John Craig Freeman
Since 2004
Works in Nashua United States of America

John Craig Freeman's work has been exhibited internationally including at Fringe Exhibitions in Los Angeles, The Museum of Contemporary Art, Beijing, the Kunstraum Walcheturm in Zurich, Eyebeam in New York, City, the Zacheta Narodowa Galeria Sztuki Warsaw, Kaliningrad Branch of the National Center for Contemporary Arts in Russia, Art Basel Miami, Ciberart Bilbao and the Girona Video and Digital Arts Festival in Spain, La Biblioteca National in Havana, the Contemporary Art Center in Atlanta, the Nickle Arts Museum in Calgary, the Center for Experimental and Perceptual Art (CEPA) in Buffalo, Art interactive, Mobius and Studio Soto in Boston, the Centro de la Imagen in Mexico City, Ambrosino Gallery in Miami, the Photographers Gallery in London, and the Friends of Photography's Ansel Adams Center in San Francisco. In 1992 he was awarded an Individual Artist Fellowship from the National Endowment for the Arts. His writing has been published in Leonardo, the Journal of Visual Culture, and Exposure, as well as a chapter in the book Electronic Collaboration in the Humanities. Freeman received a BA degree from the University of California, San Diego and an MFA from the University of Colorado. He is currently an Associate Professor of New Media at Emerson College in Boston.

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Public Art Dialogue, Digital Art Issue EXTENDED DEADLINE

Tue Sep 30, 2014 23:59

Guest Editors: John Craig Freeman and Mimi Sheller
In the 50th anniversary issue of Artforum, which focused on new media art, critic Claire Bishop asked: “Whatever happened to digital art? While many artists use digital technology, how many really confront the question of what it means to think, see, and filter affect through the digital? How many thematize this, or reflect deeply on how we experience, and are altered by, the digitization of our existence?" These comments sparked debate across the digital art world because so many artists, curators and critics believe that exactly these kinds of questions are being explored by artists who use digital technology in a multitude of diverse, unstable, surprising and challenging ways. Digital art is not simply in a "new media niche" concerned only with technology. In their published response to Bishop, Lauren Cornell and Brian Droitcour wrote: "Digital art is no longer confined to 'cyberspace.' Concerns about networked technologies have been absorbed by artists who draw on their knowledge of painting, sculpture, performance, and installation, as well as an interest in computers and code." In this issue we seek to highlight the full gamut of digital art with regard to its manifestations in public art, to interrogate what its real contributions are, and to extend the language and the contexts in which we understand it.

You will find detailed instructions for submissions on the journals Instructions for Authors page.

Public Art Dialogue serves as a forum for critical discourse and commentary about the practice of public art defined as broadly as possible to include: memorials, object art, murals, urban and landscape design projects, social interventions, performance art, and web-based work. Public Art Dialogue is a scholarly journal, welcoming of new and experimental modes of inquiry and production. Most issues are theme-based, and each features both peer-reviewed articles and artists' projects.

The journal is overseen by co-editors assisted by an international editorial board, which reflects the diversity and cross-disciplinarity of the public art field. We welcome submissions from art historians, critics, artists, architects, landscape architects, curators, administrators, and other public art scholars and professionals, including those who are emerging as well as already established. The journal is published twice a year in print and electronic formats in English language only, and is affiliated with the professional society of the same name.

Peer Review Policy
All research articles and artists' projects published in this journal have undergone peer review based on initial editorial screening.