Hi everyone,

I wanted to follow up on the "Transparency in Curatorial Practice" article
I wrote and linked you to a couple of months ago. First of all, thanks so
much for all your feedback! It was especially great to see Barbara
London's early work – certainly a precursor to what's happened since. So,
what *has* happened since?


++ Lauren Christiansen's programming at STADIUM gallery in NYC:

I met with Lauren Christiansen, Associate Director at STADIUM gallery, who
is running a very interesting program. All of the works on display are
designed to be photographed, then distributed online. The gallery runs an
active Tumblr account which she considers an equal part of their curatorial
program. Some of the artists she's worked with already have a Post
Internet practice, and others she's collaborated with to specifically
create works that will co-exist in both the gallery and online environment.


IMHO, one of the most successful examples is Parker Ito's The Agony and the
Ecstasy <http://stadiumnyc.com/past/the-agony-and-the-ecstasy/>, a
collection of paintings and sculptures that resist traditional
documentation (when you photograph them, they become indistinguishable
flashes of light).

http://stadiumnyc.com // http://stadiumnyc.tumblr.com


++ Lauren Cornell recently did an interview with the #OpenCurating
organizers, where she writes:

"Much ink is spent on how we live in an age of Biennials (and Triennials)
and the problems associated with these large-scale, temporary exhibitions.
The production of research, and the sharing of it, is one way these kinds
of shows can be more than short-term spectacles, and I hope we can offer
that through our Triennial by activating the show through discursive
means—talks, publishing—before, and also after, the run of the exhibition,
so we can publicly process the feedback and reception."

http://www.walkerart.org/magazine/2013/free-forms-opencurating-lauren-cornell


++ Thoughtful review of Paul O Neill's "The Culture of Curating and the
Curating of Culture(s)" focusing on the unprofessional curator:

"In investigating the role of the curator, O’Neill’s narrative locates the
role of the curator within the traditional, hermetic curatorial discourse.
He reproduces its academic and wordy rhetoric, while rarely addressing how
its relevance may be shifting in contemporary times, where many producers
who operate outside of the art world, outside of curatorial discourse, are
assuming the role of curators via blogging and the
organization/distribution of images and ideas online."

http://www.brooklynrail.org/2013/04/art_books/the-culture-of-curating-and-the-curating-of-cultures


In terms of my interest in this topic, I founded the exhibition program at 319
Scholes <http://319scholes.org/> in 2010, at which point there were no
physical galleries in NYC for young, emerging (net) artists to show work.
 We had, and have, Postmasters and bitforms for more established artists,
and Rhizome as an online communal meeting place, but a lot of artists were
graduating from undergrad and masters programs and needed some white walls
(if only as a studio for online projects). Since that time, our audience
has grown not only in the gallery but online, and I spend a lot of time
thinking about how we can better serve both communities. Here are a couple
of our strategies:

+ *Live-streaming curator walk throughs. *We live-stream gallery tours
with curators and encourage folks to participate by tweeting questions.
 Once the curator's finished a thought, we'll raise questions from Twitter.
 It's been a great way to engage with our online audience, and allows them
to get a more dynamic feel for the shows.

+ *Thorough digital archive. *We consulted with a master's student, Geetha
Pedapati, from Michael Connor's "Art of the Archive" class at ITP on how to
document and distribute our exhibitions, which resulted in an extensive
digital archive. Now every exhibition has a single URL prior to, during,
and following an exhibition which includes the press release, images,
dates, related events, video documentation, press links, and individual
pages for each work in order of appearance. Here's an
example<http://319scholes.org/exhibition/notes-on-a-new-nature/>
.


I'm curious to hear about the approaches and strategies you're using to
bridge the online/physical audiences. Any links, notes, or thoughts would
be much appreciated!

