Roz Dimon
Since the beginning
Works in Shelter Island, New York United States of America

Solo Exhibitions
2015 Digital Drawings, GeekHampton, Sag Harbor, NY
2014 Artifacts II, The Shelter Island Historic Society, Shelter Island, NY
2012 DIMONscapes®, Delmar Southport Gallery, Southport, CT
2008 Information Woman, Grace Institute, New York, NY
2008 Drawing In the Age of Information, School of Applied Arts, Amagansett, NY
2006 Windows of the World, Arts Council of Long Island, Riverhead, NY
2001 Pencils, the American Gallery, New York, NY
1999 Flash Bible, the American Gallery, New York, NY
1993 Roz Dimon, Meisner Soho Gallery, New York, NY
1991 From Paint To Pixels, Fine Arts Museum of Long Island, Hempstead, NY
1990 Techno Romanticism, Verbum Gallery of Digital Art, San Diego, CA
1990 Digital Paintings, Burns Fine Art Gallery, New York, NY
1985 Personal Advertisements, DTW Gallery, New York, NY
1984 365 Days in Manhattan, Gallery of Manhattan Borough President, New York, NY

Museum and Corporate Collections
2013 Pale Male: A Pilgrimage (Edition #3/10), 9/11 Memorial Museum, New York, NY
2013 Nail This., St. Bart’s, New York, NY
2008 Pale Male: A Pilgrimage (Edition #1/10), Metropolitan Museum of Art, New York, NY
2009 China Door, the Asian American Arts Centre, New York, NY
1992 Tiger Lilly and Daffodil, Pfizer, New York, NY
1990 eight digital paintings, AT&T, New York, NY

Group Exhibitions
2013 Kingdom Animalia, Dodds & Eder, Sag Harbor, NY
2013 Revelations: Interrogating the Sacred, the Beverly Arts Center, Chicago, IL
2012 The Long Island Biennial, the Heckscher Museum, Huntington, NY
2011 Remembering 9/11, Lyceum Gallery, Suffolk County Community College, Riverhead, NY
2011 Vital Signs, South Street Gallery, Greenport, NY
2005-2006 Silicon Sands, International Juried Digital Art Exhibition, Fine Arts Museum, Las Cruses, NM
1999-2000 Seventh Annual New York Digital Salon, School of Visual Arts Museum, New York, NY and Madrid, Spain
1999 Contact Zones: The Art of CD-ROM, Cornell University, Ithaca, NY and MECAD Centre, Barcelona, Spain
1998 The Luminous Image, Velan Center for Contemporary Art, Torino, Italy
1997 Artists of Our Times, the Alternative Museum, New York, NY
1995 “code”, International New Media Exhibition, Ricco Maresca Gallery, New York, NY
1995 ISEA 95, 5TH International Symposium of Electronic Art, Canada
1995 Picture-Element, Deutsche Gallery, New York, NY
1993 Fotografica ’93, Museum of Contemporary Art, Breda, Netherlands
1991 Pioneers in Computer Art, Athenaeum Gallery, La Jolla, CA
1990 Artists in China: June 4TH, PS1 Museum, New York City, NY
1989 Imagine Tokyo ’89, Sogetsu/Konica Gallery, Tokyo, Japan
1984 Sandra Gering Group Show, Sandra Gering Fine Arts, New York, NY
1979 Chrysler Museum Biannual Exhibition, Norfolk, VA

2013 Guest Lecturer, School of Visual Arts, New York, NY
2012 Guest Lecturer, St. Bart’s Forum, New York, NY
2012 DIMONscapes®, Featured guest on NPR – Bonnie Grice’s Electronic Café, New York, NY
2004 Guest Lecturer, the First Church in Boston, Boston, MA
2003 Guest Lecturer at School of Visual Arts, MFA Division, New York, NY
1998 The Influence of Digital on Contemporary Art, Panelist, Jack Tilton Gallery, New York, NY 1995 Artists Talk “code”, Panel Moderator for New York Times and Chase Manhattan Lecture Series, Tisch School of the Arts, New York, NY

Publications and Reviews
VENU Magazine, The East Hampton Star, Leonardo Magazine, The MIT Press, Forbes Magazine, Verbum Magazine, NY Daily News, Newsweek

Professional Experience
2008 - 2013 Director of Communication Arts, St. Bart’s, New York, NY
2000 - 2001 Art Director for the Wall Street Journal Online, WFC, New York, NY
1996 - 2000 Director of New Media Arts, Deloitte, WFC, New York, NY
1990 - 1995 Digital Art and Multimedia Consultant New York, NY
1987 - 1990 Assoc. Professor of Computer Art, Marymount Manhattan College, New York, NY 1991 Visiting Professor, Pratt Manhattan, New York, NY

2013 - 2015 Interfaith Seminary, One Spirit Learning Alliance, NYC
1986 School of Visual Arts, Computer Arts Division, NYC
1975 The University of Georgia/The Lamar Dodd School of Art, B.F.A. Drawing & Painting with studies in Cortona, Italy
Discussions (15) Opportunities (0) Events (2) Jobs (0)

101 Cassette Labels

It's the writing on the topic that I'm appreciating here Moss. Good stuff connecting well-researched media discourse to the larger heart pulse of what it means to create, be human... which opens up the channels, invites discussion. The analog-digital analogy - I may never look at a cassette tape quite the same way. You got something going here... and the imagery is fun. Rozolution


Interview with Erik Adigard

I can't say that I understood every thing you were saying here, but even the confusing parts were intriguing and thoughtful, pertinent to the times we live in.

