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
Re: Re: Re: Re: Re: geo letter
Jim Andrews wrote:
>
> > no,
> > there are no constructs anymore.
> > the machine creates meaningful relationships from memory.
> > only sentient beings derive meaning from memory, and they are
> > hard to come by. just the machine..,just the machine..,just the
> > machine..,just the machine..,just the machine..,just the machine..,
>
> Nah.
>
c'mon
sure is yah!
>
> > no,
> > there are no constructs anymore.
> > the machine creates meaningful relationships from memory.
> > only sentient beings derive meaning from memory, and they are
> > hard to come by. just the machine..,just the machine..,just the
> > machine..,just the machine..,just the machine..,just the machine..,
>
> Nah.
>
c'mon
sure is yah!
Re: Re: not so sad, Re: The sadness of the dream of Pixar.
Plasma Studii wrote:
> though most art can be made as cheaply as you want (particularly
> poetry, but not computer art), it's the time that gets expensive.
> but most artists aren't too resourceful and will spend a fortune on
> their "careers", materials, presentations, marketing, etc. whereas a
>
> mediocre doctor, with his head elsewhere, just is not going to
> compete. nowadays, to make a living requires focusing, and except in
>
> super rare cases, art is not making anyone a living. teaching art
> isn't making art. and an artist is only a person making art. great
> to get teaching gigs, but during those hours, for all practical
> purposes, you aren't an artist.
>
> i don't mean to be discouraging. but obviously, the system favors
> art by kids who's parents support them. those same parents probably
> keep institutions like the MoMA and art schools afloat. it isn't the
>
> artists. it's a messed up system. i'd personally love to see it
> collapse, but i'm a devout anarchist. when the kids can start
> supporting the institutions, it's because they discarded putting all
> their effort into art.
I don't think being a devout anarchist is necessary here.
Anyone with money can produce "important" works.
Think of Damien Hirst, Jeff Wall, and any number of avant avant avant gardists who have major financial backing. Isn't being an avant gardist by nature an economic filter?
To be one, for any extended period of time requires major economic commitment. I almost admire Eric Fischl, he had to sell actual paintings! What a scam that must be.
But making art needn't be a luxury.
Anyone with an IQ over 110 can work out a method that can contain the pressues of the market, yet still manage to produce relevant works (at least to themselves).
Think of poor Ponge, one poem a day (during the 1/2 hour between work and sleep)
If it needs to made, it will be.
It's not fair, but who remembers the works of "privelged artists" from years gone by. They are usually relegated to the aftermarket of ideas.
> >> Being an artist isn't something
> >> that you do "on [your] own time". It's a full-time job. It's not a
> >> hobby. Sometimes artists need a job on the side to pay the bills
Yes it is.
And there are too many examples of great art made part time.
I doubt that Ponge, Irwin, Brainard, Cornell, Artschwager etc. and a host of others ever thought that devoting all their energy really made the art better.
Sometimes the best works are made in 5 minutes after the fact( or act).
The Art world is a business, that has very little to do with Art.
Always was, always will be that way.
Sell your art investments now, before everyone else forgets about them.
And good luck.
A Knowledge based telepresence will out them all...., I promise.
Eric
> though most art can be made as cheaply as you want (particularly
> poetry, but not computer art), it's the time that gets expensive.
> but most artists aren't too resourceful and will spend a fortune on
> their "careers", materials, presentations, marketing, etc. whereas a
>
> mediocre doctor, with his head elsewhere, just is not going to
> compete. nowadays, to make a living requires focusing, and except in
>
> super rare cases, art is not making anyone a living. teaching art
> isn't making art. and an artist is only a person making art. great
> to get teaching gigs, but during those hours, for all practical
> purposes, you aren't an artist.
>
> i don't mean to be discouraging. but obviously, the system favors
> art by kids who's parents support them. those same parents probably
> keep institutions like the MoMA and art schools afloat. it isn't the
>
> artists. it's a messed up system. i'd personally love to see it
> collapse, but i'm a devout anarchist. when the kids can start
> supporting the institutions, it's because they discarded putting all
> their effort into art.
I don't think being a devout anarchist is necessary here.
Anyone with money can produce "important" works.
Think of Damien Hirst, Jeff Wall, and any number of avant avant avant gardists who have major financial backing. Isn't being an avant gardist by nature an economic filter?
To be one, for any extended period of time requires major economic commitment. I almost admire Eric Fischl, he had to sell actual paintings! What a scam that must be.
But making art needn't be a luxury.
Anyone with an IQ over 110 can work out a method that can contain the pressues of the market, yet still manage to produce relevant works (at least to themselves).
Think of poor Ponge, one poem a day (during the 1/2 hour between work and sleep)
If it needs to made, it will be.
It's not fair, but who remembers the works of "privelged artists" from years gone by. They are usually relegated to the aftermarket of ideas.
> >> Being an artist isn't something
> >> that you do "on [your] own time". It's a full-time job. It's not a
> >> hobby. Sometimes artists need a job on the side to pay the bills
Yes it is.
And there are too many examples of great art made part time.
I doubt that Ponge, Irwin, Brainard, Cornell, Artschwager etc. and a host of others ever thought that devoting all their energy really made the art better.
Sometimes the best works are made in 5 minutes after the fact( or act).
The Art world is a business, that has very little to do with Art.
Always was, always will be that way.
Sell your art investments now, before everyone else forgets about them.
And good luck.
A Knowledge based telepresence will out them all...., I promise.
Eric
Re: Re: Re: geo letter
Jim Andrews wrote:
>
> > memory is meaning
>
> memory is data. data is not meaning. meaning is constructed from data.
>
> ja
> http://vispo.com
>
>
>
no,
there are no constructs anymore.
the machine creates meaningful relationships from memory.
only sentient beings derive meaning from memory, and they are hard to come by. just the machine..,just the machine..,just the machine..,just the machine..,just the machine..,just the machine..,
>
> > memory is meaning
>
> memory is data. data is not meaning. meaning is constructed from data.
>
> ja
> http://vispo.com
>
>
>
no,
there are no constructs anymore.
the machine creates meaningful relationships from memory.
only sentient beings derive meaning from memory, and they are hard to come by. just the machine..,just the machine..,just the machine..,just the machine..,just the machine..,just the machine..,
Re: FLACK ATTACK MAGAZINE: CALL FOR SUBMISSIONS
Please send me a photograph of you reading this message accompanied by your location:
street address
city
country
postal code (if applicable)
(if you know your latitude and longitude, then I can work much faster)
to:
dymond@idirect.ca
I am gathering locations and responses for an internet work.
you can include CV's URLS and emails etc,
Eric Dymond
help the geo cause
algorithms
(actually, it was just hard to find you,
my reply is completely off-topic
but it is life-threatening!
Eric Dymond
street address
city
country
postal code (if applicable)
(if you know your latitude and longitude, then I can work much faster)
to:
dymond@idirect.ca
I am gathering locations and responses for an internet work.
you can include CV's URLS and emails etc,
Eric Dymond
help the geo cause
algorithms
(actually, it was just hard to find you,
my reply is completely off-topic
but it is life-threatening!
Eric Dymond
Re: geo letter
I should add that, it will only take 320 satellite imaages per 1/20 of a second, and 110.2 terrabytes of memory (samll by todays memory standards), rolled over every 2 seconds to capture all Human activity in the major "google" cities and environs,
Working with known compression algorithms this could be accomplished today,... and it probably is...
memory is meaning
Eric Dymond
Working with known compression algorithms this could be accomplished today,... and it probably is...
memory is meaning
Eric Dymond
SAVED WORKS (2)
CURATED EXHIBITIONS (1)