All the best,

On Thu, Mar 21, 2013 at 6:43 AM, Tyzlik-Carver, Magda <
[log in to unmask]> wrote:

> Dear CRUMB,
>
> I have been a frequent lurker on the list for some time now. And even
> though I haven't posted on the list before I have found many of the topics
> very interesting and thought provoking. So thanks CRUMB and all on the list
> for continuing those conversations here.
>
> The current theme is very relevant to my interest and research into
> curatorial practices and in particular what I have been exploring within my
> PhD research and also within my practice, that is the link between curating
> and commons. That link, in short, is partly based on the recognition that
> curating and ‘commoning’ (a term which describes practices that reproduce
> the common; see (Linebaugh 2008; Linebaugh 2010; An Architektur 2010) are
> particular forms of organising and arranging space, time, relations,
> resources, etc. I am interested in the potential that has on curatorial
> practice, namely how ‘commoning’ can influence and act upon ‘curating’, as
> well as vice versa.
>
> I used number of various online tools (wikis, skype, blogs, IRC) in
> different configuations and arangements within the space of Internet as
> well as the gallery, to support curatorial events which I initiated. The
> core of my project is not exactly on how to use those tools for curating,
> but my focus is on practices that can be developed with the support of
> those tools within an event or activity which is framed by the curatorial
> context. Examples of this are my projects playing practice
> http://automatist.net/deptofreading/wiki/pmwiki.php/PlayingPractice and
> common practice
> http://automatist.net/deptofreading/wiki/pmwiki.php/CommonPractice
>
> I am just about to open Ghost Factory
> http://www.ghostmachine.thecommonpractice.org/ghostfactory.html , which
> is a curatorial ‘extension’ to the Ghost Machine, a collaborative project
> which I developed together with sound artist Andrew Prior. Ghost Factory is
> a ‘working’ exhibition (for 2 days only) in Redruth, Cornwall at the CMR
> gallery tomorrow and Saturday. The reference to the factory is of course
> not a coincidence, as I constantly try to question various roles that we
> are prescribed when we engage with art, Internet tools etc. as curators,
> artists, public, users, workers, researchers etc. It is a ‘working’
> exhibition also as it is a work-in-progress, research stage
> exhibited/tested within the context of CMR Artists in Residence month which
> in itself is ‘self-organised’ framework with artists taking over and
> sharing their space during March for various experiments, research and
> events.
> Please see more CMR March Fourth here www.c-m-r.org/index.html
>
> cheers, Magda
>
> references:
> An Architektur, 2010. On the Commons: A Public Interview with Massimo De
> Angelis and Stavros Stavrides. e-flux, (17). Available at:
> http://www.e-flux.com/journal/view/150.
> Linebaugh, P., 2010. Some Principles of the Commons. Counter Punch.
> Available at: http://www.counterpunch.org/linebaugh01082010.html
> Linebaugh, P., 2008. The Magna Carta Manifesto: Liberties and Commons for
> All 1st ed., University of California Press.
>
>
>
>
> -----------------------------
> Falmouth University
> -----------------------------
>
> ________________________________________
> From: Curating digital art - www.crumbweb.org [
> [log in to unmask]] on behalf of Mark Amerika [
> [log in to unmask]]
> Sent: 14 March 2013 23:55
> To: [log in to unmask]
> Subject: Re: [NEW-MEDIA-CURATING] The Way We Share: Transparency in
> Curatorial Practice
>
> Good to hear from all of the early curators of net art et al ... Amanda,
> Paul, Armin, Jon -----
>
> Also, for what it's worth:
>
> *Digital Studies: Being in Cyberspace* (1997)
> Curated by Mark Amerika and Alex Galloway
> Alt-X
> http://www.altx.com/ds
>
> with "keynote essays" and/or "net.art" by the likes of Ascott, Cosic,
> Jennifer and Kevin McCoy, Manovich, Intima, Rackham, and Alex and I, etc.
>
> Talk about link-rot : we keep it archived "as is" to further prove the
> point (that much of early net art is part of a disappeared / disappearing
> history) -- kind of the opposite of Bunting's "Own, Be Owned or Remain
> Invisible" in that instead of the word-links gradually linking to web sites