It's interesting to note that during The Renaissance, what is generally regarded as one of the highest points in time for art and culture... the beauty, vision and content of a piece were inseparable from the skill and craftsmanship that gave it heft. Also there was no distinguishing between fine and commercial art.

I appreciate the dialogue you are opening up here. I speak as an painter/designer/communicator who increasingly finds my most important offerings are grounded in all three... and occasionally transcend to something else.

It could be argued that our new digital age provides the platform for a new renaissance and way of thinking that could augment an explosive change for the way we think about art in the next millennium. I think it does. We just need to wrap our arms around it.

Conversations like this are the beginning...


Information Painting Manifesto for the 21st Century

An image is worth a thousand images.
As images become increasingly less rarefied due to the digital explosion (much like words became democratized at the time of the Gutenberg Press, the time is ripe for artists to use their imagination and intellect to harness this visual proliferation, shaping a new visual vocabulary and dimension for exploration.

The paintbrush re-ascends the throne.
We are on the cusp of a golden age of painting as we load our new brush with all media. Much like the word became a necessary and valued construct to the novel, the photo becomes a key building block in the new primacy of information painting. This exponential leap forces us to rethink the picture and its inherent makeup (components). The photograph changed the painter’s role as a visual recorder of the universe but never say never... as the digital age now allows the painter to take control and asserts that the photograph, while important, is just one more component she/he loads on the digital brush. The old adage “A picture is worth a thousand words,” is now “A picture is worth a thousand pictures.” (and words, videos, etc.) Today’s digital brush is loaded not with Alizarin Crimson but with all media.

A new calling for today’s artist
Image-makers should be where wordsmiths were in the time of Shakespeare, but we have to take the reins and go for it. It is time to create a new visual vocabulary and dimension in art for understanding the information age we live in. Artists today have an opportunity to create beauty that brings sense to the world - a call to make complex things comprehensible and accessible; in the process making a radical break with the current concept of "avant-garde."

The new cave wall as ephemeral screen
The new canvas of the 21st century has no physicality and yet has an inexhaustible capacity to hold thousands of layers and bytes of visual data... a new universe for science and the human imagination to coalese in a visual explosion and intimacy that may go even beyond the senses in its immediacy and touchless touch. (Something Marshall McLuhen spoke about as regards television, "We don't just watch television, we get in touch with it. )


Roz Dimon

Tue Sep 09, 2008 00:00 - Wed Sep 10, 2008

United States of America

NPR/Long Island radio interview "In The Morning with Bonnie Grice ... here I discuss my show "Information Woman, currently at The Grace Institute in Manhattan (2nd Avenue 64/65), August 11-Sept. 26th, open Mon.-Fri., 9-5. Opening is Wed. night, 9/10, 5:30-7pm. Show spans a period of 27 years from earliest Information Paintings (oil on canvas) to most recent DIMONscapesTM. Also on this broadcast we discuss issues of art/faith and what I feel is the greatest calling for artists in this age of information... to bring access, meaning, enlightenment to a culture besieged by an onslaught of visual information.



This thread's getting long I agree. A few thoughts before signing out of this one:


Sharing is an act of giving -- authorized in some part by the giver.

Creative Collaboration is something both parties agree to. I wrote in this thread earlier that anyone who wants to creatively collaborate with me should send me a proposal via email.

Referencing: All of art somehow references itself all the way back to the first drawing on the cave wall. At the
same time we are all part of a larger social order, an original voice often still erupts not from the pack, but from the individual. We wouldn't want to lose that celebration of or recognition of individuality even as we go forward in a complex visual world that requires increasing collaboration. When words reached a global high in literacy, footnoting was part of the equation, giving credibility to all words & ideas while still coming under the name of one book by one author. (And the discussion we are having here is also going on in the writers’ world today where authors' words are being copied without citing sources, but on the other hand freedoms are sometimes being repressed in the protection of the same. A similar conundrum that we have here.)

