Graham Beryl New Collecting Exhibiting and Audiences After New Media Art

X Thousand Cents is a digital artwork that creates a representation of a $100 neb. Using a custom drawing tool, thousands of individuals working in isolation from one some other painted a tiny part of the nib without cognition of the overall job. Workers were paid ane cent each via Amazon's Mechanical Turk distributed labor tool. The total labor cost to create the bill, the artwork being created, and the reproductions available for purchase (to clemency) are all $100. (Koblin and Kawashima 2007)

New media art is nerveless. It's just that it challenges many of the established definitions, histories, exhibition forms, authorship, economic systems, roles and processes of traditional object-based art. Given this cistron, this chapter considers unlike "modes" of collecting rather than a singular "model" intended to be prepare in stone. Because a deep understanding of authorship, socio-economic systems, and processes is demanded from those working with new media art, artists are able to push these systems as far as they volition get, gleefully playing the system to make the form of the artwork reflect the content of what the artists want to say. The artists are not necessarily inserting a monkey wrench into the works to make the machine terminate as per the tradition of certain activist or oppositional fine art (although this is nonetheless an option), only developing elegant new spanners that can tweak the machine into doing foreign and interesting things.

Ten Chiliad Cents by Aaron Koblin and Takashi Kawashima from 2007, for instance, is using the existing Mechanical Turk online organization whereby many people in different parts of the world do modest digital tasks that only humans can do for pocket-size amounts of coin or credit. By making multi-authored art objects via this arrangement, selling them directly, and giving the money to charity, these artists are making visible a rather complex globalized economic system. The producers and viewers of the piece of work are also advisedly tracked on the website, fifty-fifty if they do not buy the work – average times spent and the location of visitors from Egypt to the Philippines are logged. The fact that this is completely outside of the unmarried-authored unique object of the traditional art market place doesn't stop the artwork from selling. What meliorate way to stupor the bourgeoisie in the twenty-first century than to question the allure of the international fine art marketplace, online shopping, and the globalization of networked labor?

If the question "why collect new media fine art?" is asked, and so 1 answer could be that it is a default option. Equally curator and creative person Domenico Quaranta points out: "In the enshroud era, accumulating information is like breathing: involuntary and mechanical. Nosotros don't cull what to keep, that is, but what to delete" (Quaranta 2011: 8). Information technology is certainly easy and cheap for individuals to purchase immaterial or fabric artworks such as Ten Thousand Cents, and those with more coin to spend can obviously develop a sense of taste for the wit, beauty, and complexity of artworks which are dealing with contemporary systems, cultures, and bug, to whit the Carroll/Fletcher Gallery which deals in gimmicky art, including new media (run into Chapter 10).

Those in accuse of institutional collections obviously have an eye for history every bit well every bit for more immediate gratifications, but if they deal with contemporary art at all, they can be including new media art depending on the knowledge and gustation of curators or even of national government ideology. In examining collecting internationally, information technology is noticeable that nations that see themselves as young, forrard-looking, and technophilic are rather more likely to collect new media art. The National Taiwan Museum of Fine Art in Taichung, for example, has a special category in its collections database for immature Taiwanese artists and publishes a lavish catalog each twelvemonth of merely immature artists. Collecting new media art is seen every bit office of this remit, and the Museum equally a national collection is actively encouraged by regime funding and ideology to practise this (Graham 2012a). Although the funding might be enviable, collecting considering of government ideology plainly also has its drawbacks, not least because government credo changes perhaps even more frequently than art world fashions; therefore, what happens when new media art is no longer "timely" (Graham and Cook 2010: 285)? Other conversations in Taiwan revealed a strong "cultural industries" agenda, which might exist familiar to those in the UK, where new media appeals to authorities agendas purely equally a commercial product and hence forces the agreement of new media towards pattern rather than art (Variant 2010).

Given the popular adage stating that what is collected is "artists not artworks," a particular interest in young and early career artists might be a good reason why new media art is collected, as many new media artists are necessarily early on career. However, as many artists by at present accept a solid 20 years of new media fine art practice under their belts, this is not necessarily the instance: Rafael Lozano-Hemmer in the Introduction, and Thomson and Craighead in Chapter 10, for example, take substantial bodies of work in diverse collections. New media art is, unsurprisingly, nerveless in various ways for various reasons. What this chapter aims to do subsequently clarifying who collects what is to identify different "modes" of collecting, especially where these modes or systems might exist adapted to friction match the nature and systems of the artwork itself. These modes depict on some histories of collecting as outlined in the Introduction and use international examples that are not covered elsewhere in the chapters of this volume. Bruce Altshuler's 2005 edited book Collecting the New: Museums and Contemporary Fine art is notable not only for its inclusion of art forms including performance but also for examining how the art is collected. This affiliate also seeks to practice this and hopefully to highlight how the collectors might be the richer for it.

