Realisation of the evolution of ideas

When I began my research, I started with the view that my curatorial interests lay in creating experiences through the development of ideas from historical research. To enable me to understand curatorial practices and the processes of creating experiences from historical research, I surely must first research the history of exhibition making and curating, as an underpinning source from which to develop my practice.

My thoughts have turned to this new statement of intent for research within curatorial practice.

The focus for my postgraduate research lies in the development of exhibition making and curating, taking into account the ethical and political positions of art museums of the past decade.

#UPDATE 14/11/17

I have been to a lecture which facilitated peer reviews in pairs of our introduction of our aims (like mine above) and a short annotated bibliography. I began to question my aims. I was prompted to question what is really going on in my heart; why am I here?

What followed was a four hour existential crisis.

But then I found these two books (below)…and I think I am back on track.  I’m once again looking towards photography and adding elements of multimedia art and the development of digital media in the gallery. My new beginning is to look at the history of digital art, pulling together case studies and ideas from a range of contextual sources from the history of exhibition making in general, such as the exhibitions This is Tomorrow at Whitechapel in London in 1956, Information curated by Kynaston McShine for MoMa in 1970, and Les Immateriaux held at the Centre Pompidou in Paris in 1985. The work contained in the anthology ‘New Media in the White Cube and Beyond edited by Chrstiane Paul and ‘Art and Electronic Media’, a Phaidon publication edited by Edward A Shanken will be taken in alongside my own visits to exhibitions such as Everything At Once curated by Greg Hilty and Ossain Ward for Lisson Gallery, London, Test Pattern [No2] an audiovisual installation exhibited at Store Studios, 180 The Strand, London, and Arthur Jafa’s Love is the Message, The Message is Death – a site specific installation co-presented by the Serpantine Galleries and The Vinyl Factory, London.  Through my research I aim to understand where this shift in digital art exhibitions came from and where it is going.

 

Featured image:

Neuraij, R. (2016). Do not disturb: curating in progress. [Image] Available at: https://www.brakkegrond.nl/en/agenda/the-fiction-of-discovery-curating-academies. (Accessed 12 November 2017).

References:

Paul, C., 2008. New Media in the White Cube and Beyond: curatorial models for digital art. Berkely, CA ; London: Univ. of California Press.

Shanken, E.A., 2014; 2009. Art and electronic media. London: Phaidon Press.