JiscMail Logo
Email discussion lists for the UK Education and Research communities

Help for NEW-MEDIA-CURATING Archives


NEW-MEDIA-CURATING Archives

NEW-MEDIA-CURATING Archives


NEW-MEDIA-CURATING@JISCMAIL.AC.UK


View:

Message:

[

First

|

Previous

|

Next

|

Last

]

By Topic:

[

First

|

Previous

|

Next

|

Last

]

By Author:

[

First

|

Previous

|

Next

|

Last

]

Font:

Proportional Font

LISTSERV Archives

LISTSERV Archives

NEW-MEDIA-CURATING Home

NEW-MEDIA-CURATING Home

NEW-MEDIA-CURATING  2002

NEW-MEDIA-CURATING 2002

Options

Subscribe or Unsubscribe

Subscribe or Unsubscribe

Log In

Log In

Get Password

Get Password

Subject:

Re: curating critically

From:

Hannah Redler <[log in to unmask]>

Reply-To:

Curating digital art - www.newmedia.sunderland.ac.uk/crumb/

Date:

Wed, 13 Feb 2002 15:43:04 -0000

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (278 lines)

I'm enjoying this discussion -  but - am perplexed by the suggested need (is
curator more important than critic) to attribute hierarchical values to the
roles of any cultural producers/commentators. Surely we're all part of the
mix? For me it's the variety of voices, perspectives intentions and
opinions, along with the resultant tensions, that make it interesting and,
indeed, viable.

scuse me if i'm reacting out of context, I have to admit to speed reading
most days!
:-)
Hannah

*Note new postal address. Please update your records**
Hannah Redler
Curator, Gallery X
Jubilee Arts c/PLEX Project
1a Overend Street
West Bromwich, B70 6EY, UK

switchboard:  ++44 (0) 121 525 6861
direct line:  ++44 (0) 121 524 2109
fax:  ++44 (0) 121 525 6475
mobile: 0777 99 36 149

The Jubilee Arts c/PLEX Project is the UK's major initiative to harness
creativity, community development, the creative industries and economic
regeneration.  The c/PLEX building has been designed by Stirling Prize
winners Alsop Architects (for Peckham Library) and the project has been
brought forward by Jubilee Arts, one of the UK's leading community arts
companies.  It will be built in West Bromwich, Sandwell in the Black
Country.

www.c-plex.co.uk
www.jubilee-zone.co.uk







-----Original Message-----
From: Mathew Kabatoff [mailto:[log in to unmask]]
Sent: 13 February 2002 06:36
To: [log in to unmask]
Subject: Re: curating critically


In a long forgotten email, I actually sent to Steve approximately 2 years
ago, I asked "in a contemporary moement where the modes of production
around media based practices that were at times expensive, vying for
exhibition space and the establishment of a critical and historically
succienct discourse, was there any difference between a 'producer' and a
'curator'"

Steve answered (permit this flashback steve) "there doesn't appear to be
any difference".

Thinking about this conflation in regards to the role of the curator, as
well
as several assertions by list-members that "curators are in fact more
important than critics", it would seem then that the curators role to the
production new media art (in this case) is bound to both captial and
discursive ecomonies. This could be an interesting intersection in terms
of practice as modes of distribution, as the curator is the one constructing
an exhibition that is supported by either a local, national or international
institution. The curator, and I think that it could really be said to be
opportunisitically specific to new media practices, as they involve so
much, the purchasing of technologies and the rearticulation of exhibition
space in the face of burgening artistic practices, that alternate modes of
display, organization and in fact new media art production, can be
presented.

I am thinking here of a potential role for the curator to move along both
horizontal and vertical axis of exhibition, presentation and the
development of discourse. Therefore the curator would be able to
intervene, or to work with artists at various levels that would
significantly
contribute to the greater discourse and representation of new media
practices. The curator could embody a role that was working with and
alongside artists, not meaning that they would produce their work, but
almost collaborate in the development of a discourse, the firming of
exhibition space and the articulation of discussion on the lecture circuit.