Doing Cities on the Move was an almost unbearable thing for the establishment, the audience, and even the artists because the works had to modify. This is a challenging concept to those who think that fine art is a commodity for the marketplace. The market place regards fine art as a matter that does not alter. Information technology'due south time for us to articulate the importance of immaterialty, fluidity, performativeness, and change as primal to our activities. (Hans Ulrich Obrist in Kuoni 2001: 77)

"Immateriality" is sometimes cited as an insurmountable obstacle for collecting new media art. Still, every bit Hans Ulrich Obrist indicates, curators of various contemporary fine art forms take been dealing with this for some time. For curators of new media art, the levels of materiality are hotly debated and the behaviors of immateriality are seen as their basic "operating system":

The economics and temporality of net art, software art, database art or any fine art process that lives online and is formulated through lawmaking, presents a distinctive operating environment for the curator of this "immateriality." This sphere of operations lends itself to a more distributed topography of conclusion-making and evaluation (quick and painless dissemination of work, participatory features, time/infinite plummet). (Vishmidt 2006: 45)

This code might exist materialized or performed in unlike ways – on a screen or as sound – and the same code might be commercially distributed as a DVD or express every bit a pocket-sized edition. Depending on the museum, it might collect various things: the National Media Museum in Bradford, for example, has a large collection of media objects such as screens and projectors which are not art, simply might be necessary to brandish fine art, and it is these items which appear in the Museum'south online collection database website. It has likewise deputed for long-term exhibition artworks such as Thomson and Craighead's A Live Portrait of Tim Berners-Lee (run into Chapter 10).

Artists who work with new media, however, are very used to the variability of the materialization of their ideas and lawmaking in different contexts. The artist Carlo Zanni, for example, has artwork which exists just on screen, but has also worked on objects, sometimes of a temporary nature, which make visual sense in the context of his work: The work File from 2000, for case, used modest 32-pixels-foursquare desktop icons as "portraits" of people. For an exhibition in New York, he also printed out the images and mounted them on aluminum, but at exactly the same tiny size that they were on a computer screen. Zanni has also produced a series of artworks called Altarboy, specially made for screens in metal suitcases, and has actively sought to develop the debate on new media art and material forms for collecting past hosting a forum chosen "P2P_$: Peer to Peer $elling Processes for net_things" and a mailing list "P2P_.EDU: Peer to Peer Educational for fine art dealers" (Zanni 2010: 44).

Figure one.1 Carlo Zanni's Oriana (Altarboy), 2004. Installation view at the Chelsea Art Museum as office of the exhibition The Passage of Delusion – Illusory Virtual Objects, 2004, curated by Christiane Paul and Zhang Ga. Photo by the artist. Image courtesy of the creative person

In 2001, Susan Morris' research report on museums and new media art identified three key pre-existing models of "what" exactly was collected: an original, unique work of fine art; an edition; or a operation (Morris 2001: 9). Museums still sympathise collection broadly under these headings of object, reproduction, or score/performance rights, and hence securely influence "what is nerveless." When examining the actual new media objects that museums have in their collections, it tin can be interesting from a curator'due south point of view to see and handle the solutions that artists themselves come up up with. The Victoria and Albert Museum (Five&A) has a Prints and Drawings Report Room where, admirably, the public can make appointments to handle works from that collection. Searching the online collection for Casey Reas' 2010 Procedure eighteen (Software 3) comes upward with nine separate items in the collection: two CDs containing software, ane documentation print signed past the artist, five other digital prints, and a presentation box. If these are requested for examination, then it becomes clear that the artist has carefully considered how to present the work for a collection. The aluminum presentation box neatly contains the CDs and signed print. The CDs are annotated by hand in pen and are sewn betwixt two sheets of drafting vellum, bringing a certain presence and manus of the artist to highly immaterial software art (encounter also Chapter viii).

Figure 1.2 Desk-bound in the Prints and Drawings Study Room of the V&A, with selected items from C.Due east.B. Reas' Process eighteen (Software three), showing (left) signed digital prints and aluminum box, and (right) CD-ROM sewn into drafting vellum. Photos by Beryl Graham. Courtesy of the photographer and the artist

Whilst Morris' three categories are even so reasonably flexible, there are some aspects of new media art that disrupt them beyond the general immateriality of conceptual art or functioning. Starting time, in that location is the phenomenon of versioning – common enough in software production where a cycle of improvements is usual, merely less and so in art. Artists such every bit Casey Reas, notwithstanding, are very articulate well-nigh exactly which version of the software is being considered and which kind of output is obtained from that software. Second, in that location is a ready of socio-economic ethics and systems surrounding certain new media, including open up source production methods, free software, copyleft, and multiple authorship, which mean that much piece of work has been washed past researchers to integrate details of specific contracts and economics into the consideration of collecting new media art (Dekker and Somers-Miles 2011).

Economic Modes

Free appurtenances and commercial value creation are non primal opposites. On the contrary, it is the specific features of these goods that create entirely new needs. Information technology could be briefly formulated that what is specific about services based on gratis appurtenances is not the focus on sectional possession, merely rather the stabilization of social relationships. (Stalder 2010: 76)

Like some conceptual art and new media art, the law might deal with material products, but is quite used to immaterial concepts such as patents and trademarks used to "protect" objects. As Caitlin Jones indicates in Chapter 7 of this volume, new media art is sold in various ways, and the creative person Rafael Rozendaal has been quick to rationalize the potential of URLs – the necessarily unique domain name of a website – to form a unique sellable item, with a unlike URL for each of his net artworks. Some economic modes for selling immaterial works, notwithstanding, are not so elegant, such as [south]edition (seditionart.com), a website selling digital reproductions of art objects including sculptures or paintings and a special Facebook sign in. What the buyer gets is access via a smartphone, computer, or TV to digital images and a certificate of "authenticity," a rather disruptive and tortuous mode to those familiar with new media behaviors.

