In terms of emerging technological developments, it struck me that more artists are using readily available AI tools that have their own inscribed aesthetics or biases.
Whether a piece realizes a concept in sophisticated ways is still the decisive factor for me.
Web3 at this point is more of a concept than a reality, and it will be interesting to see whether it comes into being as people currently envision it.
Overall, the boundaries between digital and analog have become increasingly porous.
Christiane Paul is Professor in the School of Media Studies at The New School, as well as Curator of Digital Art at the Whitney Museum of American Art. She is the recipient of the Thoma Foundation’s 2016 Arts Writing Award in Digital Art, and her books are A Companion to Digital Art (Blackwell-Wiley, May 2016); Digital Art (Thames and Hudson, 2003, 2008, 2015); Context Providers – Conditions of Meaning in Media Arts (Intellect, 2011; Chinese edition, 2012); and New Media in the White Cube and Beyond (UC Press, 2008). At the Whitney Museum she curated exhibitions including “Programmed: Rules, Codes, and Choreographies in Art 1965 - 2018” (2018/19), “Cory Arcangel: Pro Tools” (2011), and “Profiling” (2007), and is responsible for artport, the museum’s portal to Internet art. Other curatorial work includes DiMoDA 4.0 Dis/Location, The Question of Intelligence (Kellen Gallery, The New School, NYC, 2020), Little Sister (is watching you, too) (Pratt Manhattan Gallery, NYC, 2015), and What Lies Beneath (Borusan Contemporary, Istanbul, 2015).