BIO
Roz Dimon, aka “rozolution”
We're in a new age - the "Gutenberg press" of imagery according to "rozolution" who traded in her oil paints for an IBM with 4 colors as early as 1984. Now she loads her Wacom brush with millions of colors, photos, text, even video -- on a Mac canvas that holds thousands of layers of information that is "flatter-than-flat."
As she says, "it's downright spiritual."
An early and innovative participant in the digital art underground, Roz's work has been shown from New York City to Japan, although the art landscape is changing rapidly and as she puts it "the new palette is Photoshop and the new gallery is the web."
Roz has spoken on NPR about the ongoing digital revolution, curated a blockbuster digital exhibition "code" for Ricco Maresca Gallery (1995) and most recently had a work "Pale Male: A Pilgrimage," purchased by Walter Liedtke, (2009) a curator at the Metropolitan Museum of Art.
Increasingly for Roz, the material intersects the spiritual intersects the digital. When people want to know more about her work, she invites them to http://artstory.net and http://dimonscapes.com, and beyond that, to her studio in Shelter Island, New York, where the story is excitingly visible, from early days of oil-on-canvas to her latest interactive creations.
A graduate of the Lamar Dodd School of Art*, New York City has been home since 1981. She and her husband, James Dawson, an expert in Information Technology, also live in Shelter Island, New York.
We're in a new age - the "Gutenberg press" of imagery according to "rozolution" who traded in her oil paints for an IBM with 4 colors as early as 1984. Now she loads her Wacom brush with millions of colors, photos, text, even video -- on a Mac canvas that holds thousands of layers of information that is "flatter-than-flat."
As she says, "it's downright spiritual."
An early and innovative participant in the digital art underground, Roz's work has been shown from New York City to Japan, although the art landscape is changing rapidly and as she puts it "the new palette is Photoshop and the new gallery is the web."
Roz has spoken on NPR about the ongoing digital revolution, curated a blockbuster digital exhibition "code" for Ricco Maresca Gallery (1995) and most recently had a work "Pale Male: A Pilgrimage," purchased by Walter Liedtke, (2009) a curator at the Metropolitan Museum of Art.
Increasingly for Roz, the material intersects the spiritual intersects the digital. When people want to know more about her work, she invites them to http://artstory.net and http://dimonscapes.com, and beyond that, to her studio in Shelter Island, New York, where the story is excitingly visible, from early days of oil-on-canvas to her latest interactive creations.
A graduate of the Lamar Dodd School of Art*, New York City has been home since 1981. She and her husband, James Dawson, an expert in Information Technology, also live in Shelter Island, New York.
DRAWING IN THE AGE OF INFORMATION
Artists taking their own authority:
I want to add something here although it appears I'm now posting to myself... but it's important to clarify my previous post. When I say the patent-pending DIMONscapesTM are "free in virtual space, I mean "free to view" not "free to steal." Which is why I make it clear that this work is “patent-pending.” If any of you wish to collaborate with me on further developing these works, please feel free to send me a proposal. This is what usually leads to creative collaboration. Otherwise I respectfully ask that you honor my request. I do the same for other artists as faithfully as I know how - especially if this is their request. Please note that responsibility to and recognition of other artists is part and parcel of the DimonscapesTM invention itself, giving authority to the emerging lexicon of our visual information world, of which we artists are the progenitors.
Patenting a technique, not a single artwork or merely code
Patent law aims “to promote the progress of science and useful arts.” It also protects the single entrepreneur, although the larger conglomerates are winning some battles here recently in the arena of patent law as we have been in a very pro big-business era these past 8 years under the Bush administration. And yes I feel strongly that DIMONscapesTM have a very useful, underlying technique… as I stated before, that is what I am trying to patent, not the artwork or the code alone.
Sharing with artists/sharing with Coke
I may ask a nominal fee/recognition agreement or whatever of other individual artists. I am still formulating this. On the other hand, this is not an idea I want to give “free” to Coca-Cola. And if I do choose to share or teach this technique to a select atelier of artists, I would like to do so with my own authority and with some control as to that process.
The Present is not the Past
When you compare today’s world to that of Picasso or Seurat… they did not create their most innovative work in a medium both instantaneous and mass (as in McLuhan’s connotation of a one -to-all globally connected universe). Artists traditionally worked on their techniques either privately or in ateliers and showed/marketed their work to select venues before it became public knowledge.
Going forward:
Keeping one's own authority and technique in the world of the internet while being willing to share one's art with others brings up important issues that are unresolved in our new visual universe. I am still formulating a larger manifesto around all of this, but it’s turning into a novel, or an e-novel. I welcome you to join me in the ongoing discussion. I do ask that we treat one another with respect and civility as we continue the dialogue.
