<< preface

this blog is nina wenhart's collection of resources on the various histories of new media art. it consists mainly of non or very little edited material i found flaneuring on the net, sometimes with my own annotations and comments, sometimes it's also textparts i retyped from books that are out of print.

it is also meant to be an additional resource of information and recommended reading for my students of the prehystories of new media class that i teach at the school of the art institute of chicago in fall 2008.

the focus is on the time period from the beginning of the 20th century up to today.

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>> exhibition;: "This is Tomorrow", 1956

the complete catalogue can be found here: http://www.thisistomorrow2.com/images/cat_1956/cat_web/FrameSet.htm

from: www.independentgroup.org.uk/.../index.html

Hamilton’s most famous exhibition contribution was This is Tomorrow. He designed the space with John McHale and John Voelcker and its theme was problems of perception. It included a giant cut-out of Marilyn Monroe and Robbie the Robot – the latter borrowed from the opening of the film The Forbidden Planet – and a juke box. Each of the twelve groups involved with the exhibition designed a poster, and Hamilton designed Group 2’s, using a collage image that would be destined to become emblematic of 1950s, American consumer culture, Just What Is It That Makes Today’s Homes So Different, So Appealing?

from: http://www.thisistomorrow2.com/pages_gb/1956gb.html

This is Tomorrow has become an iconic exhibition notable not only for the arrival of the naming of Pop Art but also as a captured moment for the multi-disciplinary merging of the disciplines of art and architecture

"In 'This is Tomorrow' the visitor is exposed to space effects, play with signs, a wide range of materials and structures, which, taken together make of art and architecture a many chanelled activity, as far from ideal standards as the street outside". --- Lawrence ALLOWAY, introduction, Exhibition Catalogue

From: "orthodox abstract art, with its classical regularity and rational order, through room-size sculptures to walk through, to crazy-house structures plastered with pin-up images from the popular press." --- press release, This is Tomorrow 1956

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... is a Media Art historian and independent researcher. She is currently writing on "speculative archiving && experimental preservation of Media Art" and graduated from Prof. Oliver Grau's Media Art Histories program at the Danube University in Krems, Austria with a Master Thesis on Descriptive Metadata for Media Arts. For many years, she has been working in the field of archiving/documenting Media Art, recently at the Ludwig Boltzmann Institute for Media.Art.Research and before as the head of the Ars Electronica Futurelab's videostudio, where she created their archives and primarily worked with the archival material. She was teaching the Prehystories of New Media Class at the School of the Art Institute of Chicago (SAIC) and in the Media Art Histories program at the Danube University Krems.