{"id":39123,"date":"2010-11-25T19:31:20","date_gmt":"2010-11-25T19:31:20","guid":{"rendered":"http:\/\/rafaelfajardo.com\/portfolio\/paintedetc-finding-a-place-for-paint-in-a\/"},"modified":"2018-12-06T14:59:16","modified_gmt":"2018-12-06T21:59:16","slug":"paintedetc-finding-a-place-for-paint-in-a","status":"publish","type":"post","link":"https:\/\/rafaelfajardo.com\/portfolio\/paintedetc-finding-a-place-for-paint-in-a\/","title":{"rendered":""},"content":{"rendered":"<div id='gallery-1' class='gallery galleryid-39123 gallery-columns-3 gallery-size-thumbnail'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/rafaelfajardo.com\/portfolio\/paintedetc-finding-a-place-for-paint-in-a\/attachment\/39124\/'><img loading=\"lazy\" decoding=\"async\" width=\"100\" height=\"100\" src=\"https:\/\/rafaelfajardo.com\/portfolio\/wp-content\/uploads\/tumblr_lcf6e1XdjG1qzeexuo1_640-100x100.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" srcset=\"https:\/\/rafaelfajardo.com\/portfolio\/wp-content\/uploads\/tumblr_lcf6e1XdjG1qzeexuo1_640-100x100.jpg 100w, https:\/\/rafaelfajardo.com\/portfolio\/wp-content\/uploads\/tumblr_lcf6e1XdjG1qzeexuo1_640-500x500.jpg 500w, https:\/\/rafaelfajardo.com\/portfolio\/wp-content\/uploads\/tumblr_lcf6e1XdjG1qzeexuo1_640-300x300.jpg 300w, https:\/\/rafaelfajardo.com\/portfolio\/wp-content\/uploads\/tumblr_lcf6e1XdjG1qzeexuo1_640.jpg 640w\" sizes=\"auto, (max-width: 100px) 100vw, 100px\" \/><\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n\n<p><a href=\"http:\/\/www.paintedetc.com\/post\/1675860316\/finding-a-place-for-paint-in-a-post-internet\" class=\"tumblr_blog\">paintedetc<\/a>:<\/p>\n<blockquote>\n<p>FINDING A PLACE FOR PAINT IN A POST-INTERNET WORLD, <strong>ROBERT LUKINS <\/strong>TALKS SITE-SPECIFICS WITH <em>ABOUT BLANK <\/em>ARTISTS <strong>PARKER ITO <\/strong>AND <strong>RY DAVID BRADLEY<\/strong>.<\/p>\n<p>When a culture is being made and defined in a hailstorm of hypertext, cursor gestures and commercially-utilitarian images, the place of the stand-alone artwork is being constantly redefined. Where once the internet may have been used to make reference to an image, to spruik an exhibition of a physical disposition, it is now seen as canvas, showroom, and curator to a generation of art-makers who feel unconfined by the rabbit fence traditionally erected between the online and offline realms.<\/p>\n<p>Curated by <a href=\"http:\/\/blog.metrogallery.com.au\/?p=282450168\">Sean Irving and Nina Gubler<\/a>, <em>ABOUT BLANK <\/em>is an exhibition of works by California\u2019s Parker Ito and Melbourne-based Ry David Bradley, revolving around the question of interplay between painters and the screen.<\/p>\n<p>Bradley considers a link to the traditions of painting as unavoidable, and that contemporary arts\u2019 heightened awareness of its sources means an artist is hesitant to proclaim their work as something brand new or anti-traditional. He see shadows of the past. \u201cArt these days may be like a version of the Modernist urge to reflect our experience of life in relationship to technological change, possibly with less of the macho posturing, and more embracing of some of its failures.\u201d<\/p>\n<p>One of the byzantine matters thrown up by the mechanisms of the internet as a place for art is the complexity of ownership and the challenge this presents to the selling of work.<\/p>\n<p>Ito sees this playing out around him. \u201cThis is a big issue that scares a lot of collectors and this is one of the reasons why I make objects. A lot of people are trying to figure that out. I\u2019ve sold a .jpeg before and I have a couple of friends who make websites and they sell them to collectors.\u201d<\/p>\n<p>Bradley regards this as the regular extension of what has come before. \u201cI don\u2019t think it\u2019s a whole lot different to problems that artists have always had regarding who came up with what, who made what, etc. Perhaps the internet still has no direct commercial economy for most of its artistic producers, but through its massive communities it has a great effect on what does or will have value down the chain.\u201d<\/p>\n<p>In describing the role of the internet in art, both as an agent of production and of distribution, Bradley and Ito make it clear that any easy answers will not tell the full story. The mass production of tube paint is a mirror to the ubiquity of computer programs. There are no convenient boundaries &#8211; there is no simple then and now.<\/p>\n<p>Bradley suggests a commonality of theme within the exhibition. \u201cParker explores his position as an artist who can outsource production of paintings, to reflect a particular concern of his with iconic features of our plural world culture. It\u2019s something we both seek. Ideas have always been important since the dawn of time, and the internet is perhaps better than anything ever has been for their dispersal.\u201d<\/p>\n<p>\u201cThe internet is super ugly,\u201d Parker states in succinct conclusion, \u201cthat\u2019s why it\u2019s so beautiful\u201d.<\/p>\n<p>ABOUT BLANK<br \/><a href=\"http:\/\/www.paradisehills.com.au\">Paradise Hills Gallery<\/a><br \/> Wednesday 17 November &#8211; Saturday 4 December<\/p>\n<p><em><strong>Taken from the current Issue of INPRESS MAGAZINE<\/strong><\/em><\/p>\n<\/blockquote>\n","protected":false},"excerpt":{"rendered":"<p>paintedetc: FINDING A PLACE FOR PAINT IN A POST-INTERNET WORLD, ROBERT LUKINS TALKS SITE-SPECIFICS WITH ABOUT BLANK ARTISTS PARKER ITO AND RY DAVID BRADLEY. When a culture is being made and defined in a hailstorm of hypertext, cursor gestures and commercially-utilitarian images, the place of the stand-alone artwork is being constantly redefined. Where once the [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"gallery","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[],"tags":[1539],"class_list":["post-39123","post","type-post","status-publish","format-gallery","hentry","tag-emergent-digital-practices","post_format-post-format-gallery"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p6PWot-ab1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/posts\/39123","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/comments?post=39123"}],"version-history":[{"count":1,"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/posts\/39123\/revisions"}],"predecessor-version":[{"id":39125,"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/posts\/39123\/revisions\/39125"}],"wp:attachment":[{"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/media?parent=39123"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/categories?post=39123"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/rafaelfajardo.com\/portfolio\/wp-json\/wp\/v2\/tags?post=39123"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}