> as commodity destinations, the links to actual net art works go dead in
> record time.
>
> BTW, Alt-X is 20 years old this month and we are producing an e-book of
> contributions from those who were aware of it and possibly influenced by it
> from 1993 through today. If there's a story or statement you would like to
> submit to the editors (Giselle Beiguelman and myself), please send it our
> way. It need not be very long. We are thinking of publishing it
> simultaneously in English and Portuguese.
>
> Cheers, MA
>
>
>
> On Thu, Mar 14, 2013 at 5:38 PM, Paul Brown <[log in to unmask]> wrote:
>
> > For the record - and sorry to interrupt!
> >
> > The fineArt forum archive (which will contain lots of interesting
> material
> > for followers of this discussion and list) from 1987-2004 is now
> > permanently archived at the National Library of Australia in their
> Pandora
> > Archive:
> >
> > http://pandora.nla.gov.au/tep/11009
> >
> > Best
> > Paul
> >
> > On 15 Mar 2013, at 08:06, Amanda McDonald Crowley <[log in to unmask]>
> > wrote:
> >
> > > On Mar 14, 2013, at 10:17 AM, Saul Albert wrote:
> > >
> > >> Nostalgia rush! It's hard enough to recall all that work and treasure
> it
> > >> wistfully in my mind, let alone find any coherent trace of it online.
> > >> Mailing list archives link-rotted, and the Uo Wiki got spammed offline
> > several years ago.
> > >
> > >
> > > Hi all,
> > >
> > > Thanks so much for fun examples. Nostalgia indeed.
> > >
> > > I've been trying to dig around a bit for early examples of sharing a
> > curatorial research practice, and like Saul, keep coming up with an awful
> > lot of link-rot. I finally just got around to putting up my own personal
> > web presence, in part because sites that were the repository of previous
> > work have often disappeared. Some I am working to recover, and some I
> have
> > relied on the way back machine to recover at least screenshots, but that
> > simply isn't a reliable source for archives.
> > >
> > > So, here are some ideas, and a lot of black spots:
> > >
> > > resistant.media was an exhibition I curated for the city wide festival
> > in Sydney Perspecta99 - Living Here Now. The resistant.media exhibition
> > only ever existed online and each of the artists included in the project
> > was invited to host a listserv discussion as part of the project. The web
> > site is still online, but only three of the artworks/ websites are still
> > active, and the listserv that was the discussion space is also lost. But
> it
> > was intended as our way to open up the process of how we developed the
> show.
> > >
> > > conVerge: where art and science meet was the 2002 Adelaide Biennial of
> > Contemporary Art exhibition I co-curated for the Adelaide Festival 2002.
> > For the website, we included not only the work of the 14 artists whose
> work
> > was exhibited as part of the exhibition, but the works of the artists who
> > were shortlisted or whose research practice was especially relevant to
> the
> > show. All of the work in the show was collaboratively developed with
> > scientists and/or science knowledge so the web site also included
> > information on all the collaborators, the scientific engagement. A key to
> > the project was a symposium so the transcripts and documentation of all
> of
> > the discussion at the symposium became a core element of the web site. We
> > tried to also include live synchronous and asynchronous discussion into
> the
> > web site. That was less successful. Apart from one page, the site is
> > unfortunately down for now, but I am working with Jesse Reynolds from
> > Virtual Artists (who developed the site originally) to resurrect it. The
> > catalogue also included writing by Victoria Lynne on the role of the
> > archive for the artists and for the show, and by Lynette Wallworth on
> cross
> > disciplinary collaboration, in addition to the curatorial introduction
> (by
> > me and Linda Cooper). Now that I think of it, I might try to get that
> work
> > added to the site when we get it back up ;)
> > >
> > > I also don't see just my exhibition work as my curatorial practice. The
> > residency programs, labs, masterclasses etc. I have worked on are to me
> > just as integral a part of my "curatorial practice". So I'm adding a link
> > here to an interview Melinda Sipos and Angela Plohman did with me last
