Exhaustion Aesthetics

Defined as the artistic use of compression artifacts and related digital errors, glitch art emerged in the 2000s and has since become a set of vernacular media art effects, featured in digital videos by artists, net art, digitally manipulated photographs and the work of industry professionals and am...

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Bibliographic Details
Published in:Leonardo (Oxford) 2017-02, Vol.50 (1), p.5-5
Main Author: Kane, Carolyn L
Format: Article
Language:English
Subjects:
21st century
Aesthetics
Art criticism
Art exhibits
Conceptual art
Leonardo Gallery
Lifestyles
Media art
Online Access:Get full text
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Summary:Defined as the artistic use of compression artifacts and related digital errors, glitch art emerged in the 2000s and has since become a set of vernacular media art effects, featured in digital videos by artists, net art, digitally manipulated photographs and the work of industry professionals and amateur media makers alike. Exhaustion Aesthetics’s online exhibition offers a key selection of contemporary glitch artworks, created predominantly by new media or self-identified glitch artists. The works included in Exhaustion Aesthetics all draw on this notion of reprieve from normative cultural functioning in different and unique ways. These five international artworks include New York–based artist Cory Arcangel’s Data Diaries (2003), in which each day for a year he placed the data from his computer’s memory into QuickTime, directing the program to treat the data as a video file; Chicago-based glitch artist John Satrom’s Windows Rainbows & Dinos (2010), a 13-minute single-channel comic video drama that takes place on a Macintosh desktop; Dutch-based glitch artist Rosa Menkman’s Dear Mister Compression (2010), in which the red-and-orange contours of Menkman’s face are juxtaposed with cool purples and a white, text-based love poem generated by the computer; Team Doyobi’s (Alex Peverett and Christopher Gladwi) Art of Memorex (2012), a four-minute music video featuring multicolored glitch artifacts in varying sizes and pattern formations intercutting scenes of a surfer riding ocean waves; and San Francisco–based artist and software creator Andrew Benson’s Status Update, 2am (35 seconds) (2011), a portrait of the artist awake at his computer at 2 a.m., accompanied by a morass of audio distortion and abstract colored textures.
ISSN:0024-094X
1530-9282
DOI:10.1162/LEON_a_01360