Those of import open source and free systems defined in the Introduction to this volume are of obvious importance for economic bug, and Felix Stalder goes on to examine the more than difficult questions which challenge traditional fine art drove more fundamentally. He identifies 4 different types of "value" that do non involve owning an object: "embodied knowledge, possession through association, privileged admission, and symbolic shareholding" (2010: 79). Most of these systems might already be familiar to those working in the art world, including purchasing access at "premium" times or spaces, or of sponsors choosing to be associated with events of "high social value."

What might exist less familiar to the fine art earth are those other systems that specifically attach to open source and gratis software in particular. Such software is free to utilize, study, share, copy, and alter, and tin be licensed under a General Public License (GPL). Every bit outlined in the opening quote, it can be a source of much puzzlement how whatsoever artwork could be bought or collected in this case. Felix Stalder, however, suggests that artists could do good economically in at to the lowest degree three ways:

Dual Licensing A effect of the GPL is that all software based on GPL code must be redistributed nether the GPL. Not all users want to be restricted to these atmospheric condition. This results in the demand for the acquisition of a plan under a not-free license as well …

Customizing Gratuitous and Open Source Software, specially when information technology is adult in formally open networks (which is normally the example), is generic for structural reasons. For it is the generic core of a problem that is shared by many and around which cooperation is organized in larger groups. The application of software, however, is almost always unique, specially if it passes a certain stage of complexity …

Back up Next to customization, the area of support certainly creates the greatest need for commercial services based on free appurtenances. A primal criticism of products produced in open networks is that responsibility and accountability are oft unclear. Although near problems can also be solved inside the open network (by consulting forums and mailing lists), this tin can have a great deal of time and endeavor and may also presuppose a loftier caste of knowledge on the part of the person trying to solve the problem. (Stalder 2010: 84–86)

As Stalder identifies, "dual licensing" tin enable a more flexible sense of ownership or, as Jaime Stapleton has put it, "bundles of rights" (Dipple 2010). Although "open up source" is sometimes rather loosely applied to kinds of artwork that rely on process and participatory structures, in that location are obvious differences between a organisation that is collectively authored and free, and an fine art system that is strongly founded on authorship linked to financial value. Still, because Creative Commons and GPL licensing retains a stiff emphasis on crediting and moral rights to works, in that location are certain parallels that can exist made. As researcher Dominic Smith has discussed, open source production methods do not mean that there are non hierarchies of authorship or ownership of works, but that the hierarchies attach more to levels of instigation, activity, and skill than to the repute of an individual creative person (Smith 2011).

"Customization" could involve an creative person presenting a solo version based on a larger commonage project – with proper credit of course. In a fiscal sense, it could exist argued that new media is really more than sellable because of its "customizable nature":

Beat Brogle's i-wordmovie asks visitors only to type in one word. The onewordmovie program and then searches the Internet for images involving this word and makes a wink movie out of them … The interaction becomes binding only when it comes to a sale. The object sold is a DVD containing the film made for the word in question. The choice of words volition be correspondingly more discriminating. Volition the discussion chosen generate only nice pictures or will it limited the client'southward originality? (Schwander 2010: 34)

"Support" for an creative person could mean providing workshops or creative person-in-residence activity around a project. Artists Harrell Fletcher and Miranda July, for example, with their online participatory project Learning to Dearest You More, did not find that the multi-authored nature of the work prevented the artists being paid for workshops and exhibitions, solo works based on the material, or the work being collected (run across Chapter 6).

Particular new media economic modes tin therefore exist seen both as a challenge to pre-existing modes of collecting and too as flexible actress modes to be considered and adapted for the time to come. Every bit outlined in the Introduction, open source production methods could also mean the possibility of "crowd-sourcing" the conservation of art, or software art in particular, and could this provide a possible solution for a long-standing event for collectors.

Who Collects? Public and Individual Roles

Curators, registrars, audiovisual technicians, and conservators negotiated their roles equally collections forced them to make radical alter. (Wharton 2012: xix)

Glenn Wharton of New York's Museum of Modernistic Art (MoMA) describes The Museum Life of Nam June Paik in terms of the upshot that the artwork itself has on the roles of all those involved in collections. In add-on, Sarah Melt has identified in particular the office of the registrar as primal to considerations of data-based new media: "the role of the registrar inside the museum – someone to create an data system for the data generated by the contemplation and study of the art object, someone to tie fact to artifact … is the most challenged past new media art. The curatorial and registrarial challenges of new media fine art run from questions of how to commission and to collect it to how to certificate and annal it" (Cook 2004: 331).

Certain key roles exercise grade important hubs of information, and the connections between them too become more salient. At the San Francisco Museum of Modern Art (SFMOMA) in 2001, the exhibition 010101: Art in Technological Times caused changes in the institutional flowchart of piece of work between staff, including who worked with whom, including collaborative work and new relationships betwixt curatorial, educational, and website staff in particular. In 2012, Layna White of SFMOMA echoed this change of roles when considering what kinds of information were needed from whom in order to collect new media art, including the roles of conservator, artist, and audience (Baltan Laboratories and Van Abbemuseum 2012). These factors all reinforce the importance of roles, and the ability to interact betwixt curators and others involved, if new modes of collection are being considered (Graham and Cook 2010: 247ff).

