In this essay we will discuss and describe the definition of Experimental Art, using several online and physical sources pertaining creditable opinions and relevant research. We look at how the definition may differ based on personal opinion and whether there is a relationship or link to digital technologies.
It is described, that some million years after the earths creation, after the extinction of dinosaurs and through an ice age, man, then in its primal state, descended from the trees and began to stand up. They began to roam and settle about the land and as time went on, mans brain began to grow and allowed them to begin to think about creating technologies for which to better their existence and broaden their knowledge as a race. They began to experiment and learn, by perfecting old and realising new technologies, until finally man reached an age of unparalleled exponential growth and in these technologies had now created a seemingly endless array of possibilities for which to experiment and explore. It was in mans dominant interest for creation and expression throughout this journey, that artists or at least the artistically inclined were usually the pioneering presence at the forefront of this charge. Such is the uniqueness of us all, that throughout these years, some of the more creative of such would stray too far outside of what was considered the normal social boundaries or opinion of the time and for such were usually ostracised and banished. It was only with decades of change and a new generation having swept through, that opinion would differ and in hindsight such creative minds would be heralded as somewhat a genius of their era. As time has continued we now live in a world where artistic expression is no longer suppressed but much encouraged and our artists can now realise and create things their predecessors could have merely dreamt. With the Church no longer in charge of what art can and can’t be made, their has been a boom in the experimentation of styles, mediums and techniques artists are now utilising to create their artwork with.
It is in this essay that we will be discussing this work and what really defines this so called experimental art, right down to its makeup, with examples of such and the artists behind creating them. We find if it is something that can be defined with one sweeping statement or something that completely differs person to person. We also discuss the link between the forever updating modern technologies we today, that allow this experimental art to happen and how much of an influence these have on the work that is created today. Finally we will explore whether we should actually be defining experimental art as a field or as an approach.
“Experimental art does not describe a distinctive sort of art, contrasting with other sorts of art. That is to say, experimental art is not a sort of art but the only sort of art” (Brook, 2012: 1). When we talk about art being experimental, we’re often referring to idea of testing boundaries and conventions in the social aspects. For the different types of art that we could consider being experimental, the fields in which classify the art to being experimental are very wide. This is down to the complexity of whether its redefining and entirely new, or a traditional art form re-invented. On top of this, from person to person, this definition will vary due to their own personal opinions, so actually getting a handle on a firm definition is very difficult.
The avant-garde, which noted by definition, “pushes the boundaries of what is accepted as the norm or the status quo, primarily in the cultural realm.” (Wikipedia, Updated 2014) These are works or people that are innovative and experimental with particular influence in the art,cultural and political fields. This is another aspect of what would influence the definition of experimental art.
There are certain artists that have been revolutionary for their time in experimental art and pushing the boundaries, maybe not as what we would now call experimental, but in their time it wasn’t the norm. The surrealism of Dali and the impressionism of Monet changed peoples views on what could be achieved with specific mediums and in some cases produced all new movements within the art world itself. “By the mid-nineteenth century, the metaphor of the avant-garde had been used by social utopists, reformers of various sorts, and radical journalists, but, to my knowledge, had scarcely been used by literary or artistic figures.” (Călinescu, 1987: 108). Due to the impressionist movement and in particular the work of Manet, avant-garde had began to include groups of artists whose work was originally rejected but was now coming to be accepted by society.
Jackson Pollock is an American painter who would possibly be considered on of the leading influence behind the abstract expressionist movement. Originally he was influence by much of the work in surrealism and for most of his early career worked in a regionalist style. Later on he developed the ‘drip and splash’ style. ” Instead of using the traditional paint brush, he would add depth to his images using knives, trowels, or sticks.” (jackson-pollock.org, 2011). For someone to do this in his time was almost unheard of. But by simply changing one aspect of his art technique he unknowingly began to influence artists in their practices and still is now. Jackson Pollock says, “I have no fear of making changes, destroying the image, etc., because the painting has a life of its own.” This to me really captures the essence of experimental art as you cant be afraid of whats going to happen. The unknown aspect of whats going to happen, often leads to an exciting and new outcome which couldn’t have been foreseen in the process of creation.
However, art and in this case experimental art, by its definition, is not just restricted to the confines of an installation you can go and visit, or a picture on the wall of a gallery, it can be anything in any form. Kevin Michael or GG Allin as he was better known, was an American punk rock singer predominately in the 1980’s, who rose to fame through his notorious stage antics, such as the infamous “punk poop” move. Allin a man that had lived far outside the bounds of social normality his whole life had would regularly perform coprophagy and other transgressive acts on stage at shows, not so much to shock (which it inadvertently did), but to truly express himself and his music in a way nobody else had. In it’s truest form there is no difference between that and a painting or installation expressing the same emotion, yet in this case the medium and techniques used would be described as that of an experimental nature.
Christa Sommerer & Laurent Mignonneau are renowned media artists working with interactive computer installations. Christa Sommerer and Laurent Mignonneau combined their knowledge to start producing collaborations in 1992.
The projection is produced by touching the real-life plants, and as you touch the plant the projection grows. The interaction from the viewer is very simple, the harder the touch, the stronger and quicker the projection grows. The softer the touch, the weaker,slower and more subtle the projection grows. This is very much considered experimental art, the ability to link the real world with a digital world by the interaction of a participant really wouldn’t have been conceivable without todays level of technology. As well as that, the experimental aspect is really created by the imagination and ability of the artists to break the boundaries of what would be considered the norm.