The document produced around the show is neither criticism, or art
history, but the historical, theorietical and economic conditions that frame
the work. It seems that this mode, is what makes the role of the curator
different from either the historian or the critic, as their practice is not
hermunetically sealed within it own written substrate. But the question is,
is that if priviledge this mode of heterogeneous artistic support, is
priviledged over strident methods history or criticism, does the discursive
space risk entropy, due to the expenditure of energies in some many
areas in while producing: the best gallery setting, the best web-site, the
best catalogue essay, the best relationship with the artist etc...(i guess
that is why you would have a production team).

apologies for rambling, but I think that the disussion put forth on the list
really has been towards the better articulation of new-media art curation
and the discursive set of terms that surround it. opposed to the resistance
the steve is providing in terms of 'defining and killing' both the discourse
and practice, this forum, amongst others seems to be so much about a
certain type of coherence and 'coming together'.

mathew


> Thought this article was interesting in relation to discussion of
curating.
>
http://www.nytimes.com/2002/02/12/arts/design/12CURA.html?todayshea
dlines
>
>
> A couple of things that I appreciated about what Enwezor said:
> "Mr. Enwezor said he blamed this narrow vision on a kind of inherent
timidity
> shared by many curators, dealers and collectors. "What really struck me
was how
> conservative they were, the lack of intellectual curiosity, their fear of
> failure or to explore anything before it became a fashion.""
>
> I keep hearing talk about "it's time" to sum things up; to "really" assess
net
> art, etc. - which I don't necessarily disagree with and certainly practice
at
> times, but it also seems like an opportunity to experiment on the
curatorial
> side of things as well as the art making/culture producing side, and to
what
> extent does that mean trying to figure something out that interests you,
as a
> curator, without necessarily knowing the answer or even knowing if how
you
> approach the matter will be a "success?"
>
> Enwezor also said:
> "For his part, Mr. Enwezor says the duty of a curator is to pay close
attention
> to the world that gives birth to art, rather than to try to predict its
next
> trend. "Given the complexity of deep entanglements with which we live, it
makes
> no sense to predict," he said. "I see the exhibition as more of a
diagnosis than
> a prognosis.""
>
> While I probably overstate the case, I think it's worth holding in my the
> _possibility_ that defining something is another way of predicting and
may not
> be always the most useful role.
>
> s
>
>
> Steve Dietz
> Curator New Media
> Walker Art Center
>
>
> > -----Original Message-----
> > From: Curating digital art - www.newmedia.sunderland.ac.uk/crumb/
> > [mailto:[log in to unmask]]On Behalf Of
Sarah Thompson
> > Sent: Tuesday, February 12, 2002 5:12 AM
> > To: [log in to unmask]
> > Subject: Re: curating critically
> >
> >
> > re: Josephine 's questions - >
> > >1 - it is beyond doubt that curators are as important or probably more
> > >important as critics in the way art is perceived. Can they make a
> > >difference as to how it is valuated (economically) as well?
> >
> > I used to think curators were very much connected to the role of
archiving,
> > if only in terms of cataloging and contextualising works of art. Is this
> > not still the case? Archiving is closely connected to evaluation. This
> > museum practice is what happens generally after works have been
exhibited
> > in galleries or online etc..
> > Now musuems of modern art archive the processes of contemporary
> > commissioning, presentation and appreciation of the arts too - 'as
they
> > happen'.. So the archives are digital. These archives are strange
because
> > they themselves exist within unstable media. In other words whose
going to
> > archive the archives. (Ada web has already been archived I suppose).
> > Then there's the curating practice of producing exhibitions of works
which
> > have not yet been evaluated within a market context. These exhibitions
are
> > often on themes conceived by the curator who perhaps might extend
this
> > notion to it being a concept similar to that in art practice - more
> > personal and specific than usual. This is why so many artists have
also
> > curated I think.
> >
> > The economies of these processes are increasingly interlinked. The
> > artist/curator might get funding for an exhibition which they can then
pass
> > on to other artists who they feel they can collaborate with in producing
a
> > show (for instance). This show might involve a network outside the
gallery
> > context, which also collaborates with the experience. As such,
elements of
> > the experience may become archived in a casual kind of way. These
informal
> > archives might at some point find their way into a museum as
evidence of
> > the original event. (or diagrams in the gallery)
> > As such, what is being funded is a kind of asynchronous distributed
> > event/performance which depends on technological continuity to be
> > re-enacted.
> > There is a relationship here between moving
image/performance/event and the
> > gallery/museum as a space for the free/paid for consumption of ideas
and
> > experiences
> >
> > >
> > >2 - There are on line and off line exhibitions. Do curators take more
> > >liberties (with both the artists and the artworks) when they arrange an
> > >on line exhibition then when they organize physical exhibitions? If
yes,
> > >why?
> >
> > The liberties which are taken seem to be related to the very nature of
the
> > web, the way the web has so far been engineered and the way that
this
> > architecture affects perceptions of what constitutes the work. In other
> > words there is no engineered structure which denotes unequivocally
the
> > source of the work. It is also all too easy for big institutions to view
> > the web as a content pool, for which there is, as yet, no legal
structure
> > requiring them to pay for use/access.
> >
> > >3 - When dealing with net art (but also other electronic art and new
> > >media art) do curators realize at all there is a history and context?
If
> > >yes, should they take this context into account at all? Are catalogues
> > >giving enough insight into the works presented?
> >
> > history and context should be used to appreciate the conceptual,
aesthetic
> > and technical significance of works, but it seems many of the histories
> > which relate to net art and other electronic/new media art need to be
> > discovered..
> >
> >
> > >The web and the net
> > >are not just a collection of journals and magazines, they have some
> > >qualities of tv and radio combined with the personal space of the
> > >telephone. The cultural space has changed, and art institutions are
part
> > >of it. Art institutions and curators should realise what power politics
> > >they become/became part of.
> >
> > New kind of cultural engineering/production process needed too.
> >
> >  :)
> > Sarah
> >
> >

