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 (17) Opportunities (0) Events (2) Jobs (0)

The Guggi's Open Call

The Guggi's Open Call invites all to respond to not only what is NOW in video, but WHAT IS NEXT.

NEXT? I'd say it's that video will be loaded onto the digital brush as we enter a whole new dimension in storytelling. I invite you into my response to the call:

What do you think?


Rethinking Curating: Art After New Media

Your words drew me in to all that is so "un-trendy" and exponentially fascinating about this topic AND in broad, cohesive strokes.

I feel that there is a new calling for artists/writers in today's digital world (where shock and incomprehensibility is only a click away) to bring meaning and yes, I'll stretch a bit, comfort, to those who have no navigation, story line or compass by which to make sense of this glorious information mess . . .

Beauty, (even when ugly, which it often is when raw), has always had a deep sense to it. Ok call it truth.

I say "more glue, more discovery, more touch." (digit)

Your review and this book looks to be a step in that direction, grasping at the larger seminal meaning of this ongoing digital revolution which is changing art, life.



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. )