14 May 2020
Presented by InterAccess in partnership with C Magazine
This workshop, led by Shauna Jean Doherty, invites art writers with all levels of experience to consider the editorial and practical challenges that are unique to new media art criticism.
Registration is limited. Please register directly through Eventbrite. You will be provided a link to join the online workshop in advance of May 14, 2020. Participants will be registered on a first come, first served basis.
In this workshop, we will address the unique position that electronic art and its criticism holds in the field of contemporary art. Beginning with a review of what we mean when we talk about new media art, this session will unfold with a discussion of venues for the presentation of the genre and publications (or the lack thereof) that specialize in its critique. We will discuss strategies for addressing the technical complexities that are characteristic of new media artworks and exhibitions and the range of contemporary art genres that have emerged from the digital age. With input from participants in advance of the workshop, other discussion topics may include: electronic art amid the wider landscape of contemporary internet culture, the incorporation of digital technology by artists from non-technological disciplines and strategies for situating electronic art practices within the history of technological “progress.” The workshop will culminate with a group exercise, where we will collaboratively review an online exhibition that has been mounted, in part, as a response to the global COVID-19 pandemic titled, Well Now Wtf (2020) curated by Faith Holland, Lorna Mills, and Wade Wallerstein.
Shauna Jean Doherty is a writer, educator and independent curator based in Toronto, Canada. In her work she examines historical and contemporary alliances between art and technology. She has served as Programming Coordinator at InterAccess and graduate studies instructor in the Curatorial Studies program at OCAD University. Doherty has published feature articles, exhibition reviews and curatorial essays on a range of topics including the use of artificial intelligence in contemporary art, and the associations between technology and death. Most recently, she curated Kali Yuga, which features A/V works by Tasman Richardson and is currently on view at Arsenal Contemporary Art (Montreal).
Founded in 1983 as Toronto Community-Videotex, InterAccess is a non-profit gallery, educational facility, production studio, and festival dedicated to emerging practices in art and technology. InterAccess’s mission is to expand the cultural significance of art and technology by fostering and supporting the full cycle of art and artistic practice through education, production, and exhibition.
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