From M/Cyclopedia of New Media
Return to New Media Art
New Media Curators
- The practice of contemporary curating has been affected by the characteristics of new media art. The once-fixed conditions of exhibition and reception of art are now developing in line with new media art to suit proper presentation and interpretation (Cadwallader, 2004, p.110).
- Traditionally, the curatorial role was only to put together and represent a work with published research about the history of the piece and the particular artist (Morris, 2001, p.15). But in truth, the role of museum and gallery curators has transformed and redefined to occupy that of a multidisciplinary role. The original role of ‘keeper’ of objects and art has been enlarged to enable the curator to become an active participant in the commissioning, producing and administration of new artwork (Morris, 2001, p.14). Cook & Graham (2004, p.85) and Diamond (2003, 1) outline the responsibilities of a new media curator:
- Collaborating: Creating a context for the work through collaborating with artists about the project and the ideas of the work, including how to represent them.
- Managing: managing and facilitating the emergence of the work or exhibition, and grant writing or fundraising to support their projects
- Administration: including liaising between the artist and the marketing department
Challenges to Curatorial Practice
- Traditional, fixed conditions of exhibition and reception have been altered by the characteristics of new media art and so affect the practice of curating (Cook & Graham, 2004, p.85). Some artists and curators find it difficult to decide where to display new media art: in a physical exhibition or exclusively online. If the art were to be exhibited in a physical venue, then the curator must negotiate between the many parties in the collective in order to determine its context and interpretation (Cook & Graham, 2004, p.86). However, if the collective's website is the interface for the piece, a curator must consider the level of interpretation required and the future effects of changes of site design (Cook & Graham, 2004, p.87).
- Curators have transformed from registrars to commissioners as they take upon a role of organising upcoming projects. Curators must fundamentally be open-minded and willing to take chances on a new media project since it does not tangibly exist and there is no idea of the final result (Morris, 2001, p.15). The approval of projects therefore relies on the faith of the museum or gallery, the passion of the curator and the their relationship with the artist (Morris, 2001. p.15).
Issues regarding Connectivity and Interaction
- The inherent characteristic of connectivity associated with new media art problematizes curators and gallery managers due to the need to connect to the internet. Although the anxieties of curators and gallery managers rise with connectivity because of pornography and the need for firewalls, physical exhibitions can provide good connections with the right software to enable suitable interpretation (Cook & Graham, 2004, p.87).
- The process of encouraging audiences to engage with any contemporary artwork is a serious challenge for curators working within and outside arts venues. Social factors, like bashfulness, that may face audiences when interactions between people occur, necesitate creative direction by curators or artists (Cook & Graham, 2004, p.87). However, communicating complex ideas to a broad audience is difficult, so any creative participation with a piece is highly rewarding.
Further Information
External Links
- Curator.ca is a system for artists to display their artwork over the internet
- Tactical Curating provides insight into the job of a curator of traditional art mediums.
Internal Links
-
References
- Cook, S., and B. Graham. (2004) "Curating New Media Art: Models and Challenges", in L. Kimbell (ed.) New Media Art: Practice and Context in the UK 1994-2004, Manchester: Cornerhouse Publications, pp.85-91. ISBN 0948797886
-
- Morris, S. (2001) "Museums and New Media Art," Research Report, The Rockefeller Foundation
Contributors to this entry include:
--Marnie-Anne Snow 09:58, 28 Oct 2005 (EST)
Word Count: 486 words
