OS XXI: Art’s Digital Future panel, Feb. 13 (today) The Graduate Center, CUNY

OS XXI: Art’s Digital Future

Panel discussion

Martin E Segal Theatre Center, CUNY Graduate Center

12.30-2pm, 13 February 2013


Paul Chan is an artist, who founded the press Badlands Unlimited in 2010. Badlands’ latest book is Marcel Duchamp: The Afternoon Interviews by Calvin Tomkins, available as an enhanced e-book on Apple iBooks and Amazon Kindle and IRL at all fine independent bookshops.

Brian Droitcour is a critic and curator, and a doctoral student in the Department of Comparative Literature at NYU. He writes frequently on new media art.

Lev Manovich is Professor of Computer Science at CUNY Graduate Center, whose research focuses on visualizing massive image sets including painting, film and user generated art. His publications include The Language of New Media (2001) and Software Takes Command (2013).

Virginia Rutledge is an art advisor and lawyer focused on contemporary art and intellectual property. A Graduate Center alum, she has also been a curator (LACMA), corporate litigator (Cravath) and nonprofit VP and general counsel (Creative Commons).

Chaired by Claire Bishop, Associate Professor in the PhD Program in Art History, CUNY Graduate Center.

The art market still revolves around artefacts produced as one-offs or in limited editions, and which still bear the traces of the artist’s hand – in the form of signatures, certificates of authentication, or customized dvd presentation boxes. At the same time, we increasingly consume art digitally – via search engine queries, online databases, gallery websites, our own photographic documentation, or on ubu.web. How is the digital revolution affecting the production and dissemination of art? What opportunities does the internet afford a younger generation of curators, researchers and critics? And finally, are we making too much of the digital as a rupture – or can it be placed in a continuity with earlier developments in reproductive technology (photography, film, video)?

Sponsored by the Ph.D. in Art History, CUNY Graduate Center, and supported by the Sally and Nick Webster Art History Fund.