Alongside the question of the roles of those involved in collecting within museums, there is as well the question of what kind of museums collect, and the two questions are firmly related. SFMOMA has an eponymous responsibleness to collect the modern and gimmicky, while the National Gallery of Canada has a responsibility to collect Canadian artists, many of whom happen to be media artists (Gagnon 2001). In both cases, the institutions have employed certain curators who take a special knowledge of media and new media art, a factor that is, unsurprisingly, firmly linked to general art institutions who practice collect new media art. This is also the example with an example of a collecting arrangement which is not a museum only which collects fine art and design, with an eye for national strengths in an international context. Information technology is perchance because of this emphasis that the British Council has been highly conscientious in informing itself about all new art forms. It has in its collection, for example, works by artists commissioned to make mass-produced items for the home, digital animation, and, importantly, works by Thomson and Craighead, including objects, prints, and the networked data piece Decorative Newsfeeds from 2004.

Museums with a specific remit to collect new media art are relatively rare, just where they practice exist, they reveal the more subtle variations in what is nerveless by whom. At ZKM (Zentrum für Kunst und Medientechnologie) in Karlsruhe, there is a very interesting relationship between the Media Museum, with its drove of interactive media art, and the Museum of Contemporary Fine art in the same building, with its drove of contemporary art. The collection of interactive media art is shown both in physical gallery spaces in a media-object-based approach and via documentation in the media library, some of which is also bachelor online via the website, forth with interpretation. The Museum of Contemporary Art is the one physical space that is advertised equally offering "selected works from individual collections" (Graham and Melt 2010: 204). The ZKM Medialounge as well shows single-screen material from the media archives and, importantly, the two production institutes for epitome and sound have also fed into what was collected, an aspect pointed out past Johannes Goebel: "One would have to await very closely (and deeply) into the politics of ZKM and the directors of these two museums – their relationship and how these museums were placed in the context of the overall ZKM enterprise (which included production institutes" (Goebel 2013). Information technology is not, all the same, only the roles of those in public collecting institutions which are brought into question by new art. Equally explained in the Introduction, the piece of work of Rafael Lozano-Hemmer is in both public and private collections and so this field also needs to be examined.

Private Collectors: Patrons or Collectors?

The people who buy a work of art they cannot hang upwardly or take in their garden are less interested in possession. They are patrons rather than collectors. (Lippard 1973: fourteen)

Equally Lucy Lippard explained in relation to "dematerialized" art in 1973, private collectors might demand to consider differentiating their roles from those who collect objects. Again, new media artwork is collected, simply using different economic modes and with the collector playing slightly dissimilar roles. There has been particular resistance in the kickoff place to thinking of media art every bit something that people would want to "hang upwards or have in their garden," but this is perhaps a misconception:

Like many innovative collections, the Kramlich collection did non get under manner in an entirely accepting atmosphere. There were those who were unconvinced of the importance of the medium and Nay Sayers who were suspicious of an art grade that could exist so effortlessly copied. Nonetheless others were sceptical as to whether these artworks could be installed and integrated in a private habitation. (Thomas Struth in Riley 1999: 171)

Individual collectors Pamela and Richard Kramlich practise indeed take media art displayed all around their abode, and with items such as iPads and large LCD screens being already well embedded in many homes, it could exist argued that new media is an inherent domestic ready of technologies. The fine art-selling website softwareartspace.com features single-screen works by artists including Golan Levin and C.Eastward.B. Reas, in editions of 5,000 for around $125, and shows a photograph of the happy customer viewing the work on a nice flat-screen Television in the comfort of their lounge. Although the excitement of the "innovative" in the confront of nay-sayers might be something that appeals to some individual collectors, others also have an interest in historical works – such every bit Michael Spalter and his wife Anne Morgan Spalter, who accept created one of the globe's largest private digital fine art collections, including many early on computer fine art prints – and move firmly out of the domestic – loaning works to venues such as London's V&A and New York's MoMA. As Caitlin Jones outlines in Chapter 7, private collecting is live and well.

Fine art fairs are an obvious place where the art buyer meets the art seller, and there is a growing presence of commercial galleries which include new media, such as Carroll/Fletcher'southward presence at the Loop Video Art Fair in Barcelona in 2013. There take been particular initiatives to raise the visibility of new media art. In 2009 and 2010, for example, Domenico Quaranta curated the Expanded Box section at the ARCO Art Fair in Madrid, and in 2009 in China, the art off-white project e-Arts Across during the Shanghai Gimmicky Art Fair, and the exhibition base target=new curated past Zhang Ga, made a point of including media artworks.

So, if Lucy Lippard claims that private collectors of immaterial art might human activity more in the role of patron, is this too true for new media fine art? Wolf Lieser, who has been running galleries selling digital fine art since 1999, stresses the long-term approach to private collecting: "From the beginning I accept approached my customers on the footing that beginning of all: this is the futurity in art; 2nd, forget about the former concepts of buying a painting and taking it abode. Instead consider your acquisition a contribution to the artist, and then he can work better and create better art" (CRUMB 2012). The creative person Esther Polak concurs with Lieser, albeit in the context of PhD students asking for permission to reproduce images, and who never take whatever money for reproduction fees: "nosotros give permission under the condition that they promise us to buy a work of fine art with the showtime money they earn, based on the grade involved. The piece of work does not have to be ours, as long every bit it is from one of the artists that truly inspired them" (Nibble 2012). Artists therefore might be feasibly considering long-term patronage – or rather very long-term altruistic bartering in Polak'due south example – but this might however exist a small amount of money compared to other sources. When European artists Jodi were questioned about income sources, their respond indicated that public funding was still in the bulk, with ten per cent sales, forty per cent fees commissions, etc., twoscore per cent grants, and 10 per cent private funding (Jodi 2010: 144). To gain some kind of idea of what kind of prices are beingness paid for artworks in a globalized market in 2010, the cost for one of the 10 copies of the offline version of the work Traveling to Utopia by Immature-Hae Chang Heavy Industries was set at $10,000. At the art merchandise off-white Art Basel in 2009, the Vitamin Artistic Infinite from Guangzhou marketed animations past the Chinese artist Cao Fei for €26,000 (Storz 2010: 106).

