Hi from Melbourne everyone.
A very timely point of discussion (as, on a direct, personal level, I'm
about to broach the issue of documentation with regards to my current
research project involving curatorial design --- and having an
'interesting' time trying to work through some of the particularities of
documentation involved in this process ...). To throw my 2-cents into
the ring, I'll simply go-back to first principles and reply to Sarah's
initial set of questions:
How many of you include video walk-throughs in your documentation of
gallery based exhibitions of new media art?
--- Yes; have also done Quicktime VRs which, given the integral
relationship between artwork and exhibition space in the work I'm
particularly interested in with curatorial design, have provided some
added benefit of generating 'compelling' panoramic stills, plus the
in-built facility for added interaction.
how many of you insist on having people in the photographs/slides taken
of the show?
--- Have done both; with and without. Case by case issue, really. I have
seen some excellent examples of photographic documentation that wouldn't
have worked at all if audience interaction wasn't represented - in a
strange inversion, you'd almost have to say that the artworks themselves
would have been 'mis-represented' if people engaging with the work
weren't included.
do you document interaction in the exhibition? how?
--- Video does offer something here. Once again, editing process
involved in making this compelling takes things beyond documentary
recording.
what other formats do you document your exhibitions in? (sound art
exhibitions are rarely recorded, or are they?)
--- In my experience, sound has been an incredibly important factor in
the effectiveness of how works and exhibitions are communicated through
documentation. In an earlier project, I actually worked collaboratively
with a sound artist who produced a piece in-situ which kind of acted as
the exhibition's soundtrack. I found this translated particularly well
in the subsequent video documentation.
do you use online photosharing sites such as flickr for exhibition
documentation? or do you hope that visiting artists / others might put
their photos online and you can link to them later?
--- In my latest curated project, we had an exhibition website developed
as part of the overall project. This was designed with the provision for
easily updating and adding content, including subsequent gallery
documentation, etc. I certainly think providing the facility for
enabling online collaboration is an interesting area needing further
investigation. If we think how a catalogue operates: it, by necessity as
much as anything, /precedes/ the actual exhibition. Paradoxically, the
catalogue ends up acting as the primary means of how an exhibition is
historicized (documented, archived, remembered). Online modes offering
social networking seem to offer a way of supplementing the actual
staging of an exhibition, with the means of operating /during/ the show
and even continuing to function as a way of extending an exhibition's
'shelf-life', if you will.
Cheers
Vince
Sarah Cook wrote:
> Dear CRUMB list
>
> having just opened a show, and blogging the process on the web, i
> just wanted to do a straw poll:
>
> how many of you include video walk-throughs in your documentation of
> gallery based exhibitions of new media art?
>
> how many of you insist on having people in the photographs/slides
> taken of the show?
>
> do you document interaction in the exhibition? how?
>
> what other formats do you document your exhibitions in? (sound art
> exhibitions are rarely recorded, or are they?)
>
> do you use online photosharing sites such as flickr for exhibition
> documentation? or do you hope that visiting artists / others might
> put their photos online and you can link to them later?
>
> have you ever been 'told off' by an institution for putting
> exhibition installation-in-progress photographs or gallery-
> installation photos on the web/flickr - and if so was it about
> infringing copyright on the artists work, or infringing the contract
> with the artist and the gallery over documentation?
>
> answers to the list rather than just to me will generate further
> discussion!
>
> thanks
> sarah
>
--
Vince Dziekan
Senior Lecturer | Deputy Head Multimedia & Digital Art
Monash University | Faculty of Art & Design
Caulfield Campus | 900 Dandenong Road, Caulfield East, Vic 3145 AUSTRALIA
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