SciArt Magazine - All Issues - Page 35

weather maps and diagrams used by Terry Winters. The early computer work of Agnes Denes or the use of computer programs in the videos of Nam June Paik also fit my model. These might not be the first artists that come to mind when thinking about SciArt but, in my mind, they easily qualify as much as myself, Brandon Ballengée, Natalie Jeremijenko, Eduardo Kac or Cynthia Pannucci. This latter group is more into the realm of science to be addressed as specific art content as opposed to the former group that has scientific themes implied in their work. SciArt is a category invented to embrace these newer artists because there IS a large number of artists fascinated by the technology and content of science. Apparently, from the number of scientists opening their labs and research to artists, there is a mutual curiosity. So, the answer to the first part of the question is that there are a huge number of artists in the contemporary art world flirting with, as well as hard core practitioners of Science and Art. If you start to narrow this definition to laboratory based art or scientific research-based art then I think it is fair to say that this smaller pool is marginalized by the main stream art world. By the “main stream” art world, I mean art that is exhibited at art fairs (currently the business model for art sales.) In general, it’s fair to say that SciArt is not commercially a hot commodity, and you don't see practitioners of this art breaking auction records. Obviously, there are many art worlds but the SciArt audience, in my opinion, has yet to be consistently touted in the mainstream media. There may be many reasons for this (and of course there are exceptions.) What I have noticed in my own work, such as my current show at the National Academy of Sciences, is most people don’t want to focus on scientific content or even try to understand it. Even though we are living in a epoch of science, the art market still has a hankering for the enduring hangover of Pop and the ironical artmaking practice of Duchamp, repeatedly and endlessly played out by successive generations. The second part of your question is that it is impossible to generalize about our culture at large which is fragmented with the individual voices made possible by the social networks of the blog, Facebook, Instagram, Pinterest, selfpublishing, YouTube sensations, endless cable channels and concentrated niches to which it is now possible to connect. I think in the con- SciArt in America December 2013 text of this fragmentation, there is also a place for a category like SciArt to build momentum because the solo practitioners can now more easily meet each other. As a matter of fact, this meeting place has been made possible by these mass culture technologies that allowed to build audien