Rethinking Curating

Art after New Media

Beryl Graham and Sarah Cook

foreword by Steve Dietz

The MIT Press

Cambridge, Massachusetts
London, England
© 2010 Beryl Graham and Sarah Cook
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Library of Congress Cataloging-in-Publication Data

Graham, Beryl.
Rethinking curating : art after new media / Beryl Graham and Sarah Cook ; foreword by Steve Dietz.
p. cm. — (Leonardo books)
Includes bibliographical references and index.
ISBN 978-0-262-01388-8 (hardcover : alk. paper)
1. New media art. 2. Museums—Curatorship. I. Cook, Sarah, 1974– II. Title.
NX456.5.N49G73 2010
709.04’07075—dc22
2009018942

10 9 8 7 6 5 4 3 2 1
Index

Exhibition and artwork titles are shown in italics. Illustration page numbers are in bold. (See also
exhibitions index.)

Abramovic, Marina. See Ulay & Abramovic Artec, 237

Acconci, Vito, 226 Art labs. See New media labs
Adams, Kathleen Pirrie, 155 Arts agencies, 224–229
Adorno, Theodor, 50n16 Arts Catalyst, 225
Adriaansens, Alex, 238 ArtsConnectEd, 279n22
Adversarial Collaboration (Ippolito, Cohen, and Arts Council England, 185n3, 278n17
Frank), 137, 139 Ascott, Roy, 140n3, 217
Ahtila, Eija-Liisa, 201 Astor, Patti, 251
Albert, Saul, 253, 261, 275 Asymptote Architects, 176
Albrethsen, Pernille, 258 Atelier Bow-Wow, 85n20
Alexander, Amy, 279n23 Audience, assessment of
All Tomorrow’s Parties, 269, 272 behavior, 182–183
Altermodernity, 48n1 engagement, 177–180
Altshuler, Bruce, 56, 198 group interaction, 181
American Museum of the Moving Image, 204 Audiences
Anderson, Chris, 24 as authors, 128, 301–302
Anderson, Steve, 28 as curators, 131n1, 268–272, 297, 301–302
Andre, Carl, 61 as participants, 177–182, 301–302
Andrews, Colin, 227, 228 Audio Zone (Collins), 162, 163
Antenna, 73, 75 Authorship. See also Curatorial modes
Apartment (Wattenberg, Walczak, and Fein- collaborative, 21, 31, 32, 114
berg), 186, 208 distributive, 45–46
Arcangel, Cory, 81, 106, 202, 249 Autogena, Lise, 95–96, 96, 98, 108, 198
Architecture for Temporary Autonomous Sarai Auto Illustrator (Ward), 31
(Atelier Bow-Wow), 85n20 Autonomy
Arns, Inke, 36, 98, 105, 290, 300 of the art object, 32, 37–38, 59, 64–65, 83, 259
Arnstein, Sherry, 113–114, 124, 125, 287 of the curator, 154
Ars Electronica, 65, 83, 244n10 interactive, 123–124
Artbase (Rhizome), 72, 269 Autotelematic Spider Bots (Rinaldo), 223, 223
Artculture Resource Centre (ARC), 159n8 Avant-garde, 26–30, 32, 37–38, 40–42, 48, 286
Art Dirt, 203 AV Festival, 216, 222–223, 223
340 Index

