Thanks Juliet for hosting such an interesting debate, and I’m finding that the issue of the "evolutionary and revolutionary” in relation to time to be very useful in relation to curating, as touched on by several of the respondents here, including by Stephanie in relation to her very witty work which is pin sharp about time and money and systems. This makes me think about how Open Source production methods in particular, and how much this challenges conventional curators to think about invisible processes and how these might be ‘exhibited’. I’m rather fond of Dominic Smith’s research in this area, and his ‘forking’ of the Shredder project ….. http://www.avfestival.co.uk/programme/2010/events-exhibitions/feral-trade-talks-dominic-smith
This link is part of a festival, and of course festivals have traditionally been curatorial spaces which are more forgiving of the ‘unfinished’ or the ‘in-progress’ and as Ken has pointed out, of the performative.
Because I’ve been researching about collecting recently, I’ve also been considering those spaces that are harder nuts to crack in connection with ‘process’, namely museums and collections. Ken’s citing of conceptual and performance work, is again a useful parallel here, because some of these works are actually collected in the form of instruction sets, and there is an incremental growth in knowledge of how to collect ‘versioned’ new media works which allow for further evolution, such as Thomson and Craighead’s work collected by the Harris Museum and Art Gallery:
Taylor, Lindsay (2014) “From exhibition to collection: Harris Museum and Art Gallery.” In: Graham, Beryl (ed.) New Collecting: Exhibiting and Audiences after New Media Art. London: Ashgate.
I’d love to hear about any other examples of slow evolution or radical innovation - are festivals the way forward or are collections the only way to enter art history?
On 15 May 2015, at 01:26, Ken Friedman <[log in to unmask]<mailto:[log in to unmask]>> wrote:
You raises good points on the issue of evolutionary change as contrasted with revolutionary change. I’ve been thinking about these issues. In management studies and organisation theory, there is a similar contrast between incremental innovation and radical innovation.
Beryl Graham, Professor of New Media Art
CRUMB web resource for new media art curators http://www.crumbweb.org
Research Student Manager, Art and Design
MA Curating Course Leader http://www.macurating.net
Faculty of Arts, Design, and Media, University of Sunderland
The David Puttnam Media Centre, St Peter's Way, Sunderland, SR6 0DD Tel: +44 191 515 2896
New Collecting: Exhibiting and Audiences, Ashgate<http://www.ashgate.com/isbn/9781409448945>
Rethinking Curating: Art After New Media, MIT Press<http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&tid=12071>
A Brief History of Curating New Media Art, The Green Box<http://www.thegreenbox.net/en/books/brief-history-curating-new-media-art>