I want to add something here although it appears I'm now posting to myself... but it's important to clarify my previous post. When I say the patent-pending DIMONscapesTM are "free in virtual space, I mean "free to view" not "free to steal." Which is why I make it clear that this work is “patent-pending.” If any of you wish to collaborate with me on further developing these works, please feel free to send me a proposal. This is what usually leads to creative collaboration. Otherwise I respectfully ask that you honor my request. I do the same for other artists as faithfully as I know how - especially if this is their request. Please note that responsibility to and recognition of other artists is part and parcel of the DimonscapesTM invention itself, giving authority to the emerging lexicon of our visual information world, of which we artists are the progenitors.
Patenting a technique, not a single artwork or merely code
Patent law aims “to promote the progress of science and useful arts.” It also protects the single entrepreneur, although the larger conglomerates are winning some battles here recently in the arena of patent law as we have been in a very pro big-business era these past 8 years under the Bush administration. And yes I feel strongly that DIMONscapesTM have a very useful, underlying technique… as I stated before, that is what I am trying to patent, not the artwork or the code alone.
Sharing with artists/sharing with Coke
I may ask a nominal fee/recognition agreement or whatever of other individual artists. I am still formulating this. On the other hand, this is not an idea I want to give “free” to Coca-Cola. And if I do choose to share or teach this technique to a select atelier of artists, I would like to do so with my own authority and with some control as to that process.
The Present is not the Past
When you compare today’s world to that of Picasso or Seurat… they did not create their most innovative work in a medium both instantaneous and mass (as in McLuhan’s connotation of a one -to-all globally connected universe). Artists traditionally worked on their techniques either privately or in ateliers and showed/marketed their work to select venues before it became public knowledge.
Going forward:
Keeping one's own authority and technique in the world of the internet while being willing to share one's art with others brings up important issues that are unresolved in our new visual universe. I am still formulating a larger manifesto around all of this, but it’s turning into a novel, or an e-novel. I welcome you to join me in the ongoing discussion. I do ask that we treat one another with respect and civility as we continue the dialogue.
DRAWING IN THE AGE OF INFORMATION
I am thinking alot about all of this and will put up a more thought-out response to this shortly but want to get up a quick note to say (yes, before I go the dentist... still a real world event. Fun!) that as far as my intent: 1) I am not applying for a patent to sue other artists or prevent creative collaboration... and 2) yes I am applying for a patent because I see significant commercial application for this in the realm of business and advertising and 3) yes, I'm an artist that has to assist in paying the rent, which living in NYC is currently going out to the highest European investor and 3) I am concerned about issues of appropriation not only of my own work but other artists' work, especially in an Internet driven world where so many boundaries are being blurred (art/commerce, sharing/privacy, etc.) while co-existing simultaneously... much like the DIMONscapesTM themselves which are both on the wall and up for purchase while off the wall and free in virtual space; and, a creative process while simultaneously a technical one that can be applied outside of the artwork itself in another realm. I will write more later but as I did my morning headstand, I observed how strange and yet exciting the world looked upside-down. However, some laws still govern like gravity... familiar objects still stay on the floor to be maneuvered, but the landscape is completely different. This is the world we now inhabit. Little did I know when I started on an IBM with 4 colors in 1985... it is exciting and also painful. I enter this discussion with you as I am wrestling with many of the issues of which you speak... I suppose if I didn't want this discussion i would have put a password on all my DIMOnscapesTM, so yes, there's the conundrum but many co-existing views are true here...
DRAWING IN THE AGE OF INFORMATION
To Philip Galanter. I appreciate your open-mindedness:
"That intent being that society is best served by both rewarding inventors AND making the invention public for eventual free and general use."
as this approximates my intent.
Roz
"That intent being that society is best served by both rewarding inventors AND making the invention public for eventual free and general use."
as this approximates my intent.
Roz
DRAWING IN THE AGE OF INFORMATION
Eric... I hope you are being funny with your comment about appropriating image rollovers...
To Pall's point that no patent on a method or process is going to make a great work of art -- that's true but in response to your "all you can do is make your very best out of it and hope that the rest of the "artworld" thinks it's as good as you do.":
Yes, one can hope, but I would add that one's best work is never driven by what the artworld thinks, or the world for that matter.
Roz
To Pall's point that no patent on a method or process is going to make a great work of art -- that's true but in response to your "all you can do is make your very best out of it and hope that the rest of the "artworld" thinks it's as good as you do.":
Yes, one can hope, but I would add that one's best work is never driven by what the artworld thinks, or the world for that matter.
Roz
