Dada to data
Applying an art history and theory-based lens to the glitch art communities we participate in, this discussion will explore how the world arrived at glitch art, and how we can be sure it will stick around. From Dada to data, artists have long rebelled against oppressive systems and the underlying societal fears we all face. Using glitch art as a basis for this discussion, we might imagine corruptive art in the future.
Anna Christine Sands
Born in the American Midwest in 1993. The daughter of an early pioneer in the world of personal computing, she eventually adopted and grew into her father’s interest in digital imaging. Like most children born in the early 1990s, Sands grew up alongside the Internet itself, forming a sort of symbiotic relationship with the World Wide Web. This connection to cyberspace eventually deepened and developed into a studio practice examining art in the post-digital, post-Internet world.
She attended the Art Academy of Cincinnati and was awarded a BFA in Photography in 2016. She graduated from the School of the Art Institute of Chicago with a Masters of Fine Arts focusing in Art and Technology Studies in 2021. Her work has been a part of festivals such as Ars Electronica, The Wrong Biennial and the Miami New Media Festival. She has also exhibited four times in the world’s longest-running annual glitch art exhibition, /’fu:bar/.