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Digitale Kunst: 2 Text passages
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1.  Rudolf Frieling «Form Follows Format
Tensions, Museums, Media Technology, and Media Art»landscape was diversified, commercialized and popularized in the wake of MTV in the 1980s. Monumental installations by Fabrizio Plessi, «Tempo Liquido» (1993), or Marie-Jo Lafontaine, «Les larmes d'acier» (1987), used powerful arts [more]  |
| 2. Rudolf Frieling «Form Follows Format
Tensions, Museums, Media Technology, and Media Art» someone to do it for them? Artists like Zbigniew Rybczynski are vehement exponents of the first approach, and others like Fabrizio Plessi are the complete opposite. This dualism runs through generation after generation of ‹artist models.› Behind this [more] |