Baert, Renee, 148, 156, 242–243 Body Movies (Lozano-Hemmer), 6, 7, 119, 119,
Bakhtin, Mikhail, 141n12 128, 130
bak.spc, 278n12 Bolter, Jay, 30, 218
Baldessari, John, 53 Bookchin, Natalie, 105, 142n18
BALTIC Centre for Contemporary Art, Gates- BorderXing Guide (Bunting), 165–166
head, 192, 193, 200–201 Bosma, Josephine, 128
Banerjee, Banny, 227 Bourriaud, Nicolas, 15, 36, 48n1, 120, 122
Banff New Media Institute, 2, 110n9, 142n19, Relational Aesthetics, 116
204, 240–241, 266 Braun, Reinhard, 65, 83
Bang Bang (BIT), 66 British Telecom, 164
Bank of Time, The (Futurenatural), 93 Broadbandit Highway (Hostexe), 233
Barbican Art Gallery, 135 Broadcast (29 pilgrims, 29 tales) (Pope and
Bar-Joseph, Ittai, 81 Guthrie), 164, 165
Barker, Emma, 42 Broeckmann, Andreas, 29, 170
Barney, Matthew, 81, 203, 206 Brucker-Cohen, Jonah, 30, 241
Barr, Alfred, 235 Bruijn, Maurits de, 303
Battle of Orgreave, The (Deller), 90 Bruno, Christophe, 187n14
Baudrillard, Jean, 50n16 Bryce Wolkowitz Gallery, New York, 202
Baumgartel, Tilman, 64 b.tv, 232
BBC, 46, 231–232 Bubbly-fish, 105
Beech, David, 249 Buchmann, Sabeth, 59
Bell, Steve, 140n3 Buci-Glucksmann, Christine, 20–21
Bellevue Art Museum, 134 Buergel, Roger, 189
Bennett, Mike, 30 Buice, Susan, 93–94
Bennett, Simone, 277n6 Bumplist (Bennett and Brucker-Cohen), 30
Berg, Christoph van den, 6–7, 79 Bunting, Heath, 77, 165–166, 218, 221, 293
Berg, Eddie, 87 Bureau for Direct Democracy (Beuys), 129
Bernhard, Hans, 279n23 Bureau of Inverse Technology (BIT), 66, 233
Berry, Josephine, 296 Buren, Daniel, 21
Besser, Howard, 210 Burger, Peter, 37
Betsky, Aaron, 206 Burnham, Jack, 1, 14, 32, 53, 56–57, 60, 109,
Beuys, Joseph, 117, 129 118, 136, 142n22, 158n4, 200, 286
Bey, Hakim, 257 Butor, Michel, 21
Biemann, Ursula, 93 Byfield, Ted, 221
Biggs, Simon, 19 Byrne, Chris, 105, 227–228, 252
Bishop, Claire, 116, 141n10, 235, 245n15
BITplane (BIT), 233 C5, 28, 36, 66
Black Shoals (Autogena and Portway), 95–96, 96, Cage, John, 90, 91
98, 108, 198 Camouflage Town (Wortzel), 291, 294
Blais, Joline, 6, 194, 300 Campbell, Jim, 206, 225
Blake, William, 230 Campbell, Myron, 277n6
Blank, Joachim, 68 Canini, Katja, 157
Bleecker, Julian, 244n11 Capturing Unstable Media (V2_), 201, 238
Blendie (Dobson), 31 Capturing Unstable Media Conceptual Model
Blogs, 12, 45, 180, 230, 271 (CMCM), 213n13
Bode, Arnold, 243n6 Cardiff, Janet, 196, 206
Index
Carnivore (RSG), 201, 213n9
Carpenter, Ele, 140n5, 141n13, 245n21, 249
C@C—Computer Aided Curating (Grubinger),
270
Catlow, Ruth, 276, 279n28
Caudwell, Christopher, 32
Cave Automatic Virtual Environment
(CAVE), 66
Centre for Research and Documentation,
Daniel Langlois Foundation for Art, Science,
and Technology, 212n8
Centre for the Study of Developing Societies,
North Delhi, 240
Centre Pompidou, Paris, 19, 75, 158n4, 209, 290
Century, Michael, 241, 245n17
Chandler, Annmarie, 84n5, 120
Channel 4, 211
Charade (Pope), 231
Cheang, Shu Lea, 169
Chronodynamism (Schöffer), 110n4
Claxton, Julian, 167
Claxton, Ruth, 247–248, 253
Code
immateriality of, 64–65
intelligibility of, 170
performativity of, 98
Code Zebra (Diamond), 241–242
Coerver, Chad, 195
Cohen, Janet, 137
Coleman, A. D., 101
Collectives and cooperatives, 248–251, 277
Collins, Susan, 162
Color Panel v1.0.1 (Simon), 209
Community art, 120–121, 272. See also Socially
engaged art
Compton, Michael, 126
Computer viruses, 123, 170–171
Conceptual art. See also Fluxus; Mail art
and autonomy, 64–65, 83
curating, 41, 56–57, 82, 158
documentation of, 41, 56, 81
exhibition of, 56–60, 81
in historical context, 53
histories of, 41, 111, 286–287
immateriality/process-based nature of, 35, 41,
52, 59–60, 63–64, 68, 208, 289
341
media of, 5
and new media art, 1, 123, 147
Connor, Michael, 169–170
Contemporary art, xiv, 1, 21–22, 25–26, 28–31,
35, 37, 48
Convergence, 5
Convery, Cavan, 228
Cook, Sarah, 8, 50n14, 90, 106, 154–155, 157,
192, 221, 278n17, 303
Cornerhouse, Manchester, 131, 215
Cornock, Stroud, 113, 140n3
Cornwell, Regina, 198–199
Ćosić, Vuk, 15, 45, 50n17, 71–72, 151, 179, 190,
202, 217–221, 258
Courchesne, Luc, 173, 175
Craft-fetishism, 32, 142n22
Craighead, Alison. See Thomson & Craighead
Cramer, Florian, 279n23
Crandall, Jordan, 218
Creative Time, 15, 225, 226, 229
Critical Art Ensemble, 120, 235
Critical mass ticketing, 94
Crowe, Nick, 205
CRUMB. See Curatorial Resource for Upstart
Media Bliss (CRUMB)
Crumley, Arin, 93–94
Cube Cinema, 278n15
Cubitt, Sean, 115
Curating
Net art and online projects, 70, 77
participative and interactive artwork, 124,
128–129, 134–139
video art, 109n2, 168–169, 178
“Curating: Can Be Learned,” 152
Curator
adjunct, 15, 149, 151, 191, 203, 211, 264, 293,
299–301
audience as, 131n1, 268–272, 297, 301
as author, 42, 216
as creator, 56
as editor, 45, 82, 232, 234
embedded, 15, 149–150, 191, 211, 264, 299,
301
independent, 149, 151–153, 191, 207, 239
preparation required of, 107–108
role of, 10–11, 150–153
342 Index

