Cynthia Beth RUBIN
'Ghost town Passage
'Truth Table I'
wanted to pant...'
'The Tracks of
Runs & Aversions'
"ArCade III is
the United Kingdom’s Third Open International Exhibition of Electronic Prints.
It provides an opportunity to see a wide range of recent original, limited
edition, artists’ prints, which at some stage in their production have involved
the use of computers to generate and/or to manipulate their imagery. The
exhibition was linked to the fourth CADE conference held at Glasgow School
of Art 9 – 12 April 2001.
is to travel extensively throughout the UK and Russia, during 2001 &
2002. It includes work by selected and invited digital artist/printmakers
from around the world: artists from nine countries, from New Zealand to Russia
and from Slovakia to India. The work in the exhibition covers a vast spectrum
of styles and an extensive range of printmaking processes. Many of the artists
included have exhibited in major international exhibitions, such as that
of SIGGRAPH, and many hold important academic posts in university fine art
departments. It is significant that during the last decade a number of research
centres have been established in Higher Education institutions to address
the implications of the digital print. Important among these are the centres
at Camberwell & Chelsea, Loughborough, the University of the West of
England, and the Wales Institute, Cardiff. Artists working in these centres
are represented in ArCade III.
pages of artist space feature a sample of work by some of the artists who
are participating in the exhibition. The exhibition was helped and supported
by the Arts & Humanities Research Board and Apple Europe.
It is now six
years since I conceived of the original ArCade, and curated the first exhibition
during CADE’95, at the University of Brighton. My initial intention behind
the exhibition was to demonstrate, to academics and students in art and design,
the opportunities which had developed of using new technology to create,
on the one hand a new print medium, and on the other a hybrid link between
both old and new technology. In the early 1990s, when I saw this as a potential,
there was little evidence of shows or articles to which students could refer.
ArCade I, the first International Exhibition of Electronic Fine Art Prints,
the successive ArCades and GAMUT, were and are intended to address some of
It has taken a
while for computing to achieve this however. Although the most prominent
platform was – and still is – the Apple Macintosh, the important work of
refining and developing the output of computers is just beginning. In the
early days, the quality of the printed output from a computer was haphazard.
To transform the image on the computer screen into a tangible object, retaining
or enhancing its richness of colour, detail and texture as a physical image
has been extremely difficult. The lustrous light-formed image on the monitor
has often borne little resemblance to the final A4 non-archival print output.
At last we have affordable print technology available, which has helped to
develop the digital process into a printmaking medium in its own right. It
is also used in other hybrid forms, to create links with more traditional
print processes, such as screenprinting, lithography and etching, where it
is used either to generate ideas or to produce laser prints for photographic
stencils. New colour print technology also enables artist-printmakers to make
crucial decisions about the scale and underlying surface of their images.
I hope that ArCade
III demonstrates a shift from simple celebration of the digital process,
and an introductory survey of the available spectrum of styles – represented
in the first ArCade – to concentrate on technical and aesthetic progress within
a discipline continuous with the traditions of printmaking. We hope to emphasise
a distinction between computer graphics, an area of work which by its nature
is readily reproducible and highly visible to the public, and the less frequently
seen digitally-generated fine art print, which has presence, texture and
status as a physical image."
Curated by Sue
Brighton & the London Institute, UK
and by Andrey
LeVall Art Gallery,
Novosibirsk (Russian side)
Full LIST of participants
Dorothy SIMPSON KRAUSE
'Walking the Dog-3'
'The measure of