There’s a certain point beyond which these handy labels become absolutely stultifying, as well as useless. This is one such case.
The works themselves are fascinating, though, which is why I include them here. Cat Mazza’s work Knit For Defense would almost be a new media work were it actually rendered using network resources or machines; instead, it’s more subtle than that, incorporating new media into the process of the work itself, but tying the technique to older, hand-stitched media. Part of me wants to dismiss this as more conceptual wankery, but the idea is intriguing.
Anna Von Mertens’ quilts, depictions of the night sky on fateful, violent dates in history, are provocative works, though without the conceptual backstory they fall flat. For me, this illustrates the danger of art that strays too far into conceptualism; the work begins to rely more on it’s documentation than on its own experience. Despite these misgivings, such glimpses into the artistic process fascinate me, and I have much respect for conceptualism.