Curatorial modes, 12, 15, 48, 156, 299– Diamond, Sara, 46, 142n19, 237–238, 241–242,
300. See also Collectives and cooperatives; 274
Exhibitions Dickinson, Rod, 78
agency curating, 227 Diederichsen, Diedrich, 31
artist-led, 16, 46, 156–158, 175–176, 234, 243, Dietz, Steve, 1, 6, 8, 9, 32, 71, 73, 82, 85n20,
247–260, 263–268, 275–276, 301 101, 125–126, 131, 150, 154, 164, 176, 191,
collaborative, 16, 154, 266–275, 284, 301–302 202–204, 279n22, 283, 289, 295, 303
educational, 53, 139, 148, 161–166 Di Franco, Karen, 167
friendship-based practice, 272–273 Digg, 46
interpretive/educational, 161–166, 168–173 Digital Art (Paul), 5
no-curator, 262–265, 268, 271–272, 276, 301 Digital Arts Study Collection, 203
open system, 262–265 Digital collections, 176
Curatorial Resource for Upstart Media Bliss Digitalcraft.org, 172
(CRUMB), 2, 4, 11–12, 72, 156, 186n8, 212n2, Digital Music Library Data Model Specification,
266, 278, 305n1 213n13
Currall, Alan, 105 Digital Programmes. See Tate Media
CyberPowWow (Fragnito), 65, 251 Diller, Elizabeth, 135
Czegledy, Nina, 155 Dimantas, Hernani, 241
Discursive events, 15
Dada, 111 Distribution, methods of, 27, 37, 230–232
Dance Floor (Ulanski), 73 Distributive Justice (Kuluncic et al.), 131, 134
Daniel Langlois Foundation, 110n3, 239 Dobson, Kelly, 31
Dante Hotel (Hershman Leeson), 91 Documenta, 73, 84n7, 129, 175, 218–220, 224
Database of Virtual Art, 212n8 Documenta Done (Ćosić), 219, 220
Data Diaries (Arcangel), 106 Dorkbot, 228, 258
data-driven art, 3, 28, 62, 76–77, 78, 86n22, 95– DorkFest, 260
96, 241 Drabble, Barnaby, 10, 152
David, Catherine, 218 Druckrey, Tim, 290
Davies, Char, 79, 97, 102, 196 Duchamp, Alexina, 91
Davison, Liane, 235–236 Duchamp, Marcel, 4, 32, 34, 41, 90, 91
Debatty, Régine, 45 Duchamp-land, xiii–xiv, 4, 49n6, 237. See also
Debord, Guy, 50n16 Turing-land
Decentralization, 112–113 Dundee Centre for the Arts, 88
of art world, 25 Dutch Electronic Art Festival (DEAF), Rotter-
of knowledge, 46 dam, 217, 239
of networks, 51, 57, 84, 267–268, 289
Decorative Newsfeeds (Thomson & Craighead), 67 Ebner, Jorn, 65
Deleuze, Gilles, 278n13 Edith Russ Haus, Oldenburg, 50n14, 178,
Delgado, Denise, 274 212n4, 215
del.icio.us, 46, 185n5 Edmonds, Ernest, 113, 140n3
Deller, Jeremy, 87, 90 Egg Grows (Paik), 205, 205–206
Dematerialized art, 51–53, 57, 60–61, 64, 68, Elliott, Tessa, 212n3
75, 82–84. See also Conceptual art; New Encyclopaedia (Currall), 106
media art Enwezor, Okwui, 84n7, 155
Dernie, David, 186n8 Enzensberger, Hans Magnus, 111
Derrida, Jacques, 21, 40 Ephémère (Davies), 79, 80
Deutsche Telekom, 199 Erl King, The (Weinbren and Friedman), 208
Index 343