What the market for new media fine art has in common with the market for contemporary fine art in general is that the more famous the artist, the college the cost. The creative person Jonas Lund has rather satirized this golden rule by making a website, The Paintshop, where people tin use a digital painting tool to make a square painting which goes into a bigger patchwork of images. The paintings can be purchased as a digital impress online and, importantly, the price of each painting is calculated using the Paintshop Rank™ algorithm and is updated daily. The algorithm calculates the popularity of the painting by online hits and adds the "stature" of the artists as measured past the artfacts.net website. Et voilà, an automated fine art market calculated via artistic fame (Lund 2012).

Figure 1.3 Installation item showing prints from Jonas Lund's The Paintshop.biz (2012) from the exhibition The Paintshow at the Van Abbemuseum, Eindhoven, 2012. Courtesy of the artist

Artists and Audiences as Collectors

[T]he artists ready sure parameters through software or a server and invited other artists to create "clients", which in and of themselves again establish artworks. In these cases, the artists begin to play a function similar to that of a curator, and the collaborations are usually the result of all-encompassing previous discussions, which sometimes take place on mailing lists specifically established for this purpose. (Paul 2007: 256)

Art historians may well exist familiar with artists using archives and making their own collections: archivist and reference librarian Mark Lombardi, Walid Raad/the Atlas Grouping and Susan Hiller to name only 3. Some critics, notwithstanding, have deliberately excluded new media artistic collection strategies from consideration of the "archival impulse" on the grounds of existence too "fungible" (Foster 2006: 144). Nevertheless, there are enough of examples where artists are non only using but are also making collections of media or otherwise, such as Hannah Hurtzig's FCA – (Flight Instance Archive), a mobile continuously growing archive. Every bit a dramaturge and curator, she fully considers non only the drove but likewise its human relationship to its audition, whether sitting in a packing case or participating in a live issue, such as Blackmarket for Useful Knowledge and Non-Knowledge (Hurtzig 2012).

Equally Christiane Paul states in the quote given higher up, some new media artists have taken this fifty-fifty further. She refers to Alex Galloway and Radical Software Group'southward Carnivore, where the artists are not but acting as curators but are also offering the users the chance to be curators too – the chance to be in command of the whole system. As established in the Introduction, collections management databases and online interfaces offer audiences the chance to choose their own collection from museum collections, and museum websites abound with such opportunities. Much wider than that, the audience has been quite familiar for some fourth dimension now with making its own collections from YouTube or anywhere on the broad horizons of the Net: "Everything I assembled over the years simply accumulated on the computer, and from in that location on the myriad fill-in discs with their ever-increasing storage capacity. When, at a later appointment, I would rummage through that jumble of folders and subfolders, I unfailingly felt like the owner of a medium-sized museum" (Quaranta 2011: 8).

Furthermore, the audition can make its own taxonomies or folksonomies of folders, subfolders, favorites, tags, and keywords, as outlined in the Introduction to this book. The question of the quality of audience curating is always, of course, a key effect, but yet inspired FACT in Liverpool to develop the project Open Curate It (http://www.opencurateit.org), and equally Mike Stubbs explains:

Function of the intention was to shift the terrain from classic gimmicky art systems and invite people who had not had formal preparation in curating or theory to have part in a contend and consider new forms nuancing collecting, licensing and curating – informed by a playlist culture and as an experiment in creating [the] opportunity for people to play and improve their "curating" – thereby validating a range of practices that might be deemed "folk." (CRUMB 2012)

Audiences are indeed so adept at surfing, tagging, linking, and using those links to "exhibit" that in "surf clubs" such as Marisa Olson's Nasty Nets, in that location is little visible differentiation between artists, curators, geeks, or just regular surfers. Surf clubs such as Trail Blazers include performative and competitive elements, comprising opportunities to "show off your PRO surfing skills" (nm.merz-akademie.de/trailblazers).

Such breaking down of boundaries and changing roles is a feature behavior of new media, and of course artists take systematically challenged very basic conceptions of who collects. Collecting the World wide web was an exhibition curated in 2011 by Domenico Quaranta and included work past Gazira Babeli whose Save Your Skin was a collection of "skins" filched from their rightful owners, smuggled out of Second Life and presented in an contained setting (Quaranta 2011: 70). Database Imaginary was an exhibition curated in 2006 by Sarah Cook and included work past Alan Currall, whose CD-ROM Encyclopaedia included definitions and data from ordinary people rather than from experts. As Cook states: "It is this question of the 'where' of art – in the collection, in the network, in the digital data space – that has led me to an involvement in geographical-sited online database art" (Cook 2004: 332). The being of such diverse, culturally specific, and located examples of new media artists' utilise of archives and databases might suggest that rather than being merely "fungible" mutually interchangeable data that tin be substituted for other data, these uses show what can exist achieved by a fine awareness of how data and archives conduct, and how both audiences and art experts might use these archives.