> > year. The interview, “Out of the Lab: An interview with Amanda McDonald
> > Crowley” appeared in Beyond Data, a joint publication of Kitchen
> Budapest &
> > Baltan Labs. Melinda and Angela drew some interesting thoughts together
> > with me on the idea of curating process and how one might think about
> > sharing process with an audience without making it feel like the curators
> > and artists are being asked to air all of their underwear in public, but
> > rather show those parts of the process that are useful for generating
> > interesting dialogue. That was in fact, something we really especially
> > experimented with for the Eyebeam "exhibition" X-Lab, where we really
> aimed
> > to work with all of the Eyebeam residents and fellows to open up the
> space
> > of our "exhibition practice" to a range of interventions, works in
> process,
> > and events.
> > >
> > > In fact, in developing my web site, I decided to add a category
> > "Creative Research". Sometimes that research is curatorial. Sometimes it
> is
> > a framework for a range of curatorial initiatives, as was the case with
> the
> > Eyebeam Sustainability Research group. Of course this kind of work
> doesn't
> > happen in a vaccuum. It is highly collaborative, so there are various
> blogs
> > and wikis scattered about the web that relate to that process. It would
> > take too long to dig up now, but I know that Rebecca Bray, Marina Zurkow,
> > Andrea Polli, all had blogs or web pages devoted to part of the research
> in
> > addition to the various Eyebeam wikis that were developed to house the
> > research that sometimes led to public programs.
> > > Finally, of the ways I am sharing some of my current curatorial
> research
> > is using scoop.it. The developers of the site describe the pages of
> > collections of links "curating". I don't agree, but am not going to get
> > into the hot discussion of whether a collection of links is a curatorial
> > process or not. I don't believe it is. But what is it useful for, for me,
> > is a way to share the research I am doing on a particular topic that will
> > lead to curatorial projects. So at the moment, I'm doing a lot of
> thinking
> > around art, food and technology. The resources for this "thinking" I am
> > gathering here: at ArtTechFood on my web site, which links to the scoop
> it
> > site. Like delicous, or other aggregator sites, its likely that this too
> > will disappear into confusion and broken links at some point.
> > >
> > >
> > > I hope they are some useful examples. I'd love to get feedback.
> > >
> > > Amanda
> > >
> > >
> > >
> > >
> > >
> > >>
> > >> The best I could do without engaging in serious network art
> conservation
> > >> was google up an email exchange on the old delicious-discuss list
> > >> someone I didn't know forwarded to an MIT digital librarianship email
> > >> list: http://simile.mit.edu/mail/general/0142.html
> > >>
> > >> A few things strike me about the curatorial bogging issue and
> Michael's
> > >> goatskin archiving strategy looking back at the last decade of
> networked
> > >> practices engaging with what we used to call 'social software'.
> > >>
> > >> It was exciting to use wikis and early link-sharing sites to shape
> > >> everyday artistic communication-as-readymade, without self-consciously
> > >> composing an artistic product for established markets. There was
> also a
> > >> critical awareness that these practices were prototyping forms of
> > >> knowledge production whose value could be easily alienated and
> harvested
> > >> as big data.
> > >
> > > --
> > > Amanda McDonald Crowley
> > > Cultural Worker, Curator
> > > http://www.publicartaction.net
> > > current research: Art/Tech/Food
> >
> > ====
> > Paul Brown - based in OZ Nov 2012 to April 2013
> > http://www.paul-brown.com == http://www.brown-and-son.com
> > OZ Landline +61 (0)7 3391 0094 == USA fax +1 309 216 9900
> > OZ Mobile +61 (0)419 72 74 85 == Skype paul-g-brown
> > ====
> > Synapse Artist-in-Residence - Deakin University
> > http://www.deakin.edu.au/itri/cisr/projects/hear.php
> > Honorary Visiting Professor - Sussex University
> > http://www.cogs.susx.ac.uk/ccnr/research/creativity.html
> > ====
> >
>



--
Lindsay Howard
@Lindsay_Howard <https://twitter.com/Lindsay_Howard>
http://lindsayhoward.net