Tuesday, November 16, 2010

New art and it's Assimilation into Institutions

These past few weeks I have been studying net.art. Here is an article that I wrote discussing whether or not net.art ought to be curated. If you read my earlier post about the Guggenheim's show "Youtube Play" you may remember that I do not think net.art is conceptually strong when placed in an institution. Accessibility at the price of authenticity is inappropriate curatorial practice.

For those who still may not fully grasp what net.art is here is a snippet from my article:

"A common mistake made discussing net.art is assuming all images and video posted to the Internet qualify. Because the Mona Lisa, along with the rest of the Louvre’s collection, are posted online does not make it net.art. The second common mistake made is believing works that deal with the internet as its subject fulfills the requirement of being net.art. Nonetheless, net.art is posted online and its subject often is a discussion of the internet. Specifically net.art’s main strengths include its immateriality, 'interactivity, connectivity, variability… and the participatory and time-based nature of the works.' Credited as being one of the first net.art pieces My Boyfriend Came Back From the War, 1996, by Olia Lialina, provides an example of how a piece, beyond just being posted to the internet, effectively uses the aforementioned strengths."

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