The use of digital technologies in the arts
New technologies through the ages take time to be accepted. In the artist’s world, innovative tools or methods, to facilitate artists’ process, are adopted readily by some, whilst others shun them.
For example, the mirror lens and camera obscurer, thought to have been championed by the Italian artist Titan (1488-1576) and perhaps Caravaggio (1571-1610)(1) (The use of which is disputed by some as scandalous and in effect cheating is however accepted by others to have been used). The technology certainly was available, and could well have helped to produce hyperrealism in the paintings of the day, such as this one painted by Titan below.
A portrait of Daniele Barbaro (1545, Museo del Prado) executed by Titian. Could this small painting, 81 x 69cm, have been done using a camera obscura? (1)
One of my own digital paintings above
My own realist style of painting has been aided at times, by photography. I may take digital photographs of my subjects, capturing an image, which can then be manipulated if necessary and then transferred to canvas, by ‘squaring up’ both the image and canvas.
The introduction of new, better lightfast pigments, paint mediums or new mark making techniques and theories have also spearheaded whole art movements over time. Think of the French pointillists of the 1880’s who introduced a new mark making technique, using small primary coloured dots brushstrokes (rather like the computer pixels of today), to create vast colour ranges in their beautiful compositions.
Georges Seurat exploited the knowledge of colours he learned by studying Chevreul’s 1839 book ‘Law of Simultaneous Contrast’: “Where the eye sees two contiguous colors they appear as dissimilar as possible; both in their optical composition and in the height of their tone.”(5)
Left: Georges Seurat (1859-91) His masterpiece, Sunday Afternoon on the Island of la Grande Jatte painted in1886(2)
Influenced by the pointillists in my own practice, I have experimented with digital drawing using dots of juxtaposed colour in place of longer strokes.
In Photoshop, this is an instinctive technique for me, as a mouse click is interpreted as a dot on screen.
Similarly the introduction and development of print technology from Gutenberg’s first printing press in 1440 Gave artists another way to produce art. Digital ink/laser printers, introduced in the1980’s. Were introduced for administration so the artistic applications, may at first have been overlooked, however, thanks to artists such as Hockney, these are now tools now accepted as part of the artists’ arsenal.
Polaroid and digital camera technology has repeatedly revolutionised the art world. For example Hockney's polaroid Photograph Composites in 1982(3)
The digital medium has transformed the way in which the arts are presented to the public, first with Film and later Television, followed by developments in improved computer technologies and subsequently, Internet and social media. I have for example done most of my research through digital media.
This rich and varied source, has led me to delve deeper and deeper into my chosen subjects. I have found artists, and new possibilities that are fresh and exciting to me. For example. Research into street art has led full circle, back to digital technologies, I have learned spray painting techniques that, coupled with digital technologies, in the form of laser cut stencils, digital projection and anamorphic effects, inform my practice and encourage me to think on a grander scale for future project development.
Digital technology today is developing at a rapid pace. New ways to mark make and to produce and reproduce art, are again revolutionising the art world. Whilst the medium of photography and film as a digitally based technology, embraces change and rewards innovation, the fine art traditionalists, take time to accept things such as iPad and computer drawing and painting as art.
Recognised artists (such as Hockney), who are embracing and promoting new technology, are doing much to break down the barriers and prejudice, which inevitably comes with a new technology
Hockney with his ipad and work at the Guggenheim May 15, 2012 – September 30, 2012.(4)
Hockney has influenced my own practice; his example has helped me overcome my own predisposed ideas about digital art. The iPad is now a part of my everyday practice and a preferred option to carry with me instead of pad and pencils or paints.
Right: one of my iPad drawings
Experimentation with digital technologies has led to me finding a new and exciting way to interpret my artistic capacities. The iPad especially, has been integrated into my own practice in a way I did not envisage. Starting with very basic drawings I gained confidence and skills, so that I can now produce work that I am proud of.
