Frank Eickhoff, Application To The Entscheidungsproblem, 2010
A headless statue of winged Nike, black pixels swarming above her stumped neck. A collage of ancient, sand-colored busts and patterns drawn with a Sharpie. A Michelangelo’s Pieta coated in blue-streaked purple sludge. These are some of images you will find on Sterling Crispin’s Tumblr, “Greek New Media Shit.” As I write this, the most recent post is a looped animation by Jennifer Chan. Two Hellenistic statues remain static in the foreground as a violet blob belches out a browser frame. Flat green letters brand it “recipe art.” Chan, apparently, thinks mixing classical references with internet imagery is formulaic. The opinion is somewhat sympathetic to Crispin, who told me in an email that his blog “started as a criticism of a cliché that I identified and has started self-perpetuating.” But Crispin added that since he started the Tumblr he has become more curious about the reasons behind the formula’s appeal. No recipe passes through so many hands without being good.
To me it tastes like a desire to locate man’s place in a world that he perceives primarily with the aid of machines. The art of the Greeks has been used in the past as a touchstone for artists who measure their own vision against an anthropocentric one. “Greek art had a purely human conception of beauty,” Apollinaire wrote in an essay about a 1912 exhibition of Cubist painting. “It took man as the measure of perfection. The art of the new painters takes the infinite universe as its ideal, and it is to the fourth dimension alone that we owe this new measure of perfection […].” The modernists never determined what the “fourth dimension” was, besides a plane of activity beyond human perception. Today the internet—and the spatial and perceptual relations it has engendered—make a familiar substitute for it. “Greek new media shit” puts representations of the visible and the invisible in the same frame.
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