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plexity can arise in art made by following simple rules, agreed: “I don’t recall ever seeing an exhibition at a gallery that was billed as SciArt. A SciArt exhibition will most likely be found at university galleries and science based intuitions, like the New York Hall of Science or maybe the American Museum of Natural History.” IV. Different Worlds It’s a good thing for science-based artists that institutions of science and learning welcome SciArt, because despite some inroads, SciArt is a very small part of the mainstream art world. While there are many pockets of galleries ranging from “white box” to grungy up-andcomers in New York, the mainstream contemporary art world is epitomized by the Chelsea galleries, those that line the sidewalks from 19th to 36th streets on the West Side, where the most famous artists exhibit their work and where the wealthiest customers buy it. But the mainstream contemporary art world is “only one of many art worlds,” said Ed Shanken, a professor of digital and experimental media art at University of Washington. He continued, “Over the last 20 years or so a number of parallel art worlds have grown dramatically, in particular the New Media art world and the art-science art world, which are related but not exactly the same.” New Media art incorporates the concepts, technologies, and social practices associated with computers and computer networking in a critical aesthetic investigation of digital culture. Shanken, trained as an art historian, discusses contemporary art, SciArt and New Media art as being three, of many, separate art worlds that have developed, in his book Art and Electronic Media (Phaidon 2009). He noted that the New Media art world has developed its own set of institutions, exhibition venues, university departments, and academic conferences that are so robust that artists and scholars working in this field may not feel the need to become integrated into the mainstream contemporary art world. This phenomenon has been referred to as “self-ghettoization”. New Media Art and SciArt are perceived as occupying the fringes or the margins of mainstream contemporary art, but it’s such a self-sufficient, “lavish” ghetto that there’s little incentive for artists to leave it: SciArt in America December 2013 “Many artists are perfectly content to operate just in that art world. And the New Media art world has grown tremendously in the two decades I’ve been professionally engaged with it myself. It has an extraordinary infrastructure for supporting the creation, exhibition and critical analysis and interpretation of this work. Artists, curators, and scholars can have quite successful careers working in this field: successful in the sense that they can travel around the world like successful mainstream contemporary artists, presenting their work, organizing exhibitions, lecturing, and publishing. But what the artists can’t do is sell their work. And they can’t get their work featured in magazines like Artforum, which really don’t write about it. So there’s been a self-ghettoization partly because of a really pretty lavish ghetto to occupy but also because the commercial engine of the contemporary art world continues to mostly ignore it.” V. Barriers to the Mainstream While the SciArt fringe is certainly thriving, it’s hard to think that if a science-based artist were offered a show at a mainstream venue that they would turn it down; the galleries are spacious, well-funded, well-advertised, and well attended. The venues of non-profits, universities, and science-geared museums are fitting, and crucial, but a show in a mainstream gallery would inarguably expand the reach and impact of SciArt enormously. So why is it that SciArt remains on the fringe? “The Chelsea galleries,” Anker said, “are still very interested in looking at irony, popular culture, and traditional forms of painting and sculpture, and SciArt rocks the boat. It also assumes that the artist has a rational streak, which goes against the kind of mistaken identity of the artist as a free spirit.” There is a certain wish for anonymity and freedom of interpretation of art in most exhibition spaces, exemplified by the fact that in Chelsea, and most other galleries, labels never accompany individual art works. Along those lines, the educational aspect of SciArt may in fact turn off mainstream galleries and their particular audience. In co