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'''InterAccess Electronic Media Arts Centre''' is a Canadian [[artist-run centre]] and electronic media production facility in [[Toronto]]. Founded in 1982 as Toronto Community Videotex, InterAccess is [[Ontario|Ontario's]] only exhibition space devoted exclusively to [[electronic art|electronic]] [[media arts]].<ref>http://www.interaccess.org/about/history.php</ref> The Centre for Contemporary Canadian Art places the founding of InterAccess as a key moment in both the history of Canadian electronic art but also within a timeline of developments in international art, science, technology and culture.<ref>[http://www.ccca.ca/circuit4/timeline.html?languagePref=fr& Centre for Contemporary Canadian Art "Timeline of Digital Art"]</ref>
InterAccess is a centre for education, production and exhibition located in Toronto, Canada. The Centre for Contemporary Canadian Art places the founding of InterAccess as a key moment in both the history of Canadian electronic art but also within a timeline of developments in international art, science, technology and culture.<ref>[http://www.ccca.ca/circuit4/timeline.html?languagePref=fr& Centre for Contemporary Canadian Art "Timeline of Digital Art"]</ref>


==History==
==History==
In 1983, InterAccess was incorporated as a not-for-profit, [[Not-for-profit arts organization|artist-run access centre]], under the name [[Videotex|Toronto Community Videotex (TCV)]]. It provided artists access to the [[Telidon]] system, a precursor of the [[World Wide Web]]. The early conception of electronic art placed the organization within the production cooperative system in Canada.<ref>Shaw, "Cultural Democracy and Institutional Difference", p. 31</ref> TCV's members created artworks which fell within the more [[systems art|systems-based]] notions of art production, rather than the [[Fine arts|beaux-arts]]<ref>Dowler, "Interstitial Aesthetics and the Politics of Video at the Canada Council", pp. 35-6</ref> aesthetic of the museum.,<ref>Hough, "Beyond the Gallery (Electronic Mail Art)", p. 15</ref> The name change to InterAccess in 1987 reflected a new focus on [[Macintosh]] graphics, [[multimedia]] production and a dial-up artists’ network (much like a [[Bulletin Board System]], or BBS) known as Matrix.<ref>Mann, "The Matrix Artists' Network: An Electronic Community", pp. 230-31</ref>
In 1983, InterAccess was incorporated as a not-for-profit, [[Not-for-profit arts organization|artist-run centre]], under the name [[Videotex|Toronto Community Videotex (TCV)]]. It provided artists access to the [[Telidon]] system, a precursor of the [[World Wide Web]]. The early conception of electronic art placed the organization within the production cooperative system in Canada.<ref>Shaw, "Cultural Democracy and Institutional Difference", p. 31</ref> TCV's members created artworks which fell within the more [[systems art|systems-based]] notions of art production, rather than the [[Fine arts|beaux-arts]]<ref>Dowler, "Interstitial Aesthetics and the Politics of Video at the Canada Council", pp. 35-6</ref> aesthetic of the museum.<ref>Hough, "Beyond the Gallery (Electronic Mail Art)", p. 15</ref> The name change to InterAccess in 1987 reflected a new focus on [[Macintosh]] graphics, [[multimedia]] production and a dial-up artists’ network (much like a [[Bulletin Board System]], or BBS) known as Matrix.<ref>Mann, "The Matrix Artists' Network: An Electronic Community", pp. 230-31</ref>


