|
Here for your consideration,
"4D Seminal Multi" by jsg boggs. Boggs
is one of the world's most important living fine artists, as well
as a social commentator of legend. Boggs is perhaps most widely
known for his artworks that interrogate the relationship between
the concepts of value and social recognition with his sometimes
comic, sometimes sardonic renderings
of national currencies (Check out his likeness on a Swiss franc
in the Future Think Studio).
With this exploration has
come considerable controversy. He has faced legal entanglements
with US, British and Australian authorities for alleged counterfeiting
- although the Swiss, ancient arbitrators of value, grasped his
commentary and honored him with an official proclamation that allows
him to 'spend' his Boggs francs in Switzerland.
It is hard to tell where
Boggs has had the most success - as an artist or commentator. His
artwork is exhibited in the Museum of Modern Art, The Art Institute
of Chicago, The Smithsonian Institute, the British Museum, and will
be featured at North America's first all-digital museum, M21, which
is being organized by benefactors in St. Petersburg, Florida this
year. At the same time his work has been incorporated into course
studies covered in art, law, and philosophy departments at universities
in the U.S. and Europe.
Boggs' work is featured here
for his intellectual excursions into the relationship between value
and recognition - and his genuine concern over the complex issues
now facing society in protecting advancements in the arts and sciences
from the easy pilferage and co-option that the Internet invites. Blue
Spike has to its joy found a kindred spirit in the arts, and thus
inspired, has commissioned Boggs to develop a work that vivifies this
relationship.
Q&A
with Boggs on the e-Canvas
Blue Spike's artist-in-residence speaks out on the Web as a kind of
"universal subconscious," the problems attending authentication
of the source and provenance of digital art, and the many ways that
digital media is changing creative arts in our own time.
previous page |