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Title Statement Rethinking curating : art after new media
Publication, Distribution, etc. (Imprint) MIT Press , Cambridge, MA : 2010.
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Series Statement
Bibliography, etc. Note Includes bibliographical references and index.
Subject - Topical Term
ISBN 978-0-262-01388-8 (hardcover : alk. paper) 978-0-262-01388-8
Waiting
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*1001 $aGraham, Beryl
*24510$aRethinking curating :$bart after new media /$cBeryl Graham and Sarah Cook ; foreword by Steve Dietz
*260 $aCambridge, MA :$bMIT Press ,$c2010.
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*504 $aIncludes bibliographical references and index.
*650 4$aNew media art.
*650 4$aMuseums
*650 4$aCuratorship.
*650 4$aOtraditionella konstformer
*650 4$aKonstmuseiteknik
*7001 $aCook, Sarah ,$d1974-$4aut
*8520 $hKONST - Ii
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As curator Steve Dietz has observed, new media art is like contemporary art -- but different. New media art involves interactivity, networks, and computation and is often about process rather than objects. New media artworks are difficult to classify according to the traditional art museum categories determined by medium, geography, and chronology and present the curator with novel challenges involving interpretation, exhibition, and dissemination. This book views these challenges as opportunities to rethink curatorial practice. It helps curators of new media art develop a set of flexible tools for working in this fast-moving field, and it offers useful lessons from curators and artists for those working in such other areas of art as distributive and participatory systems.
The authors, both of whom have extensive experience as curators, offer numerous examples of artworks and exhibitions to illustrate how the roles of curators and audiences can be redefined in light of new media art's characteristics. Rethinking Curating offers curators a route through the hype around platforms and autonomous zones by following the lead of current artists' practice.
Acknowledgements p. ix Series Foreward p. xi Foreword p. xiii Steve Dietz Introduction p. 1 What Is New Media Art? p. 2 What Is Curating? p. 10 The Structure of the Book p. 11 Art After New MediaùHistories, Theories, and Behaviors The Art Formerly Known as "New Media" p. 19 The Hype of the New p. 22 New Media ArtùModernist or Avant- Garde? p. 27 From Postmodernism to a Postmedium Condition p. 29 Art Example: Cornelia Sollfrank, Net Art Generator(s), and Female Extension p. 32 Rethinking Curating p. 38 Exhibition Example: Harwood@Mongrel, Uncomfortable Proximity p. 43 Summary: Curating in a Postmedium Condition? p. 47 Space and Materiality p. 51 DematerializationùFrom Conceptual Art to Systems Art p. 52 How New Media Art Is Different p. 60 Art Example: Thomson & Craighead, Light from Tomorrow p. 67 Rethinking Curating p. 69 Exhibition Example: LetÆs Entertain and Art Entertainment Network, Walker Art Center p. 73 Summary: Dematerialized or Just Distributed? p. 83 Time p. 87 Time- Based ArtsùVideo and Performance p. 88 How New Media Art Is Different p. 92 Art Example: Rachel Reupke, Pico Mirador p. 94 Rethinking Curating p. 99 Exhibition Example: Medialounge, the Media Centre p. 103 Summary: Curating in Real Time? p. 109 Participative Systems p. 111 Interaction, Participation, and Collaboration p. 112 How New Media Art Is Different p. 117 Art Example: Harrell Fletcher and Miranda July, Learning to Love You More p. 120 Rethinking Curating p. 120 Exhibition Example: Serious Games, Laing Art Gallery p. 134 Summary: How Participatory Are These Systems? p. 138 Rethinking CuratingùContexts, Practices, and Processes Introduction to Rethinking Curating p. 147 Curating in ContextùIn and Out of the Institution p. 148 Models and ModesùThe Practice of Curating p. 153 Summary: Curating NowùDistributed Processes? p. 157 On Interpretation, on Display, on Audience p. 161 Education, Interpretation, and Curating p. 162 Example: Tate Media p. 164 On Display p. 170 Audiences p. 177 Summary: A Useful Confusion? p. 184 Curating in an Art Museum p. 189 Why Would a New Media Artist Want to Exhibit in an Art Museum? p. 189 The Building or the Immaterial Systems? p. 192 Working across Departments p. 194 Example: 010101, San Francisco Museum of Modern Art p. 194 Documentation and Archiving p. 200 On Collections p. 202 Summary: Networking the Museum p. 210 Other Modes of Curating p. 215 FestivalsùNew, Hybrid, and (Upwardly?) Mobile p. 216 Example: Vuk C´ osic´, Documenta Done and Net.art per me p. 218 Arts Agencies and Public ArtùLocated, Engaged, and Flexible p. 224 Example: New Media Scotland p. 227 Publishing and BroadcastùDistributed, Reproducible, and Networked p. 230 Example: Kate Rich p. 233 The LabùExperimental, Interdisciplinary, and Research- Led p. 234 Example: V2_, Rotterdam p. 238 Summary: From Production to Distribution and Beyond p. 242 Collaboration in Curating p. 247 Artist- RunùAlternative Spaces and Independent Organizations p. 247 Swapping RolesùArtists as Curators p. 253 Example: NODE.London p. 260 Collaborative PracticesùNetworks and Audiences p. 266 Summary: Artist- Led or Audience- Led? p. 275 Conclusions Conclusions: Histories, Vocabularies, Modes p. 283 A Set of Histories p. 285 Critical VocabulariesùWhich Verbs, Which Systems? p. 288 Beyond NoveltyùCuratorial Modes p. 299 The Task at HandùTranslation p. 302 References p. 307 Index p. 339 Exhibitions Index p. 353