Espenshied, Dragan, 30. See also Lialina, Olia Foundation for Art and Creative Technology
Etchells, Tim, 105, 120 (FACT), Liverpool, 100, 190, 212n4, 215, 266,
e:vent gallery, 263 290, 299
Exhibition models, 154–156, 222 Four Eyed Monster (Crumley and Buice), 93–94
distributed, 158, 264 Fragnito, Skawennati Tricia, 65, 162, 251, 273
iterative, 15, 155–156, 158, 222, 258, 264 Francis, Mary Anne, 117
modular, 15, 222, 264, 267, 301 Frank, Keith, 137
Exhibitions. See also Arts agencies; Collectives Franklin, Dave, 170
and cooperatives; Festivals and events; Fraser, Andrea, 37, 162
New media labs; Temporary autonomous Free/libre open source software (FLOSS), 118,
zone (TAZ) 141n14, 240, 245n19, 261
documentation of, 200–202 Friedman, Ken, 52
spaces for, 43, 60, 70, 75, 83, 100–106, 108, Friedman, Roberta, 208
131–136, 149, 192–193 Friedman, Thomas L., 273, 276
Experiments in Art and Technology (EAT), 14, 90, Frieling, Rudolf, 61, 137, 181, 206
108 Frohne, Ursula, 38
“Expo Destructo,” 258 Froom, Charles, 132
Eyebeam, New York, 212n4, 215, 240, 266, Fuller, Mathew, 43, 57, 64, 120, 147, 192,
299 279n23
Eyers, Luci, 265, 275 Furtherfield, 263, 278n12, 278n15
Furudate, Ken, 184
Facebook, 47 Futurenatural, 93
FACT. See Foundation for Art and Creative Future Wireless, 260
Technology (FACT)
Fair Assembly (Dietz), 279n22 Gablik, Suzy, 142n22
Fauconnier, Sandra, 201 Gagnon, Jean, 92
Feinberg, Jonathan, 208 Galloway, Alex, 40, 57, 141n15, 268
Female Extension (Sollfrank), 32, 34, 41, 154 Galloway, Kit, 93
Feral Trade (Rich), 232–234, 233 Gansallo, Matthew, 44, 164, 198, 300
Festivals and events, 216–218, 221–224 Garcia Andujar, Daniel, 77, 170
Filtering, 45 Garrett, Marc, 167–168, 264–265
Fischli and Weiss, 205 Gartner Inc., 23–24
5voltcore, 292 Gaskin, Vivienne, 80, 110n7
Flash, 254 Gaver, Bill, 187n16
Flat of Culture (Hostexe), 166, 233 Geist (Andrews), 227, 228
Fletcher, Harrell, 120–122. See also Learning to GenTerra (Critical Art Ensemble), 235
Love You More Gere, Charlie, 19–20, 41, 49n8, 286
Flickr, 45, 200, 233, 268 Art, Time, and Technology, 53, 87, 109
FLOSS. See Free/libre open source software Gillick, Liam, 245n154, 276
(FLOSS) Gillman, Clive, 100
Flouty, Rosanna, 171 Gilman, Benjamin Ives, 296
Fluxus, 5, 14, 34, 62, 90, 286 Giver of Names, The (Rokeby), 30–31, 183
Folksonomies, 46, 270 Glasgow Centre for Contemporary Arts, 76
Fonda, Aurora, 219 Glomag, 105
Forde, Kathleen, 110n7, 190, 195 Goebel, Johannes, 62, 213n12
Formalism, 28, 30–32, 47, 62, 150, 245n15 Goldsmith, Kenneth, 270
Foster, Hal, 143n29 Goldsmiths College, London, 239
344 Index

