Difference between revisions of "Software (exhibition)"

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* Jack Burnham, [[Media:Burnham_Jack_Duchamps_Bride_Stripped_Bare_The_Meaning_of_the_Large_Glass.pdf|"Duchamp's Bride Stripped Bare: The Meaning of the Large Glass"]], ''Arts Magazine'', Mar-May 1972. ''Large Glass'' (1915-22) served as an architectural model for the installation of the ''Software'' exhibition.
 
* Jack Burnham, [[Media:Burnham_Jack_Duchamps_Bride_Stripped_Bare_The_Meaning_of_the_Large_Glass.pdf|"Duchamp's Bride Stripped Bare: The Meaning of the Large Glass"]], ''Arts Magazine'', Mar-May 1972. ''Large Glass'' (1915-22) served as an architectural model for the installation of the ''Software'' exhibition.
 
* Jack Burnham, [[Media:Burnham_Jack_1980_Art_and_Technology_The_Panacea_That_Failed.pdf|"Art and Technology: The Panacea That Failed"]], in ''The Myths of Information'', ed. Kathleen Woodward, Coda Press, 1980.
 
* Jack Burnham, [[Media:Burnham_Jack_1980_Art_and_Technology_The_Panacea_That_Failed.pdf|"Art and Technology: The Panacea That Failed"]], in ''The Myths of Information'', ed. Kathleen Woodward, Coda Press, 1980.
* Edward A. Shanken, [http://www.artexetra.com/House.html "The House That Jack Built: Jack Burnham's Concept of Software as a Metaphor for Art"], ''Leonardo Electronic Almanac'' 6:10  (Nov 1998); repr. in  ''Reframing Consciousness: Art, Mind and Technology'', ed. Roy Ascott, Exeter, UK: Intellect Books, 1999.  
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* Edward A. Shanken, [http://www.artexetra.com/House.pdf "The House That Jack Built: Jack Burnham's Concept of Software as a Metaphor for Art"], ''Leonardo Electronic Almanac'' 6:10  (Nov 1998); repr. in  ''Reframing Consciousness: Art, Mind and Technology'', ed. Roy Ascott, Exeter, UK: Intellect Books, 1999.
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* Edward A. Shanken, [https://artexetra.files.wordpress.com/2009/02/shanken-in-forming-software-icono-2014-rev.pdf "In Forming Software: ''Software'', Structuralism, Demythification,"] ''Icono'' 12:2 (2014): 9-28.
 
* Noah Wardrip-Fruin, Nick Montfort, [[Media:From_Software_exhibition_1970.pdf|"From ''Software - Information Technology: Its New Meaning for Art''"]], in ''The New Media Reader'', 2003.
 
* Noah Wardrip-Fruin, Nick Montfort, [[Media:From_Software_exhibition_1970.pdf|"From ''Software - Information Technology: Its New Meaning for Art''"]], in ''The New Media Reader'', 2003.
 
* Lutz Dammbeck, a synopsis of the "Software" show, the planning behind it and the works it contained, 2003. {{de}} [http://www.t-h-e-n-e-t.com/html/_film/them/_them_software.htm]
 
* Lutz Dammbeck, a synopsis of the "Software" show, the planning behind it and the works it contained, 2003. {{de}} [http://www.t-h-e-n-e-t.com/html/_film/them/_them_software.htm]

Revision as of 01:38, 13 March 2018

Software catalogue, 1970, Log, PDF.

Software - Information Technology: Its New Meaning for Art was an exhibition curated by artist and critic Jack Burnham and held at the Jewish Museum in Brooklyn, New York City, from 16 September - 8 November 1970, and the Smithsonian Institution, Washington, D.C., from 16 December 1970 until 14 February 1971. The show put together computers and conceptual artists, linking them through the idea of software as a process or a program to be carried out by a machine or by the audience based on "instruction lines" formulated by the artist.

Participating artists: Vito Acconci, David Antin, Architecture Group Machine M.I.T., John Baldessari, Robert Barry, Linda Berris, Donald Burgy, Paul Conly, Agnes Denes, Robert Duncan Enzmann, Carl Fernbach-Flarsheim, John Godyear, Hans Haacke, Douglas Huebler, Joseph Kosuth, Nam June Paik, Alex Razdow, Sonia Sheridan, Evander D. Schley, Theodosius Victoria, Laurence Weiner.

Catalogue

Literature

Links


Art exhibitions and events

Second Spring Exhibition of OBMOKhU (Moscow, 1920-21), Congress of International Progressive Artists (Düsseldorf, 1922), Congress of the Constructivists and Dadaists (Weimar, 1922), First Russian Art Exhibition (Berlin, 1922), New Art Exhibition (Vilnius, 1923), Zenit Exhibition (Belgrade, 1924), Contimporanul Exhibition (Bucharest, 1924), Machine-Age Exposition (New York, 1927), a.r. International Collection of Modern Art (Łódź, 1931), New Tendencies (Zagreb, 1961-73), The Responsive Eye (New York, 1965), 9 Evenings: Theatre and Engineering (New York, 1966), Cybernetic Serendipity (London, 1968), Live In Your Head: When Attitudes Become Form (Bern, 1969), Information (New York, 1970), Software - Information Technology: Its New Meaning for Art (New York, 1970), Documenta 5 (Kassel, 1972), Pictures (New York, 1977), Biennial of Dissent (Venice, 1977), Les Immatériaux (Paris, 1985), Magiciens de la Terre (Paris, 1989), Hybrid Workspace (Kassel, 1997)