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Rethinking Curating Art after New Media

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ISBN-10: 0262013886

ISBN-13: 9780262013888

Edition: 2010

Authors: Beryl Graham, Sarah Cook, Steve Dietz

List price: $39.95
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As curator Steve Dietz has observed, new media art is like contemporary art—but different. New media art involves interactivity, networks, and computation and is often about process rather than objects. New media artworks, difficult to classify according to the traditional art museum categories determined by medium, geography, and chronology, present the curator with novel challenges involving interpretation, exhibition, and dissemination. This book views these challenges as opportunities to rethink curatorial practice. It helps curators of new media art develop a set of flexible tools for working in this fast-moving field, and it offers useful lessons from curators and artists for those…    
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Book details

List price: $39.95
Copyright year: 2010
Publisher: MIT Press
Publication date: 2/5/2010
Binding: Hardcover
Pages: 368
Size: 7.25" wide x 9.25" long x 1.25" tall
Weight: 1.826
Language: English

Beryl Graham, an educator, artist, arts organizer, and curator, is Professor of New Media Art at the University of Sunderland and coeditor of CRUMB (the Curatorial Resource for Upstart Media Bliss Web site).

After graduating from Leiths School of Food and Wine in July 2006, Sarah joined the Good Food team as their cookery assistant. Spending much of her time in the kitchen, her tweaking and re-testing of new ideas helped ensure that every recipe had the perfect outcome for the readers. Now as cookery writer she regularly contributes her own features to the magazine, as well as working closely with many of Good Food's celebrity chefs.

Series Foreward
Steve Dietz
What Is New Media Art?
What Is Curating?
The Structure of the Book
Art After New Media�Histories, Theories, and Behaviors
The Art Formerly Known as “New Media”
The Hype of the New
New Media Art�Modernist or Avant- Garde?
From Postmodernism to a Postmedium Condition
Art Example: Cornelia Sollfrank, Net Art Generator(s), and Female Extension
Rethinking Curating
Exhibition Example: Harwood@Mongrel, Uncomfortable Proximity
Summary: Curating in a Postmedium Condition?
Space and Materiality
Dematerialization�From Conceptual Art to Systems Art
How New Media Art Is Different
Art Example: Thomson & Craighead, Light from Tomorrow
Rethinking Curating
Exhibition Example: Let�s Entertain and Art Entertainment Network, Walker Art Center
Summary: Dematerialized or Just Distributed?
Time- Based Arts�Video and Performance
How New Media Art Is Different
Art Example: Rachel Reupke, Pico Mirador
Rethinking Curating
Exhibition Example: Medialounge, the Media Centre
Summary: Curating in Real Time?
Participative Systems
Interaction, Participation, and Collaboration
How New Media Art Is Different
Art Example: Harrell Fletcher and Miranda July, Learning to Love You More
Rethinking Curating
Exhibition Example: Serious Games, Laing Art Gallery
Summary: How Participatory Are These Systems?
Rethinking Curating�Contexts, Practices, and Processes
Introduction to Rethinking Curating
Curating in Context�In and Out of the Institution
Models and Modes�The Practice of Curating
Summary: Curating Now�Distributed Processes?
On Interpretation, on Display, on Audience
Education, Interpretation, and Curating
Example: Tate Media
On Display
Summary: A Useful Confusion?
Curating in an Art Museum
Why Would a New Media Artist Want to Exhibit in an Art Museum?
The Building or the Immaterial Systems?
Working across Departments
Example: 010101, San Francisco Museum of Modern Art
Documentation and Archiving
On Collections
Summary: Networking the Museum
Other Modes of Curating
Festivals�New, Hybrid, and (Upwardly?) Mobile
Example: Vuk C� osic�, Documenta Done and per me
Arts Agencies and Public Art�Located, Engaged, and Flexible
Example: New Media Scotland
Publishing and Broadcast�Distributed, Reproducible, and Networked
Example: Kate Rich
The Lab�Experimental, Interdisciplinary, and Research- Led
Example: V2_, Rotterdam
Summary: From Production to Distribution and Beyond
Collaboration in Curating
Artist- Run�Alternative Spaces and Independent Organizations
Swapping Roles�Artists as Curators
Example: NODE.London
Collaborative Practices�Networks and Audiences
Summary: Artist- Led or Audience- Led?
Conclusions: Histories, Vocabularies, Modes
A Set of Histories
Critical Vocabularies�Which Verbs, Which Systems?
Beyond Novelty�Curatorial Modes
The Task at Hand�Translation
Exhibitions Index