Stealing is theft, and I would argue that the artistic glorification of it is getting a bit worn, especially in our Information Age where there is so much information free for the taking and yet it is so difficult to protect one's words, images and ideas. Perhaps we need a new honor code much like Creative Commons adds on top of the copyright -- but one that addresses patents. A friend of mine stated that we probably won't figure all this out for another 50 years as the internet has turned our world upside-down as regards the blurring of so many issues (mentioned in a post above that I made Jan. 31) This discussion is a beginning...

I think the calling for the next generation of artists is to bring meaning, understanding, yes beauty to our contemporary world. While I admire Duchamp's brilliance, we don't need another urinal to understand how nuts, evil or mad the world is. Innocence may be forever lost but there is still possibility for meaning and understanding - especially in a world where one has access to and can digest so many points of view at once. (Someone here argued "and what if Duchamp had patented the ready-made?" That made me laugh as I feel we have more ready-mades and conceptual art than we need at this point... a statement like this is most brilliant in it's first offering, just like Warhol's soup cans. It can be re-enacted over and over with some degree of excitement but it gradually loses its edge and connectivity to the world.)

Time to move forward. We are on the cusp of a golden age of painting with a new brush. Yes - photography is taking the 2nd position as we load our brush with all media. We digital image-makers could be where wordsmiths were in the time of Shakespeare, (as an outcome of the Gutenberg Press) but we have to take the reins and go for it. We are in a new Information Painting Age -- Do we degrade it, hack it or take it to new heights working within the world? I'm for the latter. Artists today have an opportunity to create beauty that brings sense to the world - a call to make complex things comprehensible and accessible; in the process making a radical break with the current concept of "avant-garde." (Which at this point usually lands art in the back pages of Arts & Leisure... closer to Leisure. Yawn.)

To Erika Lincoln... thank you for your post where you attempt to clarify the differences between patents/copyright/trademarks and where you end with "There are more, personality rights, ect. Law is a complex thing but to say that it is evil is not fair and a simplified response. I think that as an artist one should be aware of all of these things -- that does not mean be an expert."

I am not an expert either but I do know that patents last, at the most, 17 years, (whereas copyright law has become increasingly more restrictive, lasting in some cases now a lifetime!) and have to be continually revised and updated (and yes, my lawyer will probably make a lot more than I ever will) and then the patent expires so all can jump in. Trade secrets can be taken to the grave and I'm not big on secrets but I do like some protection from theft. You're correct Ethan. If I were more ruthless and ONLY driven by money it would be smarter not to share any of this online. However everything is not mutually exclusive. I didn't set out to create a process that is inventive and patentable, but I think I have - we'll see. I like to share and yes, I also like to make money. And what's so bad with getting the patent, starting a DIMONscapesTM school and teaching the method to others? Or as I stated above - working with Creative Commons to somehow change how this whole process works? However, I would first have to have a patent to do so. Even they state that it is advisable to first have a copyright to use their system - which is for copyrighting not patenting. One reason I would really like to succeed in licensing this process is so I can, yes, develop and share my process while making some $$, and who knows, maybe make a small dent for the better in the new landscape.

Trademarks: I agree with Marshall McLuhan that naming things is important in the Information World. It helps one identify something that is new, as how else to easily explain a new concept as one talks about it with others over and over? Remember that word Daguerreotype? I've trademarked this artwork DIMONscapesTM. After working 30 years to make something I truly feel is unique, I'd like my name to be associated with it. Plus I think it's a good name for the more high-end, complex side of the process, which is where I want to focus, both alone in my studio and in creative collaboration with others. (Hey it may look simple but that's part of the new calling: taking complexity and making it look easy, understandable... that doesn't mean it isn't hard as hell to do.)

I have always preferred insurrection from within. No amount of screaming and whining about patents while professing to be "artists who love to steal" will do a whit to change patent law. At the same time, there is a duality to every system for both good and evil so I understand the concerns expressed here as regards patents. Even though they were designed to "promote the progress of science and useful arts," human beings have an extraordinary way of messing things up. So yes patents aren't perfect. However, I think I've explained that messy or not, I’m going for it.

Capitalism has lots of faults; however, it’s still the system I prefer to work in even as I sometimes rail against it. An individual should be able to protect an idea for a given time unless it is crucial for world peace -- which, while I feel the DIMONscapesTM are important, they probably don't qualify. (On the other hand, Hedy Lamarr & George Antheil’s patent for Spread Spectrum Technology was rather important along those lines, although neither she nor he made a dime from it.*) Artists should not be exempt from such protections as we are not gods but mere mortals. (Of course I speak for myself.) To make real change in the world, artists have to come down off their pedestals and work IN the world. By bringing this discussion to Rhizome I think it invigorates our thinking on all these issues and regardless of our disagreements, it’s not detrimental to art or artists or Rhizome... it's exciting.

If I don't get the patent I'll hold a party at Rhizome and we can all toast one another's mutual health and visual sharing/exploitation going into the future.

Sincerely yours,

“ terrible”

*Who were both artists and scientists respectively; she, an actress (Ecstasy) and he, a musician.