I am now a huge convert to this medium, the possibilities of which, are endless, I am using this for both preliminary sketches and finished pieces and will continue to incorporate this into my practice going forward.
This, coupled with social media; my website, facebook, instagram, twitter, blogs and YouTube. My work can now be available for instant viewing and feedback from a wide audience.
I resisted this in the past, I felt it alien to my practice, but now I rely on it for critique, encouragement and improvement. There is also instant validation; good for giving me confidence in my abilities. This drives me forward, to create more, to create better, to improve my practice in every way
One of my photographs of 'The Arrival of Spring' - David Hockney's exhibition at Salts Mill Gallery, Saltaire, Bradford
Thanks to the powers of recognised artists such as Hockney and his iPad drawings, and digital exhibitions such as the ‘Paddles on’ hosted by Phillips auction house partnered with Tumblr and curated by Lindsey Howard in 2013(6), digital methods are set to become more accepted as a serious apparatus for artists, yet there is still a way to go before they are fully integrated into the established art world.
I believe that digital technology is about to change the fine art world yet again, and potentially turn it on its head.
The galleries, agents and auction houses presently have control of the power in the art world. The price of a one off, traditionally produced artwork is set largely on the validification and opinion of art experts, critic’s and historians.
They are now trying to carve out a commercial role in this new digital art world. However, the status quo is under threat, as post internet, digital artists create work to be seen on-line by a potentially vast audience, thereby circumventing traditional ways of distribution and sale. In one respect this is good, as the availability of art is every increasing; the down side of this, is how can we attribute a ‘value’ to this art?
The post internet generation of artists, may have a revolutionary effect on the traditional power balance, with the traditional value system being made to a large extent, redundant.
Going forward, ‘value’ could be set with the number of ‘Likes’, ‘Shares’, or ‘Views’…. If this becomes a reality, there is a danger that real artistic talent will not be rewarded, as those who are better at self-promotion and marketing come to the fore.
References
1 On the Other Hand: a positive look at Caravaggio and the camera obscura - By Susan Grundy http://www.webexhibits.org/hockneyoptics/post/grundy6.html accessed 28.12.2015 Susan Grundy of the University of South Africa 2 George Seurat the complete works http://www.georgesseurat.org Site accessed 31.12.2015 3 David Hockney (B1937) - Still Life Blue Guitar 4th April 1982 composite polaroid of 63 individual photographs http://www.hockneypictures.com/photos/photos_polaroid_02.php accessed 28.12.2015 4 Photograph from Hockney’s A bigger Picture Exhibition at the Guggenheim in Bilbao - May 15, 2012 – September 30, 2012. Photo Credit Alfredo Aldai/European Pressphoto Agency http://www.nytimes.com/2012/05/18/books/david-hockney-a-rakes-progress-by-christopher-simon-sykes.html site accessed 27.12.15 5 Color Vision and Art Curated by Michael Douma. Art historical contributions by Marion Arnold, Simone Mathews, and Outi Remes. Edited by Sally Smith, is one of several exhibits in the WebExhibits online museum, all of which promote discovery through multidisciplinary approaches that support all learning styles. WebExhibits is a public service of the Institute for Dynamic Educational Advancement (IDEA). http://www.webexhibits.org/colorart/contrast.html site accessed 31.12.15 6 Phillips Auction House partnered with social Media site Tumblr and curator Lindsay Howard to present Paddles ON!, a groundbreaking auction and exhibition that brings together artists who are using digital technologies to establish the next generation of contemporary art. 5 – 12 October 2013, 450 Park Avenue, New York http://www.phillips.com/auctions/auction/PD010213 Site accessed 14.01.16 7 https://www.youtube.com/watch?v=-Bnb3BZKaGk&feature=youtu.be My Utube Posting 13.01.2015 8 www.victorialynchartist.com My Website 9 https://www.facebook.com/permalink.php?story_fbid=212695192404628&id=100009924453037&comment_id=212731965734284 Link to my Facebook Posting of my iPad drawing posted 13.01.2016
