FULL PDF
Abstract
This article examines the lesser-known history of artistic self-representation in digital art, from the beginning of computer art to the present day. The genre has thematic as well as formal diversity: it is a product of artists working with electronic devices such as video synthesizers or digitizers, webcams, digital image and video editing tools, the internet, avatars, and social media platforms. Artistic self-representation in computer-based and digital art has been an underrepresented topic in art history and must be more closely studied in order to be integrated into the art historical canon. This article aims to give an overview of artistic self-representation in digital art from early computer art until today.
DOI: https://doi.org/10.11588/dah.2020.5.77407
Author
Tina Sauerlaender
is an art historian, curator and writer based in Berlin. She holds a MA in art history from Ludwig-Maximilians-University in Munich and is a Ph.D. candidate at The University of Art and Design Linz (Austria). Her research topic is artistic self-representation in digital art. For 10 years, she has been working as an international curator with her exhibition platform peer to space. In her exhibitions, she focuses on the impact of the digital and the internet on individual environments and society. Together with curator Erandy Vergara she developed the exhibition series Critical Approaches in Virtual Reality Art and realized projects like Envisioning the Future. Other World Perspectives in Virtual Reality Art (Halcyon Arts Lab, Washington, DC, 2018) or Speculative Cultures. A Virtual Reality Art Exhibition (Kellen Gallery, Parsons/The New School, New York, 2019). She is the co-founder of Radiance VR, an international online research platform for virtual reality experiences in visual arts. She is the founder of the SALOON, an international network for women working in art.