Information art

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Information art (also data art or informatism) is an emerging field of electronic art that synthesizes computer science, information technology, and more classical forms of art, including performance art, visual art, new media art and conceptual art.[1] Information Art often includes interaction with computers that generate artistic content based on the processing of large amounts of data.[2]


Kynaston McShine's "Information"

Informatism follows on the 1970 exhibition organized by Kynaston McShine called "Information", held at the Museum of Modern Art in New York City - a show that formally established conceptual art as a leading tendency in the United States. Conceptual art had emerged simultaneously in dozens of international locations around 1966.[3] At the same time arose the activities of Experiments in Art and Technology known as E.A.T.[4]

Artistic practice[edit]

Information art data can be manifested using photographs, census data, micropayments, personal profiles and expressions, video clips, search engine results, digital painting, network signals, and prose.[5]

See also[edit]


  1. ^ Edward A. Shanken has argued that little scholarship has explored the relationship between technology and conceptual art. He also claimed that there was an art-historical impetus to artificially distinguish information art from conceptual art. Edward A. Shanken, 'Art in the Information Age: Technology and Conceptual Art,' in Michael Corris (ed.), Conceptual Art: Theory, Myth and Practice Cambridge: Cambridge University Press, 2004.
  2. ^ See Charlie Gere Art, Time and Technology: Histories of the Disappearing Body (Berg, 2005). ISBN 978-1-84520-135-7 This text concerns artistic and theoretical responses to the increasing speed of technological development and operation, especially in terms of draws on the ideas of Jacques Derrida, Bernard Stiegler, Jean-François Lyotard and André Leroi-Gourhan, and looks at the work of Samuel Morse, Vincent van Gogh and Kasimir Malevich, among others.
  3. ^ See Lucy R. Lippard, Six Years: the Dematerialization of the Art Object From 1966 to 1972 (1973. Berkeley: University of California Press, 1997).
  4. ^ E.A.T. followed from the event Nine Evenings: Theatre and Engineering, organised by Robert Rauschenberg and Billy Klüver at the Armoury Building, New York City, 13–22 October 1966 to promote the collaboration between artists and engineers. They also organised the Pepsi Pavilion at the World's Fair, Osaka, in 1970. For a detailed discussion of the project see Bijvoet, Art as Inquiry, ch. 2.
  5. ^ McKeough, Tim (February 29, 2008). "Frame That Spam! Data-Crunching Artists Transform the World of Information". Wired. CondéNet (16.03). Retrieved 2008-03-05.

Further reading[edit]

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