Goldstein, Barbara, 226, 229 Hooper-Greenhill, Eilean, 42

Gonzalez-Torres, Felix, 73, 206 Hostexe, 166, 233. See also Rich, Kate
Google Earth, 49n8 House Revision (Appel), 196
Google search engine, 67 Howard Wise Gallery, 52
Goo Goo Pow Wow (Finley), 196 http Gallery, 271, 276
Gorbet, Matt, 227 Huddleston, Toby, 167
Gorbet, Susan, 227 Huffman, Kathy Rae, 92, 106, 131, 169
Gorbet + Banerjee, 227 Hybrid media art, 5, 109, 120, 147, 168, 173
Goriunova, Olga, 279n23 Hyde, Adam, 197
Graham, Beryl, 134, 151, 183 Hype cycle, 11, 23–25, 24, 28, 39, 87, 284
Graham, Dan, 52, 84n3, 89, 110n8
Great Eastern Hotel, London, 233 IBM, 200
Great Wall of 1984, The (Lewis), 58–59, 59 I-Love-You virus, 170–171
Gromala, Diane, 218 Imagining Indians (Fragnito), 162
Grubinger, Eva, 270, 274, 279n25 Indigestion (Diller and Scofidio), 135
Grusin, Richard, 30 Infrastructure (Reupke), 94
Grzinic, Marina, 94 Inhatowicz, Edward, 173
Guattari, Felix, 278n13 Institute of Applied Autonomy, 278n12
Guggenheim Museum, New York, 176, 204 Institute of Contemporary Arts (ICA), London,
Gursky, Anton, 194 107, 191, 199, 215, 249, 285
Guthrie, Karen, 65, 164, 185n4, 252, 255–256, Institute of Network Cultures, 140n5
264, 274. See also Pope, Nina Intel, 199
Interaccess Gallery, Toronto, 155, 159n8
Haacke, Hans, 14, 37, 39, 52–53, 124–125, 217, Interactive art, xiii, 4–5, 15, 19, 38, 53, 57,
286 91, 98, 102–103, 105, 107–108, 110n8, 112–
“Hack-Day London,” 278n14 114, 116, 118, 120, 132–136, 140n3, 140n7,
Hansen, Mark B. N., 35, 62, 64 142n20, 142n22, 172, 183, 208, 217, 226,
Harger, Honor, 164 244n8, 300
Hartware MedienKunst Verein, 76, 77 Interactive (new) media, 152, 201, 204, 221
Harwood, Graham, 37, 43–44, 135–136, 151, Interactive television, 3, 138, 164
237. See also Mongrel Intermedia art, 5
Haskel, Lisa, 107, 245n21 International Conference on Hypermedia, 162
Hayles, N. Katherine, 63 International Film Festival, Rotterdam, 217
Hazan, Susan, 4–5, 291 International Symposium on Electronic Art
Heath, Christian, 182 (ISEA), 218, 244n11
Heidegger, Martin, 26 Internet, as means for distribution, 70, 93–94,
Henning, Michelle, 186n8 96–97, 230–234
Hershman Leeson, Lynn, 91–92, 202, 298 Internet browsers, 85n14
Hewlett-Packard, 198 I/O/D, 278n12
Higgins, Dick, 62 Ippolito, Jon, 2, 6, 48, 137, 139, 172, 194, 293,
Hill, Gary, 113, 178, 205, 212n3 300
Hill, Tom, 5 irational, 3, 14, 76–77, 77, 157, 221, 232,
Hirschhorn, Thomas, 141n10 278n15, 293
Hoberman, Perry, 15, 130, 132, 137 Ishida, Daisuke, 184
Hole in Space (Galloway and Rabinowitz), 93, Ithaca College, New York, 168
142n22 iTunes, 82
Home, Stewart, 278n16 Iwai, Toshio, 135
Index 345

