PRINT December 2001

James Meyer


1 Technomania Technophilia, the most persistent of modernist themes, made another comeback. Ironically, the New Economy waned the year of digital art’s institutional embrace. Museums eager to court Silicon Valley support staged techie shows and dispensed handsome prizes to techie artists. The corporate cart was put before the horse: Many of the works in SF MOMA’S “OIOIOI” and the Whitney’s “Bitstreams” suggested the artistic potential of digital technology yet were not compelling to look at. (Exceptions: the videos of Jeremy Blake and Adam Ross’s Tanguyesque paintings.) The e-’90s already seem distant; the hype has subsided. Let the art begin.

2 “Antagonisms: Case Studies” (Museu d’Arte Contemporani, Barcelona) While the desperately hip techie shows looked to the future, this ambitious effort of MACBA’s Manuel Borja-Villel and José Lebrero Stals looked back—to a heroic

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