PRINT January 2013

Technical Difficulties

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Claire Bishop asks: “Whatever happened to digital art?” [“Digital Divide,” September 2012]. It is a troubling question for the artists, critics, curators, funders, and nonprofit administrators who have observed or participated in the growth of this field over the last decade. Why does this work remain invisible to Bishop? It is partly due—as per her own admission—to her focus on a “mainstream,” which she defines as the art that appears in “commercial galleries, the Turner Prize, national pavilions at Venice.” Still, we would argue that even here the “divide” she describes is actively being bridged and, because of a critical blind spot, she is forcing it back open.

As art that critically engages network technologies proliferates and art institutions recognize the undeniable importance of the Internet, Bishop’s comments feel badly timed. Today we are

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