There is a copy of the catalogue in the State Library of Queensland.
Networked Media Curator
Sound, Broadcast and New Media
National Film & Sound Archive of Australia
McCoy Circuit Acton Canberra ACT 2601
Tel: +61 26248 2277 Fax: +61 2 6248 2167
Mob: +61 401 025 224
Our Mission: to excite people's curiosity and inspire their creativity
through development, preservation and an informed understanding of
Australian film, sound and emerging new media heritage, its cultural
diversity and significance.
From: Simon Biggs <[log in to unmask]>
To: [log in to unmask],
Date: 08/01/2013 10:28 PM
Subject: Re: [NEW-MEDIA-CURATING] What's (Really) Specific about
New Media Art? Curating in the Information Age
Sent by: "Curating digital art - www.crumbweb.org"
<[log in to unmask]>
On a related but slightly oblique topic.
In 1984 we held the first survey exhibition of art and technology in
Australia, titled Interface, as part of the Adelaide Festival of Arts
(associated with Artists Week). It was curated by Claudio Pompili and
myself. There was a slim catalogue, more of a brochure, listing the titles
of the works and the artists as well as a venue map. There is an image of
the cover of the catalogue here:
(note that text on this page is inaccurate - Interface never claimed to be
the first art and technology event in Australia, just the first survey of
activity in the area and, secondly, ANAT did directly grow out of
Interface as it was at a management meeting formally concluding
Interface's activities (with an Australia Council representative, the
Director of the EAF and one or two other people) that we proposed a
brainstorming event to look at post-Interface initiatives - ANAT was
conceived at that event).
Interface featured a good number of installations, mainly by Australian
artists but with a small number of international artists as well. It also
had live performance and music programmes and a video and audio tape
library, where viewers could select works to see or hear. In this last
category of works there were quite a few international works.
I can remember around half the artists involved in the event but do not
have a copy of the original catalogue so would struggle to remember the
rest. I wonder if anybody out there has a copy of that document? The
listing on this webpage is reasonably extensive but not complete.
On 8 Jan 2013, at 10:12, Sarah Cook wrote:
> Happy New Year CRUMB list.
> I am interested in these anecdotal exhibition histories -- I have the
mediascape catalogue, as I'm sure many others do, and I wonder if its
availability (print run, distribution, stacks of second hand or
remaindered copies at the Strand in NY) has contributed to it being
remembered and included in such lists? (by contrast, BitStreams, at the
Whitney, didn't have a print catalogue as far as I remember, but a very
flashy website.) Mediascape was on in June 1996, and I had just graduated
from the Curatorial course at Bard (where I had been arguing, to little
reward, about computers and art being the future), so I saw the show, but
it is not a strong memory strangely enough - lots of video, and the great
work of the Vasulkas.
> I am also curious to know more about the collection aspect of this
particular story -- was there ever any conversation about which works the
Guggenheim might collect? Or how showing the works at the Guggenheim
increased the value (market or other kinds of value) for then nascent ZKM
collection? Would such a tactic be criticised now, or is this a rare
example, of an older institution lending its credence to the initiatives
of a younger institution? Were works shown in Mediascape which were not
yet in the ZKM collection but which were added to the collection after the
success of the exhibition? And what documentation is there of the Virtual
Reality: An Emerging Medium exhibition -- and were any of its works
> thoughts on a grey rainy morning,
> On 8 Jan 2013, at 07:00, Goebel, Johannes wrote:
>> Re: Mediascape
>> For the new media art historians it might be interesting, that
>> (a) Tom Krens and Heinrich Klotz, the founding director of ZKM, had
>> colleagues at Williams College for a while (during which time also
>> MassMoca was budding and Klotz - according to his own communication -
>> considered to become director of MassMoca) - so there was an existing
>> (b) that for us at ZKM it was "incomprehensible" at the time that the
>> infant ZKM (at the time there was no building and Klotz had started the
>> collection for "his" museum which would open a few years down the road
>> and he stocked Mediascape with his purchases) was a major part for an
>> exhibition in NYC (little did we know how things were in this realm
>> we thought we were catching up ...)
>> and (c) a major initiative in the late nineties/early 2nd millenium by
>> Guggenheim - also among others with engagement by ZKM as the "new media
>> arts partner" - was to create THE "online portal to art events
>> as part of Guggenheim's expansion also into the web (this project
>> basically did not take off, I think).
>> On 1/7/13 7:20 PM, "Jon Ippolito" <[log in to unmask]> wrote:
>>> Annick wrote:
>>>> Mentionning Documenta VII, Les immateriaux, the 1986 Venice Biennal,
>>>> Mediascape at Guggenheim Soho as "exceptions" is interesting as they
>>>> were a) the biggest art fairs worldwide (Miami was not existing) and
>>>> two of the most important contemporary/modern art museums worldwide.
>>>> This shows that the divide between contemporay art and media art was
>>> I was intrigued that Mediascape came up in this discussion of the
>>> between Europe and America, and between "new media" and "mainstream"
>>> worlds. The show may have taken place in New York, but it drew much of
>>> its inventory from ZKM--which would seem to corroborate the European
>>> pedigree of the New York art world's interest in high-tech art.
>>> However, Tom Krens, Guggenheim director at the time, agreed to host
>>> Mediascape--and indeed to turn the Guggenheim SoHo into a center for
>>> and technology--after seeing lines snaking around the block three
>>> earlier for a show entitled Virtual Reality: An Emerging Medium. Apart
>>> from a cameo by Jenny Holzer, the VR show drew its roster not from art
>>> museums and galleries but from technology hotbeds like CMU and Silicon
>>> Valley and their crossover artists like Eric Gullichson and Thomas
>>> That, plus the fact that 1993 was the peak of hype about VR, drew in a
>>> lot of people who might not have otherwise visited a mainstream art
>>> Now, of course, digital curation is all the rage among historians,
>>> librarians, and folks from many non-art disciplines. The University of
>>> Maine is capitalizing on this reality in its online Digital Curation
>>> courses launched last fall. We've got two more online courses starting
>>> later this month--I'm co-teaching the preservation course. Please
>>> me or visit http://DigitalCuration.UMaine.edu if you're interested.
> Dr. Sarah Cook
> MA Curating Module Leader
> Faculty of Arts, Design and Media
> University of Sunderland
> Curator for the Festival of New Media and Video, Transitio_MX05
"Biomediations", September 20-29, 2013 in Mexico City
> Co-editor and co-founder, The Curatorial Resource for Upstart Media
> Read our books:
> Euphoria & Dystopia: The Banff New Media Institute Dialogues.
> Rethinking Curating: Art After New Media.
> A Brief History of Curating New Media Art, and A Brief History of
Working with New Media Art.
[log in to unmask] http://www.littlepig.org.uk/ @SimonBiggsUK skype:
[log in to unmask] Edinburgh College of Art, University of Edinburgh
MSc by Research in Interdisciplinary Creative Practices