in the Art in Realtime chapter of his Art, Time and Technology by Charlie Gere (2006), Gere compares + connects 2 exhibitions that pioneered early engagements with what we now refer to as New Media Art:
This is Tomorrow - members of the Independent Group and collaborators, Whitechapel Gallery, London .UK (1956)
Software: Information Technology, Its New Meaning for Art - Jack Burnham, The Jewish Museum, New York City .US (1970)
in addition to his comparison of these 2 exhibitions, Gere lists other exhibitions that ran during these times + articulated or experimented w/similar themes. Among these exhibitions are:
Nine Evenings - Experiments in Art and Technology, Armory, Brooklyn, New York .US (1966)
Art and Technology program - Maurice Tuchman, Los Angeles County Museum of Art, Los Angeles, .US (1967)
Cybernetic Serendipity - Jasia Reichardt, ICA, London .UK (1968)
The Machine as Seen at the End of the Mechanical Age - Museum of Modern Art, New York .US (1968)
Some More Beginnings - Experiments in Art and Technology, New York .US (1968)
Art by Telephone - Museum of Contemporary Art, Chicago .US (1969)
in the next chapter, Is It Happening, Gere continues this chronology through a discussion of the influences of philosophies on these prehistories of New Media. Gere discusses the exhibition:
Les Immatériaux (The Immaterial) - Jean-François Lyotard, Centre Georges Pompidou, Paris .FR (1985)
in detail, explaining the ways in which Lyotard attempted to decentralize + immaterialize the form + structure of the exhibition itself through strategies such as converting the space into a soft maze as well as publishing the catalog as an unbound series of loose sheets.
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