Support Hyperallergic’s independent arts journalism.
Art Fag City associate editor Will Brand responded to my review of curator Lindsay Howard’s Speed Show Awareness of Everything on Facebook, and the conversation quickly turned to the intricacies and etiquette involved in exhibiting internet art. Here are a few of the issues.
I provide quick answers to these questions based solely on my own opinion. Please feel free to disagree! Loudly! In the comment section!
There are really no cut and dry answers to any of these questions, but I think it is important that we start to ask and talk about them in a larger art world context. Hopefully we can grow the conversation from there. Any other questions about internet art? Add them to the comments, and maybe we’ll make it a series.
1. Do you have to ask permission?
Q: Brand kicked it off by asking curator Lindsay Howard, “did you ask everybody’s permission to put them in this show?” The answer was yes, following the Speed Show’s original format. But do you really have to ask permission to show some people a website? In this case, Howard’s show didn’t really involve any discrete pieces; it was more about the artists’ online oeuvre. So do you have to ask to display work that’s already public?
A: Yes. Plain old manners and etiquette should tell you that it would be nice if you asked an artist’s permission to show their work under your own name, at least in a formal gallery show, in a physical space. Do you have to ask to re-blog? Is re-blogging a form of curating? That’s one for another post.
2. What do you show it on?
Q: Howard’s Speed Show took place in a real-life internet cafe, so the computers that the works were shown on weren’t exactly commercial art gallery quality. They were beat up, old things, largely outdated. Yet these retro (c. 2011) computers gave the show a particularly informal vibe that helped visitors approach art they may have not been familiar with, a vibe that wouldn’t have been there if the works were projected onto a white cube wall. So can a junky computer show internet art?
A: Anything you want. Different formats impact the work on display in different ways, adding formality or informality, divorcing the viewer from the work or bringing them in, creating a shiny complete object or showing a work in progress. It’s up to the curator!
3. Is one screen enough?
Q: Internet art often can’t be boiled down to a single discrete piece of art: there’s no one canvas to point to, no definitive version. In fact, a work will look different on literally every different screen it is shown on. Some projects are distributed across the internet in viral iterations, others exist as YouTube or Vimeo-hosted files. So how do curators create the illusion of a single work to put in a show?
A: It’s complicated. The best curators and exhibitions of internet art will be sure to actively show that versions of a single piece exist outside of the gallery. There’s no illusion of scarcity when what you’re showing is an artist’s Tumblr or a GIF file. It’s possible to do that through exhibition text, catalogue content or simply displaying lots of examples or versions of a piece.
4. Can you check your email?
Q: Just because internet art is sometimes displayed on a computer doesn’t mean you can feel free to check your Gmail. Or does it? Should curators invite viewers to use the computers for activities not originally planned by the artist, or does this interactivity take away from the high-art nature of an exhibition?
A: Only if the curator says you can. Again, this is a curatorial and artistic decision that has no specific answer. The choice to allow interactivity, as Lindsay Howard did in her Speed Show, gives the work an informality that might allow viewers to find it more connectible. Aram Bartholl, the creator of the Speed Show format, states that visitors should be free to use the computers as they will. In the Facebook thread, Nate Hitchcock noted that he friended one of the artists in the show at the same computer their work was shown on. Way to connect with your audience!
5. Do you have to see it in person?
Q: Yeah, internet art exists online, and you can easily see it from the comfort of your own home in your pajamas, while drinking the beverage of your choice. So why bother seeing an exhibition of it in person?
A: There are advantages to a physical space. In a physical gallery setting, it’s much easier for curators to physically juxtapose works, placing them nearer or farther away, collecting pieces in contextual groups, creating a narrative with space. This is more difficult (though quite possible) online. In Howard’s Speed Show, it was nice to be able to compare and contrast the different styles and approaches on view together. Unless you have an enormous monitor, you probably can’t align all of these websites and image files next to each other like a gallery display. There’s also the community factor — physical openings bring artists, writers, curators and fans together to talk, trade ideas and hatch plans. Yeah, you could gchat, but where’s the fun (or plastic glasses of white wine) in that?
The University of Virginia researchers wrote that the data “provides compelling evidence that these symbols are associated with hate.”
We are waiting for spectacle and when the quotidian, yet incongruous actions occur I wonder whether there is any real payoff coming.
Hear from Holly Jean Buck, Carolina Caycedo and David de Rozas, Simon Denny, Elizabeth Hoover, Renee Kemp-Rotan, Joseph Kunkel, and more at this free public event.
Tanega’s approach to mark-making comes across as stream of consciousness, as if she’s engaged in a conversation with herself.
Starting Monday, readers can borrow one of 50 rare and out-of-print titles, mailed to them completely free of charge, from Saint Heron Library.
EFA Open Studios offers a portal into the creative habitats of over 65 artists working in Manhattan’s longest-running studio program, including Dannielle Tegeder, Wafaa Bilal, Cui Fei, and Anina Major.
This is Yuskavage’s great gift, turning upside down our settled ways of thinking and seeing and, with ease, transforming the vulgar and ridiculous into the sublime.
51 international publishers and galleries showcase their latest editions in prints and artists’ books at this free public fair, which is fully online this year.
While hardly about the pandemic, or any of the other crises so afflicting us, all are invoked in this exhibition, which is also often tender and profoundly soulful.
These glowing, dynamic artworks reproduce something of Bosch’s chaotic energy, but on an immersive, multi-sensory scale.
This week, addressing a transphobic comedy special on Netflix, the story behind KKK hoods, cultural identity fraud, an anti-Semitic take on modern art, and more.