fernando orellana
Since 2003
Works in troy, New York United States of America

Currently an Assistant Professor of Digital Art at Union College in Schenectady, NY, Fernando Orellana uses new and traditional media as a way of transmitting concepts that range from generative art to social-political commentary. He has recently exhibited at the Cultural Center of Spain in El Salvador, Museu d’Art Contemporani de Barcelona (Spain), Carrie Haddad Gallery (New York), Espacio Fundación Telefónica (Argentina), Exit Art (New York), LABoral, (Spain), The Tang Museum of Art, (New York), Glass Curtain Gallery (Chicago), The Ark (Ireland), and The Biennial of Electronic Art (Australia).

His work is part of several art collections including the Richard and Ellen Sandor family collection Chicago, IL., The Ohio State University Student Union Collection, and The Western Michigan University Collection.

He has been reviewed in a variety of publications and catalogs including ARTnews, Digital by Design, EMERGENTES, Art in America, Art Review, Slashdot, We-Make-Money-Not-Art, Todayʼs Machining World, MAKE: Technology on your Time, Technikart Futur, Wired Online, CNN, and NPR, WBEZ.

He is the recipient of a 2009, New York Foundation for the Arts Fellowship in Digital/Electronic Arts and a 2010 Full Fellowship Award at the Vermont Studio Center, Johnson, VT.

He received a Master of Fine Art from The Ohio State University and a Bachelor of Fine Art with honors at The School of the Art Institute of Chicago. He was born in El Salvador, San Salvador and currently lives in Troy, New York.

For a complete CV and recent artwork see: www.fernandoorellana.com

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Collecting Contemporary Art Means Collecting Digital Art

Two things came to mind while I was reading this. First, I am amazed that after a half century, the conversation about what we should call artists using electricity in their process is still up for debate. Digital Art, New Media, Art and Technology, Electronic Art; will we discuss these terms forever? Can we just call them artists and move on? Maybe it's our insistence on giving this debate an audience that reinforces our place in the artworld's digital ghetto? Like the song says, "...movin on up, To the east side. To a deluxe apartment in the sky."

Second, it is great and well deserved that so much money was generated for Rhizome through this benefit auction; Rhizome is a fantastic organization that has been immeasurably important in the proliferation of "digital art". I wonder though, how often these "digital art" benefactors/collectors would normally open thier check books to fuel these type of artists directly? The age of artists as both producer and benefactor seems to have taken hold. I wonder if Michelangelo would have sponsored the church by donating all his time and work? Maybe if he was using pixels and arduinos he would have?