Man Ray, “Marcel Duchamp Obligation pour la Roulette de Monte Carlo” (1924) (courtesy the Centre Pompidou, © Man Ray Trust, Adagp Paris 2015)
My review at Hyperallergic: The Pompidou’s Permanent Collection Reinstalled Along the Lines of Art Theory
Joseph Nechvatal is an American post-conceptual artist who creates virus-modeled artificial life computer-assisted paintings and animations. Themes he has addressed in his art include the apocalyptic, communication excess, the virus, and gender fluidity.
In 1975, he moved from Chicago to the downtown Tribeca area of New York City. He began studying at Columbia University with the philosopher Arthur Danto while working for the Dia Art Foundation as archivist to the minimalist composer La Monte Young.
In 1980, he moved from Tribeca to the sordid Lower East Side where he found artistic camaraderie and politically inspired creative energy. There he became closely associated with Collaborative Projects (Colab), the influential post-punk artists’ group that included Kiki Smith and Jenny Holzer, among others. Those were glory days for the famous Colab projects, such as Just Another Asshole, The Real Estate Show and The Times Square Show. He also helped establish the non-profit cultural space ABC No Rio, where exhibitions were animated by political purpose.
In the early 1980s, his art consisted of dense post-minimalist gray graphite drawings (that were sometimes photo-mechanically enlarged), of sculpture, of photographs, and of musique concrète audio collages.
In 1983, he co-founded the famous avant-garde art music project Tellus Audio Cassette Magazine.
In 1984, he created an opera called XS: The Opera Opus (1984-6) with the no wave musical composer Rhys Chatham that was presented in Boston and New York.
In 1986, Nechvatal began using computer-robotics to make conceptual paintings. Some were exhibited at Documenta VIII in 1987.
In 1992, when he was artist-in-residence at the Louis Pasteur Atelier in Arbois and at the Saline royale d’Arc-et-Senans, he created computer virus codes that he used as an artistic tool. This work was a reflection on his personal experiences of risk and loss with the AIDS epidemic.
In 1999, he earned his doctorat in the philosophy of aesthetics and technology in England and soon wrote two art theory books: Towards an Immersive Intelligence and Immersion Into Noise.
In 2001, he extended his initial experimentations into the virus as an artistic painterly tool in a series of artificial life works. These works include various series of paintings, animations, and a lengthy audio composition entitled viral symphOny. He has created a series of virus-based themed exhibitions of artificial life paintings and animation projections that explore the fragility and fluidity of the human body.
You can follow him on Twitter at @twinkletwink Homepage: http://www.nechvatal.net
This entry was posted in Art & Art Theory
. Bookmark the permalink