Podcast

Curator Talk: Analogue Art in a Digital World

13 February, 2019

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Click to listen Curator Talk: Analogue Art in a Digital World

What is the future of painting in the post-digital age? Post-digital age artworks reveal the subtle influences that digital technology is having on our perception and interpretation of the world. The world has been transformed by digital technology, things look different since the internet, the artworks in this exhibition reflect that difference.

The input of digital technology into analogue art has produced a noticeable effect The practices of painting and drawing have been enriched and invigorated by new technological processes. Artists are consciously and unconsciously incorporating digital aesthetics into their artworks; screen-like smoothness, pixilation, high resolution clarity, and the depiction of glitches are all emergent properties of contemporary representational art.

Listen to this curators talk with Sam Leach & Tony Lloyd , as part of their exhibition Analogue Art in a Digital World  at RMIT Gallery from 7 Dec to 19 Jan 2019.  Explore how artists are finding new content in digital media and how technology has altered the nature of analogue art practices.

 

 

Highlights Discussed

  • Why you would bring analogue art into a digital world?
  • How the work has been constructed.
  • How the artist has used digital technology in their practice.
  • When the infiltration of digital into the art studio began.
  • Why digital has changed the entire practice of  modern artists.
  • How the process of acquiring images is changed.
  • Revising a composition through the mediation of the work of the digital.
  • How a painting is created using artefacts of photography.
  • Digital practice in parallel of the normal practice: It’s a new thing.
  • How artists make work in a digital world.

 

Sam I think it’s probably a natural part of our artistic practice is to continually want to question what you’re doing and how you’re doing it in the context of what your peers are doing as well. So, that infiltration of digital into the studio is something that as artists who have been painting in the 21st century, from the end of the 20th century, at doing. It was a period where the digital really emerged and infiltrated every aspect of both personal and working lives. So, it’s something that I think needs to be examined in an exhibition.”

 

Tony  “Technology has always been a part of the artist’s studio : brushes are technology, easels are technology and then you know, single point perspective is technology because that’s a mathematical approach to constructing an image. When photography comes in, it all changes. In the world that we are surrounded in, we are so invested in the digital environment, we experience everything through the screen and it’s trained us to look at the world in different ways. It might only be that we can only do this now because we can always remember back to a time before digital and see what the differences are.”

Preview Image: Becc ORSZÁG, RMIT University Alumni, Fragmentation of mind (be still/withdraw) 2017, graphite pencil and 24kt gold leaf on 600gsm Fabriano watercolour paper, 75 x 52 cm, Courtesy of the artist.

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