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Holography and the Art World

Holography and the Landscape Tradition

The critical recognition of holography as a fine art is essential to establish the medium within a contemporary arena in which there lies great resistance to technology-based art forms. Photography, film, video and, more recently, computer-based works have been subject to similar prejudices from the larger art world. As former curator for collections and exhibitions at the New York Museum of Holography, I attempted to establish a dialogue between art holography and other visual forms. My particular academic background and conceptual orientation is centered on the relationship between holography and other more traditional contemporary visual media.There existed great potential for making significant art using holography, but, at the same time, relatively little good work was available for exhibition. In retrospect, I have come to realize that my attempts to marry art holograms with traditional works in an exhibition context were in many ways premature. Exhibitions I organized for the museum, such as Holography (Re)Defined/ Innovation through Tradition (1984) and Illusion: Between Life and Art (1985), hopefully formed the basis for future integrations of various media by placing art holograms alongside paintings, sculptures, prints and photographs. I now think that in an effort to locate works to illustrate my themes I sometimes compromised both my aesthetic and conceptual intentions in favor of elements like subject matter or technical facility.

BARILLEAUX, René Paul "Holography and the Art World", dans Leonardo, volume 25, numéro 5, 1992, p.417-418.

In painting, photography, installation, video and now holography, artists throughout history have turned to the landscape and nature-based imagery as their source of inspiration, the subject of their explorations and more recently, the material of their art itself. For some time Berkhout has used abstracted landscape subject matter. Berkhout produced numerous smaller works using a landscape theme. Japanese holographer Setsuko Ishii has incorporated images from nature in many works, some taking the form of sculptural installations. Schweitzer employs landscape subjects as either the primary or secondary imagery of his art. Londoner Martin Richardson brings together a hologram and a sculptural tree trunk. The collaborative team of Susan Gamble and Michael Wenyon have explored nature-based imagery in their installation works. Sam Moree incorporates whole or fragmented landscapes in his elegant sculptures. Georges Dyens creates large and small-scale multi-media sculptural tableaus. John Kaufman works in Point Reyes Station and whose sensuously coloured holograms often employ fragments of natural imagery or render artificial landscapes. Rather than approach the work as a complete break with what had come before, it is more accurate to connect it to the past and see it as a new and distinct direction for the future.

BARILLEAUX, René Paul "Holography and the Landscape Tradition", dans The Creative Holography Index, volume 1, numéro 3, 1993, p.1-8.

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