The recently built Epstein-Groh wing of the Museum focuses on the cutting-edge developments in Contemporary Spam Art, with a particular focus at the intersection of the natural habitat and the digital medium.
This new development was generously funded by the Pepe Baisa endowment for the advancement of machine-learning free media as well as the board of governors of Nova Scotia.
Together again. 2016/18. Multiple of plastic masks with stamped ink and paint additions, gold wire, prismacolor on canvas, spam 5 1/8 x 24 x 13 15/16" (13.0 x 60.9 x 35.4 cm). Gift of the Ndreko Fund for the Advancement of Spam Art.
The war agains Spam. 2019. Violence, Spam 5 1/8 x 18 x 13 10/16" (13.0 x 60.9 x 35.4 cm).
I heart SPAM. 1995/1996 Cardboard Heart, 8-V-Electrode, Apple TV, Spam, Liquid Gold 21 1/4 x 22 5/8" (54 × 57.5 cm) Gift of The Vincent Collection.
#spam. 2018. Digital network tracer, red and gold acrylic spray, spam on canvas. On loan from the Rahwan collection.
Fruit Spam. 2018. Fruit stickers. Size varies. Sponsored by the Chiquita Banana Corp.
Netflix and Deliveroo. 2009/2010. Remote control, Modem, Garage Controller, SPAM, Oil and Gold Spray on Canvas 21 1/4 x 22 5/8" (54 × 57.5 cm)
Down low. Screenprint from a portfolio of ten lithographs and two drypoints with chine collé. 10 15/16 x 14" (27.8 x 35.5 cm). Acquired through the generosity of the Garcia-Herranz family fund.
Even on the beach. 2018. Stones, sand, feet. 51 3/16 × 72 13/16 × 126" (130 × 185 × 320 cm).
Spameninas. 2017. Oil on canvas, spam.
I spam, therefore, I am. 2014. One from a portfolio of 18 offset lithographs with synthetic ink additions, sheet (folded): 20 1/16 × 13 1/16" (51 × 33.2 cm); sheet (unfolded): 20 1/16 × 26 1/8" (51 × 66.3 cm). Gift of McBridge Foundation, 2001.
spam, cerdo narcisista. 2017. 23 different selfies superimposed. 640 x 400 px.
Spam in not your friend. 2019. Digital photography, iOS apps, New Yorker, New York.
Art installation available at: https://giphy.com/gifs/vaporwave-spamn-2aQQ7vC8JBNQxxeiZC/tile
Antimodernity opposes modernity, postmodernity, and hypermodernity as it believes these disrupt space, time and narratives, living in a continuous 'now.'
Antimodernity rejects machine learning and any other technologies that generate swarms and predictable digital aggregates.
Antimodernity believes in connections and opposes networks, flow, momentum, but also nostalgy.
Antimodernity embraces the unknown, the weird, the unexpected.
Antimodernity actualizes legends, rituals, traditions, and general acerbic human processes into the Internet era, preserving them across multiple technological transformations.
Antimodernity believes in a local Internet, with specific, local, historical, individual consequences for Internet actions.
Antimodernity creates action at a distance.
Antimodernity recommends adhering to a low reference diet.
Antimodernity attempts to stabilize history and accepts a mysterious present.
If you create antimodern art, develop antimodern technology or want to share antimodern thoughts, please reach us at firstname.lastname@example.org or instagram.
Plug into the Loxodrome vessel, an antimodern endeavor to facilitate the linkage among hypermodern societies and premodern settlements.
Loud Distractions so that you Obey installation art.
“Moving On” is a temporary exhibition featuring digital works by the ecosystem of local artists from Melbourne, Australia who are driven by a passion eliminate all traces of leverage, momentum, trends or broadcasting platforms from their daily lives. In a diverse array of pieces “Moving On” features a reality wholly inundated with an invitation to take what we do well or what we love and scale it up to infinity, and the vast emptiness that such behavior generates in the present society.
This exhibition is possible thanks to a donation by Logan Godsey and is on display from July 1st to December 31st, 2018.