Guilty Memory of the Future : Katherine Cross on embracing the robot uprising

Código QR (código de barras bidimensional)

Guilty Memory of the Future : Katherine Cross on embracing the robot uprising / von Katherine Cross

Detalhes bibliográficos
Publicado no:	Flash Art 50(2017)316, S. Seite 48-53 : Illustrationen
Autor principal:	Cross, Katherine (Autor)
Formato:	Atigo
Idioma:	English
Publicado em:	2017
Assuntos:	Cross, Katherine Aufsatz
Itens Relacionados:	In: Flash Art

Registros relacionados

Katherine Bradford
por: Hirsch, Faye
Publicado em: (2016)

Katherine Lubar
Publicado em: (2005)

Katherine Hubbard at Company
por: Noor, Tausif
Publicado em: (2020)

Behind the scenes : Matthias Baus, Katherine Newbegin
por: Baus, Matthias, et al.
Publicado em: (2008)

Bad Memory : During the early 1980s, Jeffrey Deitch wrote a regular column for Flash Art called "Art and Money". One such column - titled "Who Has the Power?" - specifically explored how art-world success is dependent on artist networks. Dena Yago reappraises Deitch's argument by reflecting on how collective memory is enacted and recorded.
por: Yago, Dena
Publicado em: (2017)

Review : Katherine Bradford : "Superman Returns With Swimmers", Philipp Haverkampf, Berlin, 11. Oktober bis 17. November
por: Hohmann, Silke
Publicado em: (2018)

Medusa's Popcorn : Katherine Bradford: "American Odyssey", Halle für Kunst Steiermark, 16 Mar - 19 May 2024
por: Egger, Christian
Publicado em: (2024)

Liberation, Invention, Reinvention : a conversation on the history, poetry, and ambivalence surrounding Black inventors
por: Watlington, Emily, et al.
Publicado em: (2022)

Martyn Cross : Hales Gallery, London
por: Culpan, Daniel
Publicado em: (2023)

Henri Edmond Cross
por: Müller, Hans-Joachim
Publicado em: (2018)

Crossing Lines : Politics of Images
por: Winkler, Sabine
Publicado em: (2023)

Crossing lines : eine Ausstellung der Kunsthalle Osnabrück kuratiert von Dr. Christian Oxenius und Jan Tichy mit dem Handabdruck des Bauhaus Künstlers László Moholy-Nagy und künstlerischen Arbeiten von Heba Y.Amin, Jakob Gautel, Olaf Holzapfel, Reuven Israel, Kostis Velonis und Jan Tichy, 24.08.-03.11.2019
por: Düchting, Susanne
Publicado em: (2019)

Who Cares if You Listen : the Algorithm at 100 : Steve Kado on the history of algorithmic composition and the enticements of general AI
por: Kado, Steve
Publicado em: (2017)

Homebrew Computer
por: Sutela, Jenna
Publicado em: (2017)

All Systems Go : Lawrence Lek's Geomancer
por: Harrison, Anya
Publicado em: (2017)

When the Painter Learned to Program : Harold Cohen's AARON
por: Estorick, Alex
Publicado em: (2017)

Immigration Made Easy
por: Lavigne, Sam
Publicado em: (2017)

AI through the Technologist's Eye : Mario Klingemann's "Pose-to-Picture" series
por: Elliott, Luba
Publicado em: (2017)

Refusing Directions : Jennifer Piejko on Ligia Lewis' minor matter
por: Piejko, Jennifer
Publicado em: (2017)

Les mots et les images : Amy Zion on the enigmatic art of Rodrigo Hernández
por: Zion, Amy
Publicado em: (2017)

Feminist Forms : Julia Bryan-Wilson on the fleeting-yet-emphatic multimedia art of Cecilia Vicuna
por: Bryan-Wilson, Julia
Publicado em: (2018)

Signature Styles : Daniel Horn on Emil Michael Klein's canny abstraction
por: Horn, Daniel
Publicado em: (2018)

