technology and digital artists and grid structures

In the process of my quest to illustrate the use the technology of social media by fourth wave feminists, I have been looking at digital artists. 




Frieder Nake, Hommage a Paul Klee, 1965



I find this image very appealing, it has a naive and striving quality.  Frieder Nake was one of the pioneers of digital art who used 'cumbersome computers that often lacked a screen or user interface.  Instead, thy relied upon carefully constructed programs, or algorithms, which they used as instructions to drive a simple printer or plotter'. Beddard H. & Dodds. D (2009), Digital Pioneers, V&A Publishing, London.   

Mark Wilson, e5906, 2008



Mark Wilson , untitled, 1976




Mark Wilson's images are more precise, colourful and (for me) emotionless.  They are certainly indicative of the digital world.

Yesterday I visited three very different exhibitions - yet linked.

The first exhibition was at Somerset House.  It displayed 40 pieces of Japanese boro textiles.  Boro are patched pieces of indigo dyed cotton which had belonged to poor families between the 17th and 19th centuries.  Many have been destroyed through shame, but those remaining are exquisite.  Simple running stitches were used to attach purchased 'rags' to repair worn patches.  Some of the stitches seemed to encompass a more decorative quality - though whether this was ever intentional is unknown.  The fading colours, stripes, frayed edges and grid effect was mesmerising.  The sense of human endeavour, poverty, need and emotion was overwhelming.

the wall Matisse used to display his cut outs in Ville le Vence, 1948

Digital art and the qualities of boro could not be more different - except for the grid presentation.



Matisse, Nuit  de Noel, date unknown

The Matisse exhibition at Tate Modern was everything I expected it to be - colourful, large scale, energetic, pleasing.  It was interesting to see his earlier attempts at cut-outs which showed the  learning process.  Again I was struck by the 'grid' presentation.  He remained true to his style, his love of colour and his flair for pattern throughout his life.

Portrait of Hugh Gaitskill by Richard Hamilton

Richard Hamilton, My Marilyn, 1965

On to the third exhibition of the day - Richard Hamilton.  I found this exhibition much, much more challenging... more experimental, more political and more diverse - less concerned with pleasant imagesand more concerned with social comment.  Again, an artist who worked into his old age - embracing new technology, experimenting with techniques and materials.  Before this exhibition I had known his pop art work -  Swingeing London and Just what is it that makes today's homes so different, so appealing? - but I had been unprepared for the depth of his concepts - had I known I would have visited this exhibition first when I had more energy.

And a grid...