Continuing Artomatic from where we left off two weekends ago, Amy and I did the rest of what we hadn’t yet visited, starting on the eighth floor and working our way down to the fourth. As before, a massive dump of links to artists whose work caught my attention such that I had to get a card:
- Sarah Noble
- Diane Tesler
- Sherill Anne Gross
- Amy Marx
- Patricia Bennett
- Amanda Engels
- Shannon McCarty
- Matthew Carucci
- Tigerflight
- Cristina Montejo
- Skin Color Project
- Mark Schumaker
- Joe Granski
- Dana Ellyn
- Yelena Rodina
- Anna Nazaretz Radjou
- Andrew Watts
- Laurie Breen
- Michael Auger
- Ismael Carrillo
- Pilar Jimenez
- Fabian H. Rios Rubino
- Alison Duvall
- Van Nguyen
- Karen Derrico
- Todd Gardner
- Michael Cummings
- David Yano
- Sabrina Cabada
- Paul Oberle
- Alissa Taylor
- Susan La Mont
- Izya Shlosberg
- Claudia and Sergio Olivos
- Fern Loos Beu
- Brad Taylor
- Scott Speck
- Cesar Bertel
- Minda Merinsky
- Matthew Steenhoek
- Tsvetomir Naydenov
(Sadly there were a few artists’ walls which had no cards, or just a URL written on the wall which I failed to remember or photograph, or artists who didn’t have websites. When an artist lacks a website or a physical, portable reminder of his or her work, this guarantees that, to most of the audience, the artist’s work just stays on that Artomatic wall and never comes back to mind, which is a loss.)
One notable genre of art missing from the whole exhibit was interactive digital art. One reason I’m so interested in Artomatic at all is that I’m thinking of bringing some of my conceptual content to Artomatic at some point in the future, and I need to know how one would go about setting up an internet-connected interactive art installation with screen and input devices open to the public — but safe from theft and damage. I think such a venture may prove more difficult than I had thought.