{"title":"David Quayola:数字艺术不需要无聊","authors":"Neil Morris Harvey","doi":"10.16995/bst.8235","DOIUrl":null,"url":null,"abstract":"Ten in the morning isnot the most usual time for a press view to open, nor is the requirement toshow ID and Vaccination Pass, but at the Palazzo Cipolla (lit. ‘Onion Palace’)on the Corso del Rinascimento in the centre of Rome, this was the routine to seean intriguing show of work by David Quayola, an Italian digital artist, longresident in London, but here displaying a variety of pieces made over the lastfourteen years. Suffice to say there was not an ice filled dustbin of Peronibottles in sight. ","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"16 1","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"David Quayola: Digital Art Need Not Bore\",\"authors\":\"Neil Morris Harvey\",\"doi\":\"10.16995/bst.8235\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Ten in the morning isnot the most usual time for a press view to open, nor is the requirement toshow ID and Vaccination Pass, but at the Palazzo Cipolla (lit. ‘Onion Palace’)on the Corso del Rinascimento in the centre of Rome, this was the routine to seean intriguing show of work by David Quayola, an Italian digital artist, longresident in London, but here displaying a variety of pieces made over the lastfourteen years. Suffice to say there was not an ice filled dustbin of Peronibottles in sight. \",\"PeriodicalId\":37044,\"journal\":{\"name\":\"Body, Space and Technology\",\"volume\":\"16 1\",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2021-11-29\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Body, Space and Technology\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.16995/bst.8235\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q3\",\"JCRName\":\"Arts and Humanities\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Body, Space and Technology","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.16995/bst.8235","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q3","JCRName":"Arts and Humanities","Score":null,"Total":0}
Ten in the morning isnot the most usual time for a press view to open, nor is the requirement toshow ID and Vaccination Pass, but at the Palazzo Cipolla (lit. ‘Onion Palace’)on the Corso del Rinascimento in the centre of Rome, this was the routine to seean intriguing show of work by David Quayola, an Italian digital artist, longresident in London, but here displaying a variety of pieces made over the lastfourteen years. Suffice to say there was not an ice filled dustbin of Peronibottles in sight.
京公网安备 11010802042870号
京ICP备2023020795号-1
分享
求助内容：
应助结果提醒方式：
扫码关注我们