Modes of Collection

I would suggest that a curator especially a net art curator should become an instigator of a procedure that is open concluded. To my heed this means setting upwardly a loose structure that allows for maximum inventiveness and then inviting individuals to exercise something. Y'all organize the material after the event occurs. In this way you are an archivist more than a curator. This is already somewhat of the default process on the spider web. What has not occurred is the side by side stride which is the analysis and presentation of webmaterial in real life. That is the heady part. (G.H. Hovagimyan in CONT3XT.Internet 2007)

As Hovagimyan states, modes of drove are indissolubly linked to modes of brandish and, for the particular behaviors of new media, highlight a tension betwixt the roles of collector, curator, and archivist along dissimilar points on a timeline. Modes of drove are therefore strongly linked to the intent of what is to be nerveless, past whom, and how.

Well-nigh museums practice, of form, have a highly structured acquisitions procedure, which proceeds charily over time with great consideration of artistic provenance, quality, and historicization. A large panel of people is often involved and there is oftentimes some argue over who is included on this panel – which curators, whether academics and artists are included, and in which proportion (Graham 2012a). Conventionally, the artists collected have a long and solid provenance, but if a museum wishes to collect "the new," so how might the artworks become known to those people on a panel and enter a drove?

For new art in general, festivals have been an first-class way of seeing such works. In Seoul, for example, the Mediacity Seoul festival has brought international artists to the city, including the Spell on the City project which had gallery-base elements, but used some of the huge video screens to show invitee artists' work, and to facilitate input from the audience via Twitter and other social networking tools. Major exhibitions in the Seoul Museum of Art brought local and international curators together, and then that the Museum is now familiar enough with new media art to consider bringing it into its permanent collection. The next section therefore addresses what might happen in the period before an artwork is collected, including the cosmos of art through commissioning or producing.

Figure 1.4 Installation view from the Spell on the Urban center project on Seoul Foursquare screen, showing an epitome past NMARA (New Media Art Research Association). Office of Mediacity Seoul 2012. Prototype courtesy of the artists, Mediacity Seoul and Seoul Museum of Art

Modes of Acquisition, Commissioning or Production?

When Benjamin Weil was Curator of Media Arts at SFMOMA, he noted that the kind of inquiry and development needed for new fine art and new media art in particular demanded commissioning, and a particular kind of commissioning if this was to lead to collection. When he commissioned Christian Marclay to make Video Quartet, the creative person named Weil "executive producer" on the credits because "yous plant the money, you found the people who helped resolve all the technical problems. You followed the production of the piece; you negotiated a contract with my gallery. You found the right people to stage it in the museum. This is what an executive producer does, in another globe" (Weil quoted in Graham 2002) This role of producer is certainly a more hands-on and applied approach than might be expected and could be particularly suited to new media art.

Commissions do not, of grade, ever make it into a collection. Considering collecting is a long process administered by a big panel of people, whereas commissioning is often done by an private curator, certain freedoms and speed of motility are possible, and newer piece of work and ideas are permissible. There is always an element of gamble, notwithstanding, which was discussed as a prime factor at the Commissioning and Collecting Variable Media symposium (Nibble and CAS 2010). The debate included the importance of defending an artist's "right to fail." This led to discussion of other modes of production that might be familiar to those working with new media – such every bit that of the "laboratory" manner. There are many good examples of new media labs such as Eyebeam in New York that have excellent "producer" modes of working which fully have business relationship of processes, failures, and versioning, but fewer examples of where this leads to collections (Graham and Melt 2010: 234; Moss 2008).

This chemical element of "take a chance" is a recurring theme in relation to commissioning and collections – as described in Chapter 5, the Harris Museum selected artworks for exhibition from an open phone call before selecting from the exhibition for collection, just has moved on to co-commissioning new media art since then. Good connections between museum departments can certainly help spread the risk, and some curators take suggested diverse adaptations of commissioning and collecting modes that behave in slightly different means to overcome the caution of some institutions. For instance, an artist might exist commissioned to brand a customized "version" of a new media artwork to adapt a particular institution rather than a new unique work. Benjamin Weil has suggested modes where an artist might donate a copy or edition of the work to the archive, and even if not in the permanent collection, that helps to historicize the work (CRUMB and CAS 2010). The DACollection in Switzerland forms some other style of collection: "in its initial stage … [it] comprises long-term loans from individual collections and loans from artists" (DACollection 2011). In terms of conservation, in that location could as well be a partical style solution if that would prevent the work from beingness nerveless at all: Benjamin Weil'southward opening quote only promises to conserve "for equally long equally you can" on a basis of maintaining the rights to display the work.

Effigy 1.5 Installation view of Woody Vasulka'south The Maiden, 1997, from The Brotherhood exhibition at ICC Tokyo, 1998. Image courtesy of Steina and Woody Vasulka

Therefore, what tin can be acquired tends to depend on the sum of economical, practical, and conservation factors, and whether hybrid solutions can address the perceived risks. Benjamin Weil's mention of art residing in an archive rather than a collection brings us back to the point instigated past Steve Dietz in this book – that of the archive considered as a mode of collection … or equally a hybrid mode somewhere in between.

