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PostmastersBC is a division of Postmasters Gallery presenting digital art on the blockchain as NFTs.
We are bringing contemporary and historical digital works to the crypto ecosystem. Postmasters Gallery has a deep history of exhibiting and working with digital artists since 1991.
With over 370 exhibitions on record, Postmasters is an internationally recognized contemporary art gallery founded in 1984 by Tamas Banovich and Magda Sawon. It presently occupies 6500 sqf space in Tribeca.
Postmasters was the leading force in the introduction of digital art into the contemporary art world since 1991, capturing the resurgence of digital experimentations triggered by arrival of desktop computers and the first creative visual software. Postmasters is widely considered an outlier of new media art which began, on a larger scale, with – now seminal – exhibition “Can you Digit?” in 1996. The gallery’s aim was always to work with, look at and think about the art that engages new forms of creative expression. Art that is not yet EVALUATED.
The artworks exhibited are generally content oriented, conceptually based, and – most importantly – reflect engagement in issues of our time. To date the gallery presented many group and individual exhibitions of digital and media art and represents several internationally known media and digital artists within its contemporary program.
Extensive archives of all exhibitions since 1999 are maintained online. www.postmastersart.com
Can You Digit?
“Can You Digit?” was a digital art exhibition held at Postmasters Gallery from March 16 to April 13, 1996.
The gallery has presented various projects, created for new media, in a comprehensive show of the latest digitally-based art and experimental design.
“Can You Digit?” featured approximately 40 works, many by leading-edge West Coast artists and designers with close ties to Silicon Valley high technology.
According to the show’s organizers – Tamas Banovich and Ken Coupland – “a growing number of artists and designers have figured out how to capitalize on the explosive creative potential of the digital realm to produce work that is both aesthetically significant and conceptually challenging. More people need to realize that.”
While the show is intended to persuade art audiences who may be turned off or intimidated at the prospect of digital art, “Can You Digit?” also served to demonstrate a continuing tradition of cross-pollination between contemporary art and design. Of the many groundbreaking works on display, one of the most unusual is an interactive postmodern “novel” whose characters are drawn from a collection of anthropomorphic dingbats.
The projects were displayed individually, one-per-monitor, on 25 screens with more works stored and available for viewing on additional computer(s).
Also included in “Can You Digit” are two larger, installations:- “Variations on Cryptography” – a project by a group i/o360 which explores some of cryptography’s practical and non-practical manifestations and methods of encryption;- “The Dead Souls” – an interactive, virtual reality game-adventure by Janine Cirincione and Michael Ferraro.
Artists and artists groups who were represented in the show included: Erik Adigard/M.A.D., Laurence Arcadias, Aufuldish & Warinner, Kevin Sawad Brooks, Ursula Endlicher, Tirtza Even, Ken Feingold, Ebon Fisher, Perry Hoberman, Brad Johnson, Craig Kalpakjian, Alan Keahey, George Legrady, Stephen Linhart, Gerard Lynn, Mark Madel, Lev Manovich, Thomas Miller, post tool design, pixelpeppy, Erwin Redl, bigtwin, Terbo Ted and others
Sponsors of the exhibition included Sony Electronics Inc., Proxima.
Mark Madel, Hands on/Hands off 1991
The 1991 show entitled Hands on/Hands off presented self-contained participatory electronic objects from the “Universal Timepieces” series. A model of interactive computer game is used in an exploration of fundamental issues of life and time: i.e., a piece that must be touched periodically to prevent self-destruction; a piece that must be touched periodically to prevent self-destruction; a piece in which the energy used by the viewer extends the life span of the object; or a piece that continuously calculates the artist’s age which stops after he dies. The seductive quality of computer technology is used as a means to work the issues of change in time. Participation alters the objects – the audience tangibly affects some facet of the piece over time such as the history, meaning, or life span of the work.