Roz Dimon
Since the beginning
roz@rozdimon.com
Works in Shelter Island, New York United States of America

PORTFOLIO (6)
BIO
SOLO EXHIBITIONS

2014 Artifacts II, Shelter Island Historical 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

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 The 7TH Annual New York Digital Salon, School of Visual Arts Museum,
New York City, 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

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
2009 Pale Male: A Pilgrimage (Edition #1/1), Metropolitan Museum of Art, New York, NY
2009 China Door, 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

PRESENTATIONS

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, East Hampton Star, Leonardo Magazine, 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

EDUCATION

2013 - 2015 Interfaith Seminary, One Spirit Learning Alliance, New York, NY
1986 School of Visual Arts, Computer Arts Division, New York, NY
1975 The University of Georgia/The Lamar Dodd School of Art, B.F.A. Drawing & Painting with Studies
in Cortona, Italy , Athens, GA

Discussions (15) Opportunities (0) Events (2) Jobs (0)
DISCUSSION

DRAWING IN THE AGE OF INFORMATION


Philip - I couldn't have said it better myself... Roz

DISCUSSION

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.

DISCUSSION

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...

DISCUSSION

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

DISCUSSION

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