Joshua Davis is an American designer, author, technologist, and artist in new media. Throughout his career he has been programming images. He writes all his own code to create visual compositions and produces interactive installations. “” I like tearing things down and starting over. New paths form: new adventures to be had, mistakes to make, triumphs to rejoice in.” (Davis, 2008). This is a very similar take on what Pollock has to say on the essence of what experimental art truly means to an artist. The ability to work fearlessly in terms of mistakes and breaking things, and in turn creating something redefining and entirely new. “Davis is one of the first generation of web designers who taught themselves how to use the technology as it was developing thereby defining the ground rules of digital design.” (Wikipedia, Updated 2014). Perhaps the fact that he is one of the first of his generation in self taught designers, could of in a way forced him into becoming a leading front in terms of current experimental art, due to our current level of technology.
Grant and Vysniauskas (2004: 6) highlight that ” we are living in a magical age – an age when technology has become sufficiently advanced to be viewed as magic”. Certainly this is the case in the visual arts.
“Todays artists have a freedom to express their visions using tools unimaginable to previous generations” (Grant and Vysniauskas, 2004: 6). This especially links to Christa Sommerer & Laurent Mignonneau and Davis, without the technology that we have now their work would be impossible. But their ability as artists to explore the unknown and actually create something which is in their complete control is exactly what makes them the leading fronts in experimental art.
Artists have always looked for ways to push the boundaries, and express their visions. With the creation of the computer along came more possibilities and outcomes, but in a way was just another medium that artists of todays generation could use. ” The important part of the whole equation – the artist – remains unchanged by the choice medium” (Grant and Vysniauskas, 2004: 6). This considers that the ability to create experimental art has always been within the artist. It may have not been as evident in previous generations but it has been happening throughout the development of artistic movements such as surrealism and impressionism. Along with the rapidly increasing level of technology, this term, form or movement of experimental art is becoming a very strong part of the art world as a whole. This could be down to how elaborate some works can now be, but this is again because of the possibilities todays technology provides. Its all most a way of technology and art working in tandem to better each other.
Do we define experimental art as a field or approach? “Experimental art is an approach – it is not a distinct artform / practice in itself” and “Experimental doesn’t just mean media and technology – it can be about new materials, new ways of working, a new conceptual or relational position, it can be non-material” (Wittenoom, 2013). Personally I would agree with this as any piece of work can be experimental by just simply being something that hasn’t been tried before in terms of art as a whole and not as an individual personal experience. For example, the use of a lighting kit from a company such as Greyscalegorrila, and putting your work into there and rendering wouldn’t necessarily count as experimental due to the fact that its an already structured template with an almost certain outcome.
From this, we can draw the conclusion that, It almost appears for artwork to be considered experimental, it seemingly just has to be different, if only a little, in some way from other pieces out there. This difference may be through the medium and tools used or the way in which it must be viewed, as long it is an expression of the artists desire to break the boundaries of what is considered the norm and work fearlessly in terms of mistakes and breaking things to create something redefining and entirely new. This is what is described by experimental and details this process the artists must undergo, whether they are either trying to redefine or re-invent art, they will inevitability have to trial and work out, what it is that does and doesn’t produce they effect they are looking for. The fact that we live in a rich time of such exponential growth when in regard to our technologies and machinery, has just provided so many building blocks for artists to begin experimenting with different mediums and techniques every day. Where one artist leaves something, another will pick it up and put their own unique spin on it using one of the countless different tools or mediums out there nowadays, leaving you to wonder, if the definition really is, just something different or new, will there come a point where mankind comes to a head, and experimental art can no longer be created as there is nothing different or new left to be created?
Bibliography –
Brook, D. (2012). Experimental Arts. Studies in Material Thinking. 8 (1), 1-4.
Wikipedia. (Updated 6 November 2014). Avant-Garde. Available: http://en.wikipedia.org/wiki/Avant-garde. Last accessed 4th Dec 2014.
Wittenoom, P. (2013). How do we define experimental art; as a field or an approach?. Available: http://experimentalarts.australiacouncil.gov.au/how-do-we-define-experimental-art-as-a-field-or-an-approach/. Last accessed 4th Dec 2014.
Călinescu, M (1987). Five Faces of Modernity. 2nd ed. United States of America: Duke University Press. 108.
Jackson-pollock.org. (2011). Jackson Pollock Biography, Paintings, and Quotes. Available: http://www.jackson-pollock.org/. Last accessed 5th Dec 2014.
Jackson-pollock.org. (2011). Jackson Pollock’s Quotes. Available: http://www.jackson-pollock.org/quotes.jsp. Last accessed 5th Dec 2014.
Master Interactive Arts (2013). Interactive Growing Plant. Available at: http://www.m-ia.it/mia/?p=228. Accessed 3rd, November, 2013.
Wikipedia. (Updated 2014). Joshua Davis. Available: http://en.wikipedia.org/wiki/Joshua_Davis_(designer). Last accessed 5th Dec 2014.
Davis, J. (2008). Computer Arts Interview Joshua Davis. Available: http://www.creativebloq.com/computer-arts/joshua-davis-11089199. Last accessed 5th Dec 2014.
Grant, John. and Vysniauskas, A (2004). Digital Art For The 21st Century. London: AAPPL. 6.