I had one of those “ah-ha” moments recently. I was thinking about the artwork and photography I have done over the last few years.
Early on, I became enamored with the possibilities for digital printmaking and the computer as an art making tool. I also knew that inkjet prints would face stiff opposition from galleries and buyers. The process needed to be elevated and legitimized I thought, so I invented a new term for it. I called it “digitography“.
I pat myself on the back for seeing need, and kick myself for not being outrageously inventive.
For my intended purpose, any word that too easily revealed its derivation like digitography did was destined for the scrape heap, where it soon found itself. The word that emerged and quickly claimed proper respect among the art community was “gicleé”. Its introduction was a flash of brilliance.
It didn’t matter that the true definition could be easily discovered, which is “to spit” or “to sputter”. What mattered was that it had a nice ring to it. The beauty of the choice was that it is a French word, always nice sounding; and it helped that France was the birthplace of modern, avant guard art. Also, it helped that the definition of gicleé, even when discovered, did not immediately reveal its connection to the mechanical and digital aspects of computers.
That leads me to the “ah-ha” about what I have been doing.
I have been doggedly creating “paintings” on the computer that looked as though they were created with traditional media. Again, I wanted to legitimize the computer as an art tool, and I have been trying to do it by demonstrating that worked as well as other tools by inviting comparisons.
The epiphany was the realization that every new medium first gained legitimacy in this way. For instance, early films and radio productions “translated” books and theater before it found firm artistic footing of its own.
Even though I am someone who adopted the computer early on as an art tool, others have moved beyond “translations”. It’s time that I did, too.
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