Difference between revisions of "Software (exhibition)"

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[[Image:Software-catalogue.jpg|thumb|250px|Catalogue cover. [[Media:Software_Information_Technology_Its_New_Meaning_for_Art_catalogue.pdf|Download full catalogue in PDF]].]]
 
[[Image:Software-catalogue.jpg|thumb|250px|Catalogue cover. [[Media:Software_Information_Technology_Its_New_Meaning_for_Art_catalogue.pdf|Download full catalogue in PDF]].]]
Show curated by an artist and critic [[Jack Burnham]] for the Jewish Museum in Brooklyn, [[New York City]], on 16 September - 8 November [[1970]], and the Smithsonian Institution, Washington, D.C., on 16 December 1970 - 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, why not, by the audience based on "instruction lines" formulated by the artist.
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'''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.  
 
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.  
  
 
==Bibliography==
 
==Bibliography==
* Jack Burnham, "Notes on Art and Information Processing", in ''Software - Information Technology: Its New Meaning for Art'', catalogue, 1970, pp 10-14.
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* ''[[Media:Software_Information_Technology_Its_New_Meaning_for_Art_catalogue.pdf|Software - Information Technology: Its New Meaning for Art]]'', New York: Jewish Museum, 1970, 71 pp. Catalogue.
* Dore Ashton, "Software Everywhere: Jewish Museum, NY, exhibition", ''Studio International'', Vol. 180 (November 1970), pp 200-202.
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* Dore Ashton, "Software Everywhere: Jewish Museum, NY, exhibition", ''Studio International'' 180 (Nov 1970), pp 200-202.
* Bitite Vinklers, "Art and Information: 'Software' at the Jewish Museum", ''Arts Magazine'', Vol. 45, No. 1 (September 1970), p 46.
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* Bitite Vinklers, "Art and Information: 'Software' at the Jewish Museum", ''Arts Magazine'' 45:1 (Sep 1970), p 46.
* Robert Mallory, "Notes on Jack Burnham's Concepts of a Software Exhibition", ''Leonardo'', Volume 3, Number 2 (1970), pp 189-190.
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* Robert Mallory, "Notes on Jack Burnham's Concepts of a Software Exhibition", ''Leonardo'' 3:2 (1970), pp 189-190.
* Jack Burnham, "Comments on Mallary's Note", ''Leonardo'', Volume 3, Number 2 (April 1970), pp 265-266. A response to Robert Mallory's review of the ''Software'' show, in the same issue.
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* Jack Burnham, "Comments on Mallary's Note", ''Leonardo'' 3:2 (Apr 1970), pp 265-266. A response to Robert Mallory's review of the ''Software'' show, in the same issue.
* 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'', March-May 1972. ''Large Glass'' (1915-22) served as an architectural model for the installation of the ''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_1980_Art_and_Technology_The_Panacea_That_Failed.pdf|"Art and Technology: The Panacea That Failed"]], in ''The Myths of Information'', edited by Kathleen Woodward, Coda Press, 1980.
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* 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"]. Originally published in the ''Leonardo Electronic Almanac'', Vol. 6, No. 10  (November, 1998). Reprinted in  ''Reframing Consciousness: Art, Mind and Technology'', edited by Roy Ascott (Exeter, England: Intellect Books, 1999).  
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* 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.  
* 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).
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* 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. (German) [http://www.t-h-e-n-e-t.com/html/_film/them/_them_software.htm]
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* Lutz Dammbeck, a synopsis of the "Software" show, the planning behind it and the works it contained, 2003. (in German) [http://www.t-h-e-n-e-t.com/html/_film/them/_them_software.htm]
* Vincent Bonin, comments on and description of the catalog of the ''Software'' show, Daniel Langlois Foundation, 2004. ([http://www.fondation-langlois.org/html/f/page.php?NumPage=541 French], [http://www.fondation-langlois.org/html/e/page.php?NumPage=541 English])
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* Vincent Bonin, [http://www.fondation-langlois.org/html/e/page.php?NumPage=541 commentary about the exhibition and catalogue], Daniel Langlois Foundation, 2004. [http://www.fondation-langlois.org/html/f/page.php?NumPage=541 (Also in French)].
  
 
==Links==
 
==Links==

Revision as of 13:13, 4 September 2014

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.

Bibliography

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)