The Artistic Contribution of Electrographic Practices to the Archaeology of Electronic Art

  1. Beatriz Escribano Belmar 1
  2. José R. Alcalá Mellado 2
  1. 1 University of Castilla-La Mancha
  2. 2 University Rey Juan Carlos
Livre:
Digital Art through the Looking Glass. New strategies for archiving, collecting and preserving in digital humanities

Éditorial: Edition Donau-Universität

ISBN: 978-3-903150-51-5

Année de publication: 2019

Pages: 61-72

Type: Chapitre d'ouvrage

DOI: 10.25969/MEDIAREP/13342 GOOGLE SCHOLAR lock_openAccès ouvert editor

Résumé

Nowadays, it is almost a fact that electronic art and, therefore, media art was not born without inheritance. This research presents a return to the past through media archaeology as a methodological approach in order to study the role of artistic electrographic practices of (re)production, transmission and printing out of images as underground movements.Our research assesses artistic practices such as Copy Art or Fax Art. The study analyses their historical development as essential part of (historical) media art. By suggesting a new analytical perspective, we aim atdiscussing and understanding phenomena, art paradigms or art formsthat became visible in the analog and digital materiality of the photocopyand fax artworks. For this purpose, the research is based on the original artistic documentary and bibliographic materials, as well as artistic collections held bythe International Museum of Electrography (MIDE) in Cuenca (Spain)since its opening in 1990.

Références bibliographiques

  • Alcalá, José R. 2015. “El artista y la máquina automática. Un nuevo enfoque para su análisis historiográfico.” In ASRI - Arte y Sociedad. Revista de Investigación, 9: s/n.
  • AA.VV. 1970. Software. Information Technology: its new meaning for art. Nueva York: The Jewish Museum (catalogue of the collective exhibition held at The Jewish Museum, New York, 16/09 - 08/11/1970)
  • Eichhorn, Kate. 2016. Adjusted Margin. Xerography, Art and Activism in the late twentieth century. Cambridge / London: The MIT Press.
  • Escribano, Beatriz. 2017. Copy Art Histories: the emergence of the photocopy machine in the 20th century art and its role as Historical Media Art. Tendencies and thematic cartography of Copy Art. Doctoral Thesis, University of Castile-La Mancha.
  • McCray, Marilyn. 1979. Electroworks. Rochester: International Museum of Photography at George Eastman House.
  • Munari, Bruno. 1977. Xerografie originale. Un esempio di sperimentazione sistematica strumentale. Quaderno di design 4, Bologna: Zanichelli,.
  • Munari, Bruno. 1970. Xerografia; Documentazione sull’uso Creativo delle Macchine Rank Xerox . Milan: Ed. Rank Xerox.
  • Quaranta, Domenico. 2013. Beyond New Media Art. Brescia: LINK Editions.
  • Rigal, Christian. 1981. L’artiste et la photocopie. Paris: Édition Galerie Trans-Form.
  • Shanken, Edward. 2009. Art and Electronic Media. New York: Phaidon.
  • Sheridan, Sonia Landy. 1983. “Generative systems versus Copy Art: A clarification of terms and ideas.” In Leonardo, 16/2, pp. 103-108.