Modes of Archiving/Collecting

I call back all of us are interested in diminishing the bureaucracy between the archive and collection for obvious reasons, simply those hierarchies still practice bear upon conditions that mean the annal will probably be less attainable to some scholars than the collection – it is certainly not accessible to the public. So I just want to ensure that we engage with that piece somehow through our collection, and that it is really attainable and present in how we're constructing that history. (Stuart Comer quoted in Graham 2012b)

Stuart Comer, Curator of Film at Tate Modern, acknowledges the key tension for "collectionish" strategies that might situate works in an archive rather than a permanent drove. There are hierarchies of ability and accessibility involved, so how does the audition then get to admission that collection in the form of public brandish? Museums, subsequently all, tin mean diverse unlike things when they describe collections of items as "display drove," "study drove," "annal," or "library." In 2012, The Tanks, a new fly of the Tate Modern building in London, opened to the public. The Tanks opens directly from the main Turbine Hall, has a particular remit to show piece of work from the Tate collections, and the combination of curators tasked with programming the infinite is of item interest, comprising Film and Video, Performance, and Educational activity. When showing work such as Lis Rhodes' Light Music, it was important that the participative intent was maintained, and Suzanne Lacey's 1987 performance The Crystal Quilt, which at present exists in the form of a video, documentary, quilt, photographs, and sound piece, was non displayed just equally documentation or as a stand-alone artists' video, but advisedly reinstalled, for example, as a audio installation. As Stuart Comer says in the brochure for The Tanks program at Tate Modern: "They are non but performance documentation that tin be played back at [a] whim, but rather rely on a specific set of instructions to reanimate both the existing moving-picture show or video material and the actions that attend it" (Comer 2012: 42). Mark Miller, Convenor of the Immature People's Programmes at Tate Britain/Tate Modern, has also identified a blurring of boundaries betwixt participatory modes for alive events, product workshops, and exhibition strategies when information technology comes to reanimating work from collections (Graham 2013).

These instructions are as likely to be in the archive equally the collection, and if new media is too often found in the archive, then curators need to be familiar with accessing both systems, and making them accessible to others. At the Nam June Paik Center in Seoul, for example, the library is simply off the spacious entrance entrance hall and is literally transparent: screens provide sheltered corners for reading printed affair, using databases or viewing DVDs, just the translucency beckons the user in with the promise of something interesting effectually the corner. The stacked shelves give an impression of a large quantity of material and there are helpful people to assistance the users of this explicitly public library to navigate the relationship between the library, the annal, and the large and very physical collection of Paik'due south work.

Figure 1.six Installation view of the Nam June Paik Library at the Nam June Paik Fine art Center, Seoul. Designed past Nahyun Hwang and David Eugin Moon (NHDM). Epitome courtesy of Nam June Paik Art Center

As established in the Introduction, new media are both tools for collections management or athenaeum and media from which to brand art. Leaving bated the perceived differences between analog and digital archives in terms of quantity and perceived ephemerality, it is the fact that the means of production is too the means of distribution and exhibition for networked new media that most closely addresses Stuart Comer'due south concern with access (run into also Part B of this book). It might therefore be useful to differentiate two different kinds of archives in relation to collection and and so to explore the hybrid examples betwixt those two. Equally already discussed, each of these types of athenaeum might exist more or less open to input or changes by different people:

Archive as documentation of fine art is peradventure the most familiar blazon, and of obvious use to curators and others wishing to notice information about art. The Database of Virtual Art, for example, was an early adopter of the online database as a way of finding artists whose piece of work was not so easy to find in other fine art databases. It could be argued that Vimeo, LinkedIn, Flickr, or the Internet itself are the largest, virtually connected and most participatory athenaeum of documentation of fine art.

Archive equally a collection of art tin really just be counted as such if the artwork is fully bachelor in the archive, and in new media art terms, this means that this tends to be restricted to unmarried-screen digital media, net art, or software art. The website Turbulence, for instance, shows the internet art that they commission, and proceed it publicly bachelor, with the usual "catalogue data" of engagement, media, etc. Turbulence do not name this as a drove, simply it appears to office equally one. (Dekker and Somers-Miles 2011)

What then nigh examples where in true new media fashion, an archive might incorporate both fine art and its documentation? Every bit described in Chapter 4, Rhizome'southward ArtBase has at various points in time been described as either an archive or a collection, depending on the levels of conservation and display feasible for various works. Likewise, Pad.ma has elements both of documentation and collection. The actual video works on the website are available to the audition to lookout, only anyone can also annotate the video works via open source software. Lots of information is available near the works and the contexts, and Pad.ma has sought to animate the annal by hosting research fellowships for "experiments with video archives."

The unassuming but long-running runme.org "software art repository" is open-submission and moderated/selected, and as well happens to accept an interesting set of folksonomy strategies (come across the Introduction). Artworks include, for example, Graham Harwood'south (from William Blake) London.pl from 2001, a Perl verse form that translates William Blake's nineteenth-century poem 'London' into program code. The webpage for each work includes links to projection homepages and features about the work, and the work itself is there on the website for download. The archive could therefore be argued to be an archive of linked documentation and besides a collection of art, because the art is present in the archive. Although some might argue that runme.org is non a drove because runme.org does not own the artworks, they are nonetheless a selected collection and the economical modes discussed before in this chapter could suggest that the audition owns the drove equally much every bit anyone else. If a conventional fine art museum is publicly funded, it could exist suggested that in that case besides, the audition owns the work as much every bit the museum – information technology'due south just that they are not ordinarily allowed to accept the artworks home.

