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)


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.




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.




Paul. Re: Holy Moly!That gave me a chuckle... haven't heard that one in a long time... I thought I was the only artist who said corny stuff like that - I’m not being glib here. (You won't usually find me quoting Baudrillard, although I must say I found Ross Barber’s commentary on his latest piece here on Rhizome’s artbase, Getting over Baudrillard 2007 white noise, wonderfully thoughtful while sweet and very funny.)

However back to this - I don't see what's counter-intuitive about trying to patent a creative process. I am not going to try to explain here exactly what it is I'm patenting, because yes it is "patent-pending" and my lawyer would not advise it. It certainly isn’t a light undertaking on my part and is the first time I’ve ever considered such a step in 23+ years of working in digital media. I certainly wouldn't undertake such an effort which is time-consuming and expensive, if I didn't think I was doing something unique, but suffice it to say that I do see this creative process, or idea, as inclusive of but much more than "javascript-based image-swap."

I am all for sharing creative ideas, but I do want to have some ownership and recognition for this particular creative process. I also feel very strongly about crediting other people’s creative ideas as well. One thing I love most about the DimonscapesTM is that every idea or appropriated image is foot-noted. (much like a novel which brings resonance to the written word by citing and quoting all.) The DIMONscapeTM format brings credibility to all imagery loaded on the digital brush/palette I’m using. Every image I use/edit is either purchased by me or used only with the permission of the artist who created it, whom I always credit in the footnotes if they desire, and with a link to their site if they wish.

On the commerce side, I have always rubbed up close to the commercial world and while I make fun of it (in Pale Male: A Pilgrimage, where I pit Jesus against Nike, or in Washington Pig, where the dollar bill goes explosively beserk), I think artists should be paid and recognized and feel that we only ghettoize ourselves when we pit terms like “fine” and “commercial” against one another. I do not feel an artist is “selling out” when they make money; on the other hand, no amount of money thrown at a work of art will ever make it great. (witness the current art market frenzy… it’s not about art, although some good work is there. I’m personally for resurrecting rules of the academy so we can break them again… no avant-garde is possible without rules to be broken which is one reason I feel that art as publicly perceived is currently caught in a boring morass of “everything goes”, which isn’t to say there isn’t some great art being done, but that’s another discussion…)

An artwork that is commercially viable, accessible but which transcends commerce and product… there’s the ticket. Well, I’m rambling a bit here but I’m all for dialog on these issues. And yes, per your point, the outcome is unknown! I have no idea if I’ll get a patent on this process but I’m going to try.



Sat Feb 16, 2008 00:00 - Mon Jan 07, 2008

An invitation to Rhizome members and friends:

February 16th - March 28th, 2008
Hosted by Applied Arts, School Of Visual Arts
ARTIST: Roz Dimon

OPENING RECEPTION: February 16, 4:00-8:00PM (6PM demo by Roz drawing with Wacom)
EXHIBITION: 10 limited edition pigment prints of drawings created working live from a nude model

5 Free Training Demos:
Feb. 18th & 25th 6:00-6:30 (Mon., part of the 6-9PM open studio figure drawing)
Feb. 28th & Mar. 20th 5-6PM (Thurs.)
March 8th, 11AM-12noon (Sat.)

What’s unique about these drawings? Surrounded by other artists using traditional media (charcoal, pen and ink) drawing from a live model, Roz Dimon sketches, honing her skills. The only difference is she plugs her backlit canvas into the wall and draws with a pressure-sensitized digital pen and tablet designed by Wacom Technology. Her unique style is captured perfectly as she applies her stylus to a plane in space. The tools she uses are of today but point towards the future, and give her work an exciting edge. At the same time, it’s still all about her hand, her touch, her vision.

What’s exciting about this exhibition? Dimon’s drawings connect us with the past, the classical roots of drawing and painting, and they explore the future. In a larger scope, this show comes at a time when the field of digital art is reaching a new level of maturation in both artistry and technology; alongside a growing public’s ability to understand and appreciate it. It also seems fitting that a show such as this originates in Long Island, a region teeming with artistic energy and American art history.

“I am beginning to do some of my best work here. I work with a different kind of light than the American Impressionists or the Abstract Expressionists… however, there is an undeniable creative force at work here on the East End where moraine meets sky and artists gather.” Roz Dimon

This exhibition and educational venue is made possible by a collaboration between:

Wacom Technology, providing funding and equipment for demonstration, including several Wacom tablets as well as the Cintiq, a state-of-the-art interactive tablet
Roz Dimon, an ongoing innovator in the realm of digital painting and drawing who has 8 pieces in the collection of AT&T among others. She has been featured in Forbes magazine alongside David Hockney and has had numerous shows both nationally and abroad. Dimon curated a major show of digital art, “code,” for Ricco/Maresca Gallery in NYC which drew a crowd of over 300 on opening night and was covered by all 3 National Television Networks, Prix-Ars Electronica and CNET online.

Roz will discuss her work and demonstrate drawing with the Wacom throughout the exhibition.

Please join APPLIED ARTS in bringing this exhibit to a wider audience.

Call 631-267-ARTS (2787) for more information.

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