########################################################################
This e-mail message has been scanned for Viruses and Content and cleared
by MailMarshal
#########################################################################

This e-mail message is privileged and confidential. If you are not the
intended recipient please delete the message and notify the sender.
Any views or opinions presented are solely those of the author.

Top of Message | Previous Page | Permalink

JiscMail Tools


RSS Feeds and Sharing


Advanced Options


Archives

June 2019
May 2019
April 2019
March 2019
February 2019
January 2019
December 2018
November 2018
October 2018
September 2018
August 2018
July 2018
June 2018
May 2018
April 2018
March 2018
February 2018
January 2018
December 2017
November 2017
October 2017
September 2017
August 2017
July 2017
June 2017
May 2017
April 2017
March 2017
February 2017
January 2017
December 2016
November 2016
October 2016
September 2016
August 2016
July 2016
June 2016
May 2016
April 2016
March 2016
February 2016
January 2016
December 2015
November 2015
October 2015
September 2015
August 2015
July 2015
June 2015
May 2015
April 2015
March 2015
February 2015
January 2015
December 2014
November 2014
October 2014
September 2014
August 2014
July 2014
June 2014
May 2014
April 2014
March 2014
February 2014
January 2014
December 2013
November 2013
October 2013
September 2013
August 2013
July 2013
June 2013
May 2013
April 2013
March 2013
February 2013
January 2013
December 2012
November 2012
October 2012
September 2012
August 2012
July 2012
June 2012
May 2012
April 2012
March 2012
February 2012
January 2012
December 2011
November 2011
October 2011
September 2011
August 2011
July 2011
June 2011
May 2011
April 2011
March 2011
February 2011
January 2011
December 2010
November 2010
October 2010
September 2010
August 2010
July 2010
June 2010
May 2010
April 2010
March 2010
February 2010
January 2010
December 2009
November 2009
October 2009
September 2009
August 2009
July 2009
June 2009
May 2009
April 2009
March 2009
February 2009
January 2009
December 2008
November 2008
October 2008
September 2008
August 2008
July 2008
June 2008
May 2008
April 2008
March 2008
February 2008
January 2008
December 2007
November 2007
October 2007
September 2007
August 2007
July 2007
June 2007
May 2007
April 2007
March 2007
February 2007
January 2007
2006
2005
2004
2003
2002
2001


JiscMail is a Jisc service.

View our service policies at https://www.jiscmail.ac.uk/policyandsecurity/ and Jisc's privacy policy at https://www.jisc.ac.uk/website/privacy-notice

Secured by F-Secure Anti-Virus CataList Email List Search Powered by the LISTSERV Email List Manager