It is therefore very useful to be able to combine the information of the archive with the embodied noesis of the art object. All the same, when Stuart Comer of Tate Modern talks about an "annal," and then that is the repository where exhibition files containing correspondence, installation photographs, and audience studies and budgetary information is kept – information of great value to those wishing to exhibit that work once more. Crowd-sourced archives do not really replace the painstaking institutional archives, but the latter practise accept their disadvantages – they might not be available outside the arrangement, even to scholars. In new media terms, the most valuable kind of combination of annal and drove would exist one in which there is "all available data," an "open source" collection/annal if you will. Although runme.org certainly has written and published very openly most it processes, and input data is available on the website, the processes of curation are not really made available so that others could do the aforementioned. The NODE.London network, which organized a "no-curator" fashion of new media art festival, is admirably open about its processes, but does not have a collection (Graham and Cook 2010: 261ff):

Although "the open museum" is sometimes discussed in rhetorical terms, at that place is little disquisitional differentiation between kinds of openness, or indeed hybrid modes of working … (Graham forthcoming)

Those working effectually art collections need to be familiar with both athenaeum of documentation and collections of art, how to extract material from both, and how to make them bachelor to audiences. The question remains as to how this might be achievable, early investigation points towards collaboration, and early indications point towards the collaborative connections made between roles, including the roles of audiences.

Integrated Modes of Drove, Exhibiting, and Audience?

Recently, "Net Art" changed from beingness an art form in new media to a discipline in contemporary art. I see several preconditions for this transition:

1. Big audience. If yesterday for net artists it fabricated sense merely to address people in front of their computers, today I tin can easily imagine to address visitors in the gallery – considering in their majority they volition only have gotten up from their computers. They have the necessary experience and understanding of the medium to get the ideas, jokes, enjoy the works and purchase them.
2. Mature medium. Maturity for a medium means that users are really busy and the medium became totally invisible. If I want to attract attention of users to their online environment and create works about the World wide web, I'll better exercise it offline. Net art today is finding its style out of the network.
3. Slim computers. They look exactly like motion-picture show frames and they come with only ane push. Yous press this button and the art piece starts. Reducing a computer to a screen, to a frame that can be fixed on the wall with one nail, marries gallery space with advanced digital works. Wall, frame, work of art. And the art world is in order again.
4. Geek Curators. To name some with whom I had the pleasure to piece of work – Paul Slocum, And/Or Gallery (Dallas), Marcin Ramocki, VertexList (New York), Proverb Ilyukhin, ABC (Moscow). They are not only knowledgeable about the online world and free from the media art prejudices of the 1990s, but also technically competent and innovative. They can offer truly unexpected solutions for materializing, objectifying and preserving works that were born to live in the browser. (Lialina 2010: 38–39)

Artist Olia Lialina rather pithily summarizes a listing of factors which she sees every bit important in integrating internet art into the contemporary art scene. She too chimes with some recurring themes of this book: those of audience, historicization, exhibition/objects, and roles. In terms of considering modes of collecting, these in plough chronicle to what is collected, who collects, and how the collecting happens.

In considering what exactly is collected, it is clear that in that location is a range of fabric options for artworks that might be considered "immaterial," not least those springing from the inventive minds of the artists themselves. For works that are resolutely immaterial, modes from other immaterial fine art forms such equally conceptual art or performance art tin be adjusted to a certain extent, but, conversely, some new concepts straight from new media production and economic systems could in the future inform many art forms which business concern procedure rather than product. In particular, the systems of Dual Licensing, Customizing, and Back up could offering economic options for which artists can go paid for immaterial art.

These economic modes mean that private collectors can also collect in various means, including taking on the roles of long-term patrons as well as in the development of an existing marketplace for new media artworks from both public and private collectors. Apropos who collects, collection by artists and audiences is conspicuously the manner that differentiates new media art most. As Lialina said, many members of the audience might "but have gotten up from their computers" where they might have been busily tagging, developing their curatorial skills, or surf clubbing. Peradventure less of a example of "geek curators" than geeks who are curating every bit role of their social lives, or only regular audiences who are merrily tagging, liking, and making favorites as usual. These various modes need to integrate the questions of how and who, because the systems of new media, whether economic or social, necessarily acquit in unlike ways when linking things and people.

Overall, what is particular about "modes of collecting" for new media art is perhaps more of a combination of different systems and working in the spaces between existing modes. Commissioning, for example, which is important for whatever new fine art, may involve more than of a lab product approach or may involve commissioning a "version." Collecting and acquiring might entail different economic modes of licenses to exhibit for limited periods of time.

Rethinking systems and modes in this way obviously demands gathering noesis not just about the fine art but also virtually the dissimilar behaviors of the technology, and the roles of those involved, from artists to audience. In the instance of developing knowledge nearly the preservation of new media fine art, many organizations have come together in partnerships such as the Variable Media Network and Matters in Media Fine art to share cognition and exam out new modes. Peradventure this could also happen for collecting, with encouraging signs from the British Council and Contemporary Art Society (Nibble and CAS 2010). This would certainly aid with the meaning rethinking needed for institutional change. Equally Steve Dietz cites in the adjacent chapter, Jon Ippolito envisions a future of interesting times for museums: "For museums to acquire open-licensed fine art would crave them to transform from collecting institutions to circulating institutions" (Ippolito 2002).

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