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How did we get here?: Understanding the fertile ground that created Glitch Art
All art is political. The art movements created by each generation are a result of global circumstances and societal ills they witnessed. Glitch art and other forms of new media are no different, in that they respond to and reject a specific set of modern cultural norms. In this presentation, we’ll discuss the ways digital corruption media follows a long lineage of artists manifesting their disdain for the world around them. The more things change, the more they stay the same.
The sense of governmental control over digital technology (surveillance states, etc) has created art forms like glitch art that wish to destroy electronic information, thereby directly conflicting with the wish to archive these moments as art objects. Is it inherently wrong to archive something that strongly disagrees with and critiques the over-saturation of digital footage and thus its loss of meaning in our societies?
Anna Christine Sands [US]
Anna Christine Sands was born in the American Midwest to an early pioneer in the world of personal computing. She quickly grew into her father’s interest in digital imaging and computing. 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.
Sands graduated from the Art Academy of Cincinnati with a BFA in Photography in 2016, and the School of the Art Institute of Chicago with an MFA in Art and Technology in 2021. She currently serves as an Assistant Professor & Interim Head of Digital Arts Animation at the Art Academy of Cincinnati. 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 longest-running annual glitch art exhibition, /’fu:bar/.
