten experts.”  View video.

Niio @ BDNY: Boutique Design New York

This November we were invited by our partner Marriott, one of the world’s leading hotel companies, to demonstrate a selection of interactive artworks at BDNY: Boutique Design New York, the leading trade fair and conference for the hospitality design industry.

BDNY brings interior designers, architects, hotel owners and developers together, introducing them to the most innovative and high-caliber design elements for hospitality interiors around the world. Over the course of two days,  we were able to demonstrate how the Niio platform enables art advisors, curators, architects and designers to implement digital art installations within their projects. 

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L. to R.: Rob Anders, Margo Spiritus & Yossi Amon; Featured Art: ‘Selfish Gene Mirror’ 2015 by Daniel Rozin; courtesy bitforms gallery; ‘Bodypaint III’ by Banz & Bowinkel.

We are on a mission to expose people to original, high-quality, immersive digital art experiences. With a collection of thousands of works from top artists and galleries, state-of-the-art technology, a global hardware infrastructure and white glove installation and support, Niio makes it easy to incorporate captivating digital art into any environment.

Want to discuss a project for one of your spaces? Please contact us or sign up for our Designer affiliate program.

Niio @ Screen City Moving Image Biennial (Norway)

Screen City Moving Image Biennial: ‘MigratingStories’

Screen City is dedicated to presenting the moving image in public space. It explores the relation between the moving image, sound and architecture and presents artistic formats that seek to expand the borders of cinematic experience.

Ranked as one of the Top 10 Biennials to visit by international art magazine Apollo,  Screen City selected the Niio Manage & Display Tool Suite to power their event, from open call submission, through review and art selection all the way to artwork display in the city-wide show.

With Migrating Stories, the Screen City Moving Image Biennial  presented expanded moving image artworks from a broad international range of artists in dialogue and conjunction with the urban sphere and context in the city of Stavanger.

Interested in Niio powering your event?  Please get in touch.

Learn more about Screen City in Stavenger, Norway.

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A Conversation With Kelani Nichole of Brooklyn’s TRANSFER Gallery (Part 1)

Kelani Nichole, Founder/Director of Brooklyn based TRANSFER Gallery, started the exhibition space nearly four years ago in order to support and cultivate artists with computer-based practices through solo exhibitions, events and international art fairs.

She’s passionate about nurturing and growing the digital art market via exposure and education and has taken the time to share some of her insights, challenges and hopes for this fascinating medium.  Get to know Kelani. 

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Kelani Nichole, Founder/Curator, TRANSFER Gallery

What led to your interest in digital art, specifically computer-based work?

I studied Art History at university and in 2010  joined a curatorial collective in Philadelphia.  As I planned my first exhibition it seemed natural to engage with studios practicing online.  I gravitated toward the avant garde online movement loosely referred to as ‘net art’ and I was hooked.

Over the years, my curatorial specialty has developed along with these studios and I am happy to have a hand in evolving the means of support for artists working with distributed online art practices.

What inspired you to open a physical gallery space dedicated exclusively to digital art?

Opening the gallery was an experiment – I wanted to continue working with the studios I supported in my early curatorial projects.  An article from Claire Bishop in Artforum late in 2012 titled ‘The Digital Divide’ was influential in my resolve to further develop these works through exhibition format in the gallery.

The idea was to focus on solo exhibitions featuring new, challenging work coming from the studio that didn’t have another venue to be realized. The roster of artists was strong right out of the gate and the market came knocking on our door.  

What do you believe are the biggest misconceptions about digital art and what would you like people to understand?

The biggest misconception with ‘digital art’ is that it’s any different than other means of contemporary artmaking. I’m keen to stop using the word ‘digital’ to talk about these practices.  One of the biggest challenges to the appreciation of these emerging formats is our lack of vocabulary to discuss these practices and their implications on the institutions of the artworld.  The practices I support are contemporary art practices that have a fundamentally computer-based process – the works that come from the studios are an even split of moving images/software pieces and physical objects.  

The genres of practice are moving image, photography, sculpture, performance, time-based media, glitch, procedural animation, algorithmic art, installation with a heavy conceptual slant present in my program. I’m specifically interested in Internet aesthetic, distributed art objects, the public space of the Internet, and emerging display technologies such as VR/AR and high-definition 4K formats.  I am working to build a new market for animated GIF artworks, distributed public artworks and application based artworks.

How or where do you see the medium of digital art in 5 years?  Do you see a time when digital art is considered mainstream?

Yes. I believe it is nearly there.  However, there is a grey area in the visual landscape we live in, a world flooded with creators and curators. I believe the art world is still struggling to address these practices and figure out meaningful ways to adapt and contextualize the explosion of creative authorship in our contemporary moment within the canon of art history.

What do you think about all the hype surrounding VR?  Do you think it’s a tool that artists will widely embrace?

Yes. Absolutely.  If you haven’t used HTC Vive go do it immediately.  Go, and you won’t even ask that question anymore. Our world is rapidly virtualizing and I hope artists will deeply engage with VR to help ensure this technology develops with criticality and humanness.  I actively support VR/AR practices and believe this is the future for much of our human experience.

Carla Gannis
‘Garden of Emoji Delight’ by Carla Gannis displayed via Niio.