From Pygmalion to Ping Body : Edward A. Shanken on art and AI in the work of Leonel Moura and Stelarc
por: Shanken, Edward A.
Publicado em: (2017)

Cattelan Cover Story : In 1994, Maurizio Cattelan was featured on the cover of Flash Art for the first time. Marco Senaldi analyses the strategic proliferation and canny mediation of Cattelan's bold imagery.
por: Senaldi, Marco
Publicado em: (2017)

Art Has to Stay Art : In 1967 and 1968, Flash Art published Piero Gilardi's diary of his travels between the United States and Northern Europe. In reassessing those texts, Marco Scotini reveals the significant role that Gilardi played in promoting the emergence of the post-Minimalist, poverista and conceptual art tendencies of the 1960s
por: Gilardi, Piero, et al.
Publicado em: (2017)

No Safe Mode : Sondra Perry's Graft and Ash for a Three Monitor Workstation
por: Khan, Nora N.
Publicado em: (2017)

Age of Hybrids : Ian Cheng's Emissaries
por: Weilenmann, Sandro
Publicado em: (2017)

Always Meant to Be Worn : Jeremy Lewis on the fashion of Rei Kawakubo
por: Lewis, Jeremy
Publicado em: (2017)

Capital Feels : Affect and Allegory : Eli Diner on the proleptic videos of Melanie Gilligan
por: Diner, Eli
Publicado em: (2018)

Closed Circuits and Echo Chambers : Cécile B. Evans's Amos' World
por: Weinstock, Katharina
Publicado em: (2017)

Conceiving Autonomy : Lynn Hershman Leeson's Teknolust
por: Wilk, Elvia
Publicado em: (2017)

Colossal Roots, Tradition-Reality and Contestion of Asian Modernity : Hyunjin Kim on the films of Park Chan-Kyong
por: Kim, Hyunjin
Publicado em: (2017)

Slaves to Meaning : Jibade-Khalil Huffman in conversation with Pope.L
por: Huffman, Jibade-Khalil, et al.
Publicado em: (2017)

At Home In Art : Cristina Guadalupe Galván talks to home-based artist Alison Knowles ; an conversation
por: Galván, Cristina Guadalupe, et al.
Publicado em: (2018)

Like a Hologram : Chiara Parisi in conversation with Pier Paolo Calzolari : a conversation
por: Parisi, Chiara, et al.
Publicado em: (2017)

Becoming Jeff : Jeff Koons was first featured on the cover of an art magazine in the February - March 1987 issue of Flash Art. Here, Maurizio Cattelan engages Koons in one of his tongue-in-cheek interviews - a practice also inaugurated in the pages of Flash Art : an Interview
por: Koons, Jeff, et al.
Publicado em: (2017)

Berlin Stories : On the occasion of the first Berlin Biennale, Flash Art edited a portfolio of texts celebrating Berlin as an art city at the nexus of space Tess Edmonson asks what's left of "the Berlin Myth."
por: Edmonson, Tess
Publicado em: (2017)

Aspiring to Dissolution : "Ambivalent Witness", Hou Hanru's survey of Chinese contemporary art published in Flash Art in 1996 Weng Xiaoyu sifts through the delemmas that still haunt the identity of Chinese art
por: Weng, Xiaoyu, et al.
Publicado em: (2017)

Art And Money : Who has the Power
por: Deitch, Jeffrey
Publicado em: (2017)

Lonely Warriors Against an Authoritarian Regime : In 1977, Flash Art featured a survey of "non-aligned" Russian artists. Throughout the 1980s, the magazine continued to report mainly through the criticism of Russian expacts Victor and Margarita Tupitsyn. Gathered in conversation, Boris Klyushnikov, Alexandra Novozhenova and Andrey Shental reinterpret the emergence of those experiences not in spite of but thanks to the identity of the Soviet political system : an conversation
por: Klyushnikov, Boris, et al.
Publicado em: (2017)