- Is the gap between mainstream contemporary art and digital art bridged? Recent theories have attempted to create more consistent intersections between the two, but how does this reflect practice? In other words, how do collections – both public and private – approach art and technology?
- Do art museums underrepresent New Media art in their collections? If so, what are the factors that determine this?
“The Museum selects, collects and protects. All works of art are made in order to be selected, collected and protected (among other things from other works which are, for whatever reasons, excluded from the Museum). If the work takes shelter in the Museum-refuge, it is because it finds there its comfort and its frame; a frame which one considers as natural, while it is merely historical. That is to say, a frame necessary to the works set in it (necessary to their very existence). This frame does not seem to worry artists who exhibit continually without ever considering the problem of the place in which they exhibit”
Daniel Buren, ‘Function of the Museum’ in Museum by Artists, Art Metropole, 1983, p.59
“[…] three threats to twenty-first-century creativity: technology, because much new media art depends on rapidly changing software or hardware; institutions, which may rely on preservation methods developed for older mediums; and law, which complicates access with intellectual property constraints such as copyright and licensing”
Richard Rinhart, Jon Ippolito, Re-Collection, The MIT Press, 2014
“”The artists who are trying to do non-object art are introducing a drastic solution to the problems of artists being bought and sold so easily, along with their art… The people who buy a work of art they can’t hang up or have in their garden are less interested in possession. They are patrons rather than collectors,” I said in 1969 (Now that’s utopian…)”
Lucy Lippard, Six Years: The Dematerialization of the Art Object from 1966 to 1972, University of California Press, 1997, p.xiv
“As the apparatus of cultural diffusion becomes increasingly technological, its ‘products’ become less viewable as discrete, individual events, but rather more as related elements in a continuous contextual flow […] The future of art seems no longer to lie with the creation of enduring masterworks but with defining alternative cultural strategies, through a series of communicative gestures in multi-media forms”
Charlie Gere, Art, Time and Technology, Berg, 2006, p.120