InterAccess moved to a larger facility in 1995 allowing InterAccess to offer a gallery and production space that expanded its activities beyond simply access to multimedia production. The exhibitions began to emphasize the finished production and there was a particular focus on establishing an international presence for the centre.<ref>Bull, "Radio Art in a Gallery?", p. 162</ref> The exhibition ''Pandoras Box'', a collaboration between InterAccess and Fylkingen New Music and Intermedia Art in [[Stockholm]], [[Sweden]] in 2000, was billed as "the first international interactive encounter with art using remotely controlled robots."<ref>Herst, "The Disembodied Eye", p. 122</ref>
InterAccess moved to a larger facility in 1995 allowing InterAccess to offer a gallery and production space that expanded its activities beyond simply access to multimedia production. The exhibitions began to emphasize the finished production and there was a particular focus on establishing an international presence for the centre.<ref>Bull, "Radio Art in a Gallery?", p. 162</ref> The exhibition ''Pandoras Box'', a collaboration between InterAccess and Fylkingen New Music and Intermedia Art in [[Stockholm]], [[Sweden]] in 2000, was billed as "the first international interactive encounter with art using remotely controlled robots."<ref>Herst, "The Disembodied Eye", p. 122</ref>
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In 2005, InterAccess moved to a renovated two-floor, three thousand square feet stand-alone building, allowing for more production space, a surround sound studio and a machine shop for constructing large-scale physical computing projects and installation.
In 2005, InterAccess moved to a renovated two-floor, three thousand square feet stand-alone building, allowing for more production space, a surround sound studio and a machine shop for constructing large-scale physical computing projects and installation.


Former director and curator, Dana Samuel, was short-listed for Emerging Curator of the Year at the 2006 Untitled Art Awards in Toronto<ref>http://www.ccca.ca/ccca_awards/artawards/shortlist.html 2005 Untitled Arts Award Shortlist</ref> for her work on the exhibition ''This must be the place: Vera Frenkel, [[David Rokeby]], Nell Tenhaaf and [[Norman White]]''. As both the inaugural exhibition in the new location and part of the 25th anniversary of InterAccess ''This must be the place'' was a reconsideration of the centre and as well the place of electronic art within art history.<ref>Schilling, ''This must be the place'', p. 7</ref> The four featured artists are pioneers in electronic and interactive art and have a history with InterAccess and both members and exhibitors.<ref>Schilling, ''This must be the place'', p. 8</ref>

In May 2006, InterAccess received a [[Canada Council]] Media Arts Commissioning Grant for ''The Networked City'', a series of five outdoor interactive installations on [[Yonge Street]] in Toronto.<ref>http://www.interaccess.org/exhibitions/index.php?id=55 The Networked City</ref>


==References==
==References==
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* Hough, Robert. "Beyond the Gallery (Electronic Mail Art)." ''This Magazine'' Vol. 27, Iss. 4 (Nov. 1993): 15.
* Hough, Robert. "Beyond the Gallery (Electronic Mail Art)." ''This Magazine'' Vol. 27, Iss. 4 (Nov. 1993): 15.
* Mann, Jeff. "The Matrix Artists' Network: An Electronic Community." ''Leonardo'' Vol. 24, No. 2, Connectivity: Art and Interactive Telecommunications (1991): 230-231.
* Mann, Jeff. "The Matrix Artists' Network: An Electronic Community." ''Leonardo'' Vol. 24, No. 2, Connectivity: Art and Interactive Telecommunications (1991): 230-231.
* Schilling, Mark. [http://www.parachute.ca/para_para/22/para22_Schilling.html "''This must be the place:'' Vera Frenkel, David Rokeby, Nell Tenhaaf and Norman White."] ''para-para- 022: Parachute Magazine'' No. 122 (April 2006), 7-8.
* Shaw, Nancy. "Cultural Democracy and Institutionalized Difference: Intermedia, Metro Media." ''Mirror Machine: Video and Identity.'' Janine Marchessault, ed. Toronto: YYZ Books, 1995. 26-34. ISBN 0-920397-13-1
* Shaw, Nancy. "Cultural Democracy and Institutionalized Difference: Intermedia, Metro Media." ''Mirror Machine: Video and Identity.'' Janine Marchessault, ed. Toronto: YYZ Books, 1995. 26-34. ISBN 0-920397-13-1


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*[http://www.interaccess.org/ Official website]
*[http://www.interaccess.org/ Official website]


