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NEW-MEDIA-CURATING  March 2010

NEW-MEDIA-CURATING March 2010

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Subject:

Re: Three questions about commissioning variable media

From:

Jean Gagnon <[log in to unmask]>

Reply-To:

Jean Gagnon <[log in to unmask]>

Date:

Wed, 3 Mar 2010 07:52:31 -0500

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Hi Jon and Richard,

I rarely intervene in this list although I follow it regularly. Here I would 
like to say a few words concernnig the commissionning of new media works as 
I did some while I was Curator of Media Arts at the National Gallery of 
Canada in the 90s and while I was Executive director of the Langlois 
foundation. Among artists I worked with was Bill Seaman who did a piece 
called "Red Dice" with the NGC, and David Rokeby who did "Machine for Taking 
Time: Boul St.-Laurent" for the Langlois foundation. In both cases, the 
artist was in total control of the technical aspects, and if he had to 
collaborate with a programmer, this person was fully recognize in the credit 
of the piece. In both cases my role was that of a 
facilitator/fundraiser/coordinator/producer.

There is different kind of commissions. In both of my cases I was involved 
in dialogue with the artist and the commission was defined with them: the 
what and the how of the production. With Seaman I proposed him to adapt 
Malarmé's famous poem "Dice Thrown Never Abolish Chance" because I thought 
his work, at the time in early to mid 90s, was somewhat inspired by it, 
Seaman agreed. On top of the roles listed above, I also did work on 
rewriting the English translation of the actual poem used in the piece. With 
Rokeby, I really wanted him to do a version of a piece called "Macine for 
taking time" that had been previously produced at Oakville Galleries in 
Ontario, so we discussed the relevancy of doing it and finally Rokeby agreed 
to do the piece that was destined to be installed in the Hall of the cinemas 
at the Langlois foundation's building in Montreal.

Last point concerning power relations. Depending of your institutional 
setting you may, as a curator, have more or less so called "power". I find 
hard to discuss power relations in the abstract. Power is always exercized 
in an institutional context. And of course being at the National Gallery of 
Canada or the Langlois foundation is not the same as being in a small 
artist-run center. But my attitude has always been to give freedom to the 
artist in the first place as they know more and are the specialist in terms 
of technology; but it also giving them responsability. The only aspect that 
always gets in the way is financial ressources. But if you establish the 
financial framework right off the bat, rarely it is a major problem after.

I hope this contributes somewhat to the discussion

Jean Gagnon

----- Original Message ----- 
From: "Richard Rinehart" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Tuesday, March 02, 2010 11:23 PM
Subject: Re: [NEW-MEDIA-CURATING] Three questions about commissioning 
variable media


