Thank you so much for de-lurking!
It's an excellent parallel to think about how both exhibition histories
might be written and how mailing list (and other art discussion community
archives) might have their stories told. This year Thames and Hudson
released a book on art history books:
http://www.amazon.com/The-Books-that-Shaped-History/dp/0500238952. Rather,
it is a collection of reviews of famous works of art history. It's an
interesting way of organising a survey of the development of the
discipline - by book rather than entire school of thought or era. However,
I found myself wishing it had been a book about how those books were
researched, what the daily activities of the art historians who wrote them
would have been and indeed how the books were manufactured and distributed
- who exactly was reading them at that time, and why. In a way, I'm
writing an art history of lists. I'm trying to apply everything I know
about describing the form and significance of art to a type of art
discussion archive. And perhaps that's too broad, perhaps my focus should
have been on just one list in order to provide a more faithful and
valuable account. Anyway, what I do appreciate about The Books That Shaped
Art History is that it seems to signal a renewed engagement with telling
the history of art history...
Charlotte
On 16/10/2013 23:45, "Julia Pelta Feldman" <[log in to unmask]> wrote:
>Hello list - I've been lurking for a bit, but this is my first time
>writing.
>
>In response to Beryl's Graham's question about exhibition history: Bruce
>Altshuler's pioneering work on the subject (see: The Avant-Garde in
>Exhibition, and his more recent two-volume work) shows that the question
>of
>"experience" - the idea that the art, to a certain extent, doesn't exist
>without the exhibition - is hardly new to new media art. Phenomenology has
>been a crucial part of the discussion since (at the very latest) the rise
>of Minimalism in the 1960s. This summer's restaging of Harald Szeemann's
>groundbreaking exhibition When Attitudes Become Form is an obvious
>example.
>(I feel quite ambivalent about the exhibition, but the massive catalogue,
>packed with primary documents, is spectacular).
>
>I sometimes sense a desire to reinvent the wheel when it comes to
>discussing new media histories. I don't want to be part of any revolution
>that throws out its own pre-history.
>
>Similarly, (especially having worked as a museum archivist for four years,
>and now having returned to art history), I appreciated Dennis Moser's call
>to remember that the archivist and art historian already have separate,
>well-defined methodologies for tackling these sorts of problems, even if
>new approaches and techniques need to be developed.
>
>J.
>
>
>On Wed, Oct 16, 2013 at 10:54 AM, Beryl Graham <
>[log in to unmask]> wrote:
>
>> Dear List,
>>
>> What a great discussion!
>>
>> I'm particularly interested in histories of exhibitions at the moment,
>>and
>> seem to have been writing a lot about it - most of it in press at the
>>mo,
>> including a chapter for Christiane's new book, and a book on collecting
>>for
>> Ashgate, but this one is actually out now:
>>
>> Graham, Beryl (2013) "Exhibition Histories and New Media Behaviours."
>> Journal of Curatorial Studies, 2 (2 (summer)).
>> http://dx.doi.org/10.1386/jcs.2.2.242_1. 242-262.
>>
>> The basic argument is that Staniszewski says that exhibition histories
>>are
>> 'repressed', and that "It is in the installation design of the first
>>half
>> of the twentieth century that the sources of such practices as viewer
>> interactivity and site specificity, as well as multimedia, electronic
>>and
>> installation-based work, are to be found." (Staniszewski 1998: xxiii) If
>> the 'sources' of new media art practices, alongside installation and
>> site-specific artwork, lie in exhibition installation, then the very
>>nature
>> of what is documented about exhibitions becomes particularly important
>>to
>> these practices, regarding issues of historicization.
>>
>> If the exhibition IS the artwork, and needs to be interacted with to
>> exist, as with some new media art, then exhibition histories become
>> particularly important. The importance of contextual documentation
>> including audience response also becomes crucial.
>>
>> I think the Afterall books on exhibition histories have been very
>>useful,
>> but does anyone else have any good examples of excellent histories of
>> exhibitions based on very full documentation?
>>
>> Yours,
>>
>> Beryl
>>
>>
>>
>> On 14 Oct 2013, at 13:04, Nicholas O'Brien wrote:
>>
>> Maybe a good starting point would be to look at Oliver Laric's
>>Incomplete
>> Timeline of Online Exhibitions and Biennials:
>> http://archive.rhizome.org/artbase/56398/timeline.html
>>
>> Also some good/interesting subsequent conversation about the creation of
>> this work:
>>
>>
>>http://rhizome.org/editorial/2013/apr/26/oliver-larics-response-biennaleo
>>nline-2013/
>>
>> very best
>>
>>
>> On Mon, Oct 14, 2013 at 4:57 AM, Charlotte Frost <
>> [log in to unmask]> wrote:
>>
>> Can anyone remember examples of early online art galleries that tried to
>> mimic the real world layouts of gallery/museum spaces. The pre-Second
>>Life
>> skeuomorphic ways of displaying artŠ.
>>
>>
>>
>>
>> --
>> Nicholas O'Brien
>>
>> Visiting Faculty | Gallery Director
>> Department of Digital Art, Pratt Institute
>> doubleunderscore.net
>>
>>
>> ------------------------------------------------------------
>>
>> Beryl Graham, Professor of New Media Art
>> Research Student Manager, Art and Design
>> MA Curating Course Leader http://www.macurating.net
>>
>> Faculty of Arts, Design, and Media, University of Sunderland
>> The David Puttnam Media Centre, St Peter's Way, Sunderland, SR6 0DD
>> Tel: +44 191 515 2896 Fax: +44 191 515 2132
>>
>> CRUMB web resource for new media art curators http://www.crumbweb.org<
>> http://www.crumbweb.org/>
>> Recent books:
>> * Rethinking Curating: Art After New Media (2010) from MIT Press
>> http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&tid=12071
>> * A Brief History of Curating New Media Art, and A Brief History of
>> Working with New Media Art (2010) from The Green Box
>> http://www.thegreenbox.net<http://www.thegreenbox.net/>
>> * Euphoria & Dystopia: The Banff New Media Institute Dialogues (2011)
>> from Banff Centre Press and Riverside Architectural Presshttp://
>> www.banffcentre.ca/press/39/euphoria-and-dystopia.mvc
>>
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