Begin forwarded message:
From: Jose-Carlos Mariategui <[log in to unmask]<mailto:[log in to unmask]>>
Date: 8 January 2013 11:05:08 GMT
To: Sarah Cook <[log in to unmask]<mailto:[log in to unmask]>>
Subject: Re: [NEW-MEDIA-CURATING] What's (Really) Specific about New Media Art? Curating in the Information Age
Happy new year to everyone!
All those stories reminded me about the GVM (Guggenheim Virtual Museum) that was launched in the media around 2000 in the midst of Guggenheim's international expansion. There are a couple of links from that time which still remain active with some information on the project (which actually never occurred):
http://www.wired.com/culture/lifestyle/news/2000/06/36741
http://openbuildings.com/buildings/guggenheim-virtual-museum-profile-2437
http://www.asymptote.net/art-objects-and-editions/guggenheim-virtual-museum/
best,
jose-carlos
On 8 Jan 2013, at 05:12, Sarah Cook <[log in to unmask]> 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 collected?
thoughts on a grey rainy morning,
Sarah
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 been
colleagues at Williams College for a while (during which time also
MassMoca was budding and Klotz - according to his own communication - was
considered to become director of MassMoca) - so there was an existing
connection
(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 where
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 worldwide"
as part of Guggenheim's expansion also into the web (this project
basically did not take off, I think).
Johannes
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 b)
two of the most important contemporary/modern art museums worldwide.
This shows that the divide between contemporay art and media art was not
existing.
I was intrigued that Mediascape came up in this discussion of the divide
between Europe and America, and between "new media" and "mainstream" art
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 art
and technology--after seeing lines snaking around the block three years
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 Dolby.
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
museum.
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 email
me or visit http://DigitalCuration.UMaine.edu if you're interested.
Cheers,
jon
@jonippolito
------------------------------------------------
Dr. Sarah Cook
Reader
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 Bliss, www.crumbweb.org
Read our books:
Euphoria & Dystopia: The Banff New Media Institute Dialogues.
http://www.banffcentre.ca/press/39/euphoria-and-dystopia.mvc
Rethinking Curating: Art After New Media. 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.
http://www.thegreenbox.net
------------------------------------------------
Dr. Sarah Cook
Reader
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 Bliss, www.crumbweb.org<http://www.crumbweb.org>
Read our books:
Euphoria & Dystopia: The Banff New Media Institute Dialogues.
http://www.banffcentre.ca/press/39/euphoria-and-dystopia.mvc
Rethinking Curating: Art After New Media. 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.
http://www.thegreenbox.net
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