[[Category:Organizations established in 1982]]
[[Category:Organizations established in 1983]]
[[Category:Art museums and galleries in Ontario]]
[[Category:Art museums and galleries in Ontario]]
[[Category:Artist-run centres]]
[[Category:Artist-run centres]]
[[Category:Organizations based in Toronto]]
[[Category:Organizations based in Toronto]]
[[Category:Culture of Toronto]]
[[Category:Culture of Toronto]]
[[Category:Art galleries established in 1982]]
[[Category:1983 establishments in Canada]]
[[Category:1982 establishments in Canada]]

Revision as of 01:14, 13 October 2014

InterAccess is a centre for education, production and exhibition located in Toronto, Canada. The Centre for Contemporary Canadian Art places the founding of InterAccess as a key moment in both the history of Canadian electronic art but also within a timeline of developments in international art, science, technology and culture.[1]

History

In 1983, InterAccess was incorporated as a not-for-profit, artist-run centre, under the name Toronto Community Videotex (TCV). It provided artists access to the Telidon system, a precursor of the World Wide Web. The early conception of electronic art placed the organization within the production cooperative system in Canada.[2] TCV's members created artworks which fell within the more systems-based notions of art production, rather than the beaux-arts[3] aesthetic of the museum.[4] The name change to InterAccess in 1987 reflected a new focus on Macintosh graphics, multimedia production and a dial-up artists’ network (much like a Bulletin Board System, or BBS) known as Matrix.[5]

InterAccess moved to a larger facility in 1995 allowing InterAccess to offer a gallery and production space that expanded its activities beyond simply access to multimedia production. The exhibitions began to emphasize the finished production and there was a particular focus on establishing an international presence for the centre.[6] The exhibition Pandoras Box, a collaboration between InterAccess and Fylkingen New Music and Intermedia Art in Stockholm, Sweden in 2000, was billed as "the first international interactive encounter with art using remotely controlled robots."[7]

In 2005, InterAccess moved to a renovated two-floor, three thousand square feet stand-alone building, allowing for more production space, a surround sound studio and a machine shop for constructing large-scale physical computing projects and installation.


References

Notes

  1. ^ Centre for Contemporary Canadian Art "Timeline of Digital Art"
  2. ^ Shaw, "Cultural Democracy and Institutional Difference", p. 31
  3. ^ Dowler, "Interstitial Aesthetics and the Politics of Video at the Canada Council", pp. 35-6
  4. ^ Hough, "Beyond the Gallery (Electronic Mail Art)", p. 15
  5. ^ Mann, "The Matrix Artists' Network: An Electronic Community", pp. 230-31
  6. ^ Bull, "Radio Art in a Gallery?", p. 162
  7. ^ Herst, "The Disembodied Eye", p. 122

Further reading

  • Bull, Hank. "Radio Art in a Gallery?" TDR Vol. 37, No. 1 (Spring, 1993): 161-166.
  • Dick, Terence. "Controller: Artists Crack the Game Code." Border Crossings 25 No. 2 (June 2006): 113-14.
  • Dowler, Kevin. "Interstitial Aesthetics and the Politics of Video at the Canada Council." 'Mirror Machine: Video and Identity. Janine Marchessault, ed. Toronto: YYZ Books, 1995. 35-50. ISBN 0-920397-13-1
  • Herst, Beth. Pandora's Box. PAJ: A Journal of Performance and Art Vol. 24, No. 1, Intelligent Stages: Digital Art and Performance (Jan. 2002): 122-126.
  • Hough, Robert. "Beyond the Gallery (Electronic Mail Art)." This Magazine Vol. 27, Iss. 4 (Nov. 1993): 15.
  • Mann, Jeff. "The Matrix Artists' Network: An Electronic Community." Leonardo Vol. 24, No. 2, Connectivity: Art and Interactive Telecommunications (1991): 230-231.
  • Shaw, Nancy. "Cultural Democracy and Institutionalized Difference: Intermedia, Metro Media." Mirror Machine: Video and Identity. Janine Marchessault, ed. Toronto: YYZ Books, 1995. 26-34. ISBN 0-920397-13-1

External links

source: https://en.wikipedia.org/w/index.php?title=InterAccess_Electronic_Media_Arts_Centre&diff=prev&oldid=629377089