> Thanks for starting off the discussion Jon, and to Beryl for inviting  us 
> and hosting it.
>
> I'm also looking forward to the reports from DOCAM later in the week,  and 
> I'm looking forward to hearing everyone's "surgery stories" -  please send 
> them regardless of what thread we're discussing; real- world case studies 
> are a great way to transform theory into practice.
>
> Now to your provocative questions Jon.
>
> New media art certainly seems a natural for commissions since there is 
> (or was) not such a large body of extant work to "shop" for. And new 
> media production is naturally technical, involved, and labor  intensive. 
> Sometimes the curator or gallery/museum tech staff know as  much or more 
> about different aspects of the technology as the artist  (not always, but 
> sometimes). This means that close collaboration is  necessary, and it also 
> results in the dynamic you mention, where the  collaborative boundary 
> between curator and artist is blurred.
>
> On the one hand, this appears to be a good thing; breaking down the  old 
> curatorial model where the artist is asked politely to drop off  their 
> work at the loading dock and disappear until opening night (to  paraphrase 
> Robert Storr). If the curator is more involved in producing  the work, the 
> artist is conversely more involved in the installation  and presentation 
> of the work. But, as you also point out; there is a  power differential 
> here whether or not there is money at stake; the  curator seems to have an 
> unduly privileged position. This has made me  a little uncomfortable in 
> the past, but I'm curious about the  experiences of others here. Is this 
> simply the new mode or a troubling  by-product of commissioning new media 
> art projects?
>
> Now allow me to extend this question a little. I've also witnessed new 
> media art commissions in which the artist hires a programmer (or Flash 
> Developer, or other technical help) in part for labor (truly "work for 
> hire") and in part for expertise. The programmer sometimes makes 
> critical, fundamental, or creative decisions about the work that  affect 
> its ultimate look or behavior - and yet their input is often  not credited 
> in the work (at least not top billed as "artist"). I  fully realize that 
> artists cannot and should not be expected to know  every technology or to 
> produce every aspect of their work in order to  be legitimate (painters 
> don't make their own paints any more) and this  makes new media inherently 
> more collaborative. But does this create  another layer in the situation 
> described above with the curator and  artist? Does it point out a flaw in 
> current standards for documenting  artwork; standards that favor naming 
> one or two artist-geniuses rather  than an entire crew? Film production 
> (also technical and  collaborative) still favors the genius-leader model 
> of the director,  but at least the documentation standards allow for an 
> expanded  recognition of roles in production. Worse, does this dynamic 
> help to  perpetuate the idea of the artist-celebrity who deals in the new 
> art  world commodity - the concept - without dirtying their hands or 
> problematizing the field of production?
>
> More soon!
>
> Richard Rinehart
> ---------------
> Digital Media Director & Adjunct Curator
> Berkeley Art Museum and Pacific Film Archive
> bampfa.berkeley.edu
> ---------------
> University of California, Berkeley
> ---------------
> 2625 Durant Ave.
> Berkeley, CA, 94720-2250
> ph.510.642.5240
> fx.510.642.5269
>
>
>
> On Mar 2, 2010, at 3:16 AM, Jon Ippolito wrote:
>
>> Thanks, Beryl, for inviting Rick Rinehart and me as guests for this 
>> month! Later this week I'll be reporting from the DOCAM conference  in 
>> Montreal, where we'll unveil the third-generation Variable Media 
>> Questionnaire developed by John Bell, and where I expect to learn of 
>> other exciting developments culminating from the research that Alain 
>> Depocas and the Langlois Foundation have nurtured over the past five 
>> years. And I'm looking forward to hearing reports from other 
>> correspondents on Friday's BALTIC conference.
>>
>> Rick and I have the distinction, or perhaps more accurately infamy,  of 
>> having played both roles of artist and curator in various  commissions. 
>> As a double agent, I see the process as a bit messier  than might be 
>> visible from the outside. To see if I'm not alone, I'd  like to lob some 
>> questions at all of you artists, curators, and  others who have been, or 
>> will soon be, involved in the commission of  a variable media work:
>>
>> 1. The process of commissioning offers more give-and-take between  artist 
>> and curator than just buying work out of a gallery, which is  tantamount 
>> to shopping at a store for art. But the traditional  artistic commission 
>> still divides responsibilities according to a  consumerist model, this 
>> time based on freelance labor: the curator  defines the job and hires the 
>> artist; the artist makes the work;  and, depending on the terms of the 
>> agreement, either the artist or  the curator inherits the work, along 
>> with the sole responsibility to  maintain it. I'm interested to know 
>> whether the experiences of  people on this list have echoed or disrupted 
>> this clear division of  roles. How involved are curators in the 
>> production of the work? How  involved are artists in its documentation 
>> and preservation? And how  subversive can an artwork be if it is "work 
>> for hire"?
>>
>> 2. The word "commission" comes from the etymological root "to  entrust," 
>> which in medieval Latin became "put into custody." So,  from those who've 
>> been involved in commissions on this list, I want  to know who trusted 
>> whom with what, and whether that trust was  honored or betrayed. Who got 
>> custody of the "child" of this  unnatural union between artist and 
>> curator? Of the hardware? Of the  source code? If the work was created 
>> collaboratively, how were the  rights and credit apportioned? What did 
>> you keep, and what did you  let go? Who made out better in the end?
>>
>> 3. How, if at all, did the variability inherent in technological and 
>> process-based artwork complicate or enrich your commission? I'm 
>> especially interested in any problems you encountered--with an 
>> institution, an artist, or a technology--and whether the solution  you 
>> hit upon was satisfactory.
>>
>> Cheers,
>>
>> jon
>> ______________________________
>> Still Water--what networks need to thrive.
>> http://still-water.net/
> 

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