BIO
Eric Dymond is an artist who works with many tools and programming languages.
He graduated from the Nova Scotia College of Art and Design with a BFA in studio.<br />
He exhibited paintings in Toronto, Detroit, New York, Montreal and London during the 1970's, 1980's and 1990's. The paintings were created with sandblasted sprays employing formal themes from the history of painting (still life's , individual portraits, traditional landscapes) . These series appear minimal with repeating content and are a form of Serialism.
In the early 1990's he began working with digital media, building perl programs with TCL/TK, web sites (see the doorway on Leonardo) and stand-alone applications.
He continues working in all media, rejecting specialization.
A brief timeline :
1976-On View -first exhibition held by Visual Arts Ontario
1977-One person show-Gallery 567
1978-One person show-Nancy Pooles Studio
1978-Group Exhibition-Habatat Galleries,Detroit,Michigan
1979-One Person Show-Habatat Galleries,Detroit,Michigan
1979-Young Realists, London Regional Gallery
1979-One Person Show-Nancy pooles Studio
1980-New Artists-London Regional Gallery
1980-O.A.C.-group juried show
1981-One Person show-Nancy Pooles studio
1982-Group exhibition-Honey Sharp Gallery-Tanglewood,Mass.
1983-One Person show-Nancy Pooles studio
1983-Group Exhibition-Adam Gimbel Gallery-New York,N.Y.
1984-One Person Show-Grimsby Public Gallery
1985-One Person Show-Nancy Pooles studio
1985-One Person Show-Gallery 1667-Halifax,N.S.
1987-One Person Show-Kitchener Waterloo Public Gallery
1988-Group Exhibition-Market Gallery,Toronto
1990-Two person show-Brampton public Gallery
1990-One Person Show-Quan Schieder Gallery
1991-CD-Rom interacive/Philips Corp.
1991-Group Exhibition-Robert Kidd Gallery-Detroit,Michigan
1993-Group Exhibition-Market Gallery
1993-Marilyn (perl/tk)
1994-One Person Show-Schieder and Associates
1995-Group Exhibition-Bau-Xi Gallery
1996-The doorway (http://www.edymond.com/artseen/door.htm)
1997-Newmail (http://www.edymond.com/artseen/newmail.htm) part of Iceflow, the Images festival of Independent Film Toronto
(http://replay.waybackmachine.org/19980209225557/http://interaccess.org/iceflow/newmail.htm)
1997.1998,1999,2001 - http://www.netarts.org , see archives.
see my Rhizome portfolio and Furthfield for current web works and writings.
Collections:
Numerous public and private collections in Canada and the United States.
including,
City of Toronto
McIntosh Gallery, University of Western Ontario, London Ontario
London Public Library, London Ontario
Kitchener Waterloo Public Gallery
Algoma Public Gallery
Kamloops Public Gallery
College of Physicians and Surgeons (Ontario)
Connor and Clark
Royal Lepage
He graduated from the Nova Scotia College of Art and Design with a BFA in studio.<br />
He exhibited paintings in Toronto, Detroit, New York, Montreal and London during the 1970's, 1980's and 1990's. The paintings were created with sandblasted sprays employing formal themes from the history of painting (still life's , individual portraits, traditional landscapes) . These series appear minimal with repeating content and are a form of Serialism.
In the early 1990's he began working with digital media, building perl programs with TCL/TK, web sites (see the doorway on Leonardo) and stand-alone applications.
He continues working in all media, rejecting specialization.
A brief timeline :
1976-On View -first exhibition held by Visual Arts Ontario
1977-One person show-Gallery 567
1978-One person show-Nancy Pooles Studio
1978-Group Exhibition-Habatat Galleries,Detroit,Michigan
1979-One Person Show-Habatat Galleries,Detroit,Michigan
1979-Young Realists, London Regional Gallery
1979-One Person Show-Nancy pooles Studio
1980-New Artists-London Regional Gallery
1980-O.A.C.-group juried show
1981-One Person show-Nancy Pooles studio
1982-Group exhibition-Honey Sharp Gallery-Tanglewood,Mass.
1983-One Person show-Nancy Pooles studio
1983-Group Exhibition-Adam Gimbel Gallery-New York,N.Y.
1984-One Person Show-Grimsby Public Gallery
1985-One Person Show-Nancy Pooles studio
1985-One Person Show-Gallery 1667-Halifax,N.S.
1987-One Person Show-Kitchener Waterloo Public Gallery
1988-Group Exhibition-Market Gallery,Toronto
1990-Two person show-Brampton public Gallery
1990-One Person Show-Quan Schieder Gallery
1991-CD-Rom interacive/Philips Corp.
1991-Group Exhibition-Robert Kidd Gallery-Detroit,Michigan
1993-Group Exhibition-Market Gallery
1993-Marilyn (perl/tk)
1994-One Person Show-Schieder and Associates
1995-Group Exhibition-Bau-Xi Gallery
1996-The doorway (http://www.edymond.com/artseen/door.htm)
1997-Newmail (http://www.edymond.com/artseen/newmail.htm) part of Iceflow, the Images festival of Independent Film Toronto
(http://replay.waybackmachine.org/19980209225557/http://interaccess.org/iceflow/newmail.htm)
1997.1998,1999,2001 - http://www.netarts.org , see archives.
see my Rhizome portfolio and Furthfield for current web works and writings.
Collections:
Numerous public and private collections in Canada and the United States.
including,
City of Toronto
McIntosh Gallery, University of Western Ontario, London Ontario
London Public Library, London Ontario
Kitchener Waterloo Public Gallery
Algoma Public Gallery
Kamloops Public Gallery
College of Physicians and Surgeons (Ontario)
Connor and Clark
Royal Lepage
Regarding Conceptual and Aesthetic Implications of Code in Computer-based Art
Well, if the code is seen as a series of instructions to the machine then I wonder why is it removed from being Art as some of the respondents insist.
Is a Sol Lewitt drawing, executed according to the instructions by gallery attendents/interns , separate from those instructions? Don't we have to admit that the final drawing can't exist outside of the instructions, and those instructions are intrinsic to the work? Can we admire the instructions conceptually without executing the drawing?
It seems to parallel Pall's theory.
Eric
Is a Sol Lewitt drawing, executed according to the instructions by gallery attendents/interns , separate from those instructions? Don't we have to admit that the final drawing can't exist outside of the instructions, and those instructions are intrinsic to the work? Can we admire the instructions conceptually without executing the drawing?
It seems to parallel Pall's theory.
Eric
I am dying so please supporting my art.
C'mon now..., anyone can die. Thats not talent. Now if you could come back from the grave in virtual clothing..., then I'd be impressed.
Misunderstanding web art/ the screen
web art is not chosen
chosen becomes web art
so that's the problem.
we are not chosen.
we are not beautiful.
chosen becomes web art
so that's the problem.
we are not chosen.
we are not beautiful.
Misunderstanding web art/ the screen
I've had the nice task of going over introductory modern art texts for a program entitled Visual and Digital Arts.
Sadly, none of the overviews included web art as a genre. I wasn't too surprised, but I am at least pissed.
Technology and Art was well represented but web art was completely missing from every overview.
Now I know these overviews are perfunctory at best, but I thought, given the coverage my own work had garnered in Art Mags, POP journals etc. that web art would have at least gained some credibility.
When www.Interaccess.org showed the the first Web Art in 1997 as a form of expression, included in the Images Festival of that same year, well I believed web art was a viable art form. Unfortunately, it was the tech based artists that led the defence of the status quo. Web art slowly disappeared from commentaries of new media.
The argument was that web art was just a software specialty that used the screen in a albeit new but minor way.
My argument was that web art was a space defined by new expectations and usability and fell completeley outside current screen activity. It was new. It had it's own verity, its own unique ebb and flow and its own virtual identity.
Well 10 or 11 years later web art still exists sadly below the radar of the art world. Does Whids and Rivers yes/no have an explicit place on the web or could it exist outside the web? It could, but the clunky thing they talk about is lost. But thats really not enough, clunky things are ubiquitous.
Making a case for the noumenal place of web art is tough, but it is important at this juncture.
When we observe web art are we contending with artistic questions of valorization?
Is web art just a mash up of many computer based technoligies. It doesn't have to be, see http://www.netarts.org
Is web art , when it's original, too technically demanding to get engaged with. Or is it just not what we expected?
Paintings, films , videos, installations are all very *not web*.
So what is web art? Does it exist or was it just a dream I had?
See this piece, it fails everywhere outside of the web, but still references Micheal Snows " La Region Centrale"
http://webhome.idirect.com/~artseen/skywriting/skywriting2.htm, like blind july
http://www.edymond.com/artseen/blind.htm it can't exist outside the noumenal sphere of the web.
Joe
(AKA Eric)
Sadly, none of the overviews included web art as a genre. I wasn't too surprised, but I am at least pissed.
Technology and Art was well represented but web art was completely missing from every overview.
Now I know these overviews are perfunctory at best, but I thought, given the coverage my own work had garnered in Art Mags, POP journals etc. that web art would have at least gained some credibility.
When www.Interaccess.org showed the the first Web Art in 1997 as a form of expression, included in the Images Festival of that same year, well I believed web art was a viable art form. Unfortunately, it was the tech based artists that led the defence of the status quo. Web art slowly disappeared from commentaries of new media.
The argument was that web art was just a software specialty that used the screen in a albeit new but minor way.
My argument was that web art was a space defined by new expectations and usability and fell completeley outside current screen activity. It was new. It had it's own verity, its own unique ebb and flow and its own virtual identity.
Well 10 or 11 years later web art still exists sadly below the radar of the art world. Does Whids and Rivers yes/no have an explicit place on the web or could it exist outside the web? It could, but the clunky thing they talk about is lost. But thats really not enough, clunky things are ubiquitous.
Making a case for the noumenal place of web art is tough, but it is important at this juncture.
When we observe web art are we contending with artistic questions of valorization?
Is web art just a mash up of many computer based technoligies. It doesn't have to be, see http://www.netarts.org
Is web art , when it's original, too technically demanding to get engaged with. Or is it just not what we expected?
Paintings, films , videos, installations are all very *not web*.
So what is web art? Does it exist or was it just a dream I had?
See this piece, it fails everywhere outside of the web, but still references Micheal Snows " La Region Centrale"
http://webhome.idirect.com/~artseen/skywriting/skywriting2.htm, like blind july
http://www.edymond.com/artseen/blind.htm it can't exist outside the noumenal sphere of the web.
Joe
(AKA Eric)
SAVED WORKS (2)
CURATED EXHIBITIONS (1)