Jankovic, Dejan, 134 Lacy, Suzanne, 140n7

Janovic, Tomislav, 134 Laing Art Gallery, Newcastle upon Tyne, 135, 178
Jaromil, 93 Lamuniere, Simon, 218
Jennings, Pamela, 245n17 Landscape Initiative (C5), 66
Jennings, Tom, 219, 220 Lane, Trudy, 134
Jevbratt, Lisa, 6, 14, 28, 192 Latour, Bruno, 21
Jewish Museum of New York, 53, 158n4, 191 Lazar, Julie, 107
Jo, Kazuhiro, 183, 184 Leach, James, 245n17
JODI, 23, 93–94, 186n7, 218, 221, 296 Learning to Love You More (Fletcher and July),
Jones, Caitlin, 81, 116, 200, 207–208, 297 14, 46, 96, 113, 120–122, 121, 128, 137, 208
Jones, Garrick, 183 Lewis, Glenn, 14, 58–59, 64
Jones, Tim, 261, 264, 277n7 LeWitt, Sol, 52, 56, 157, 208
Jones-Morris, Jonathan, 212n3 L’Hirondelle, Cheryl, 294
Jonge, Jaap de, 128 Lialina, Olia, 30, 70–71
July, Miranda, 120–122. See also Learning to Lichty, Patrick, 65, 72, 108, 254, 265
Love You More Life Sharing (0100101110101101.org), 272
Life Squared (Hershman Leeson), 91–92
Kahn, Douglas, 270 Light from Tomorrow (Thomson & Craighead),
Kanarinka, 35 6, 67–68, 69
Kane, Alan, 88 Lin, Maya, 71
Kaulmann, Thomas, 279n23, 279n25 Lind, Maria, 11, 191, 211, 260, 267
Kester, Grant, 141n12 Linking, 45
Kinetic art, 58 Lippard, Lucy, 35, 52–53, 64, 158
Kittler, Friedrich, 64, 175 Lips, Katie, 200
Klevervice, 105 Lissitzky, El, 111
Kluver, Billy, 108 Living with the Living Theater (Paik), 97
Knowles, Rachelle, 204 Locke, Matt, 81, 103, 120
Koh, Germaine, 192, 201, 287 Loebner Prize Competition, 140n4
Koolhaas, Rem, 103 London, Barbara, 40, 87, 90, 161–162, 189, 193,
Koons, Jeff, 31 203, 211, 244n7, 285
Kos, Paul, 205–206 Long Tail theory, 24–26, 94
Kosuth, Joseph, 53, 56 Lovebytes, 216
Kramer, Hilton, 83 Lovejoy, Margot, 89
Kramlich, Pamela and Richard, 202 Lovers, The (Solanki), 123
Krauss, Rosalind, 16n5, 35, 36, 62, 89 Lovink, Geert, 123, 142n18, 259
Kravagna, Christian, 111, 139n1, 212n2 low-fi Locator, 15, 82, 176, 177
Krens, Thomas, 199 Lowry, Glenn, 177–178
Krysa, Joasia, 51 Lozano-Hemmer, Rafael, 6, 15, 113, 118–119, 128,
Kuluncic, Andreja, 131, 134 130, 132, 138, 141n9, 181, 187n17, 201, 217
Kunst-Werke Berlin, 279n25 Ludovico, Alessandro, 279n23
Kurator, 270, 302 Luminodynamism (Schöffer), 110n4
Kuzmanovic, Momo, 134 Luna, James, 37
Kwastek, Katya, 140n3 Lunenfeld, Peter, 50n16, 128
Lungs-London.pl (Mongrel), 230, 244n12,
Laboissiere, Rob, 155 278n12
Labs. See New media labs Lyotard, Jean-François, 19–22, 30, 45, 47, 57,
Lacoue-Labarthe, Philippe, 21 158n4, 186n8
346 Index

MacDonald, Euan, 100, 196 “Moving Image as Art,” 110n5, 291

Maeda, John, 194 M.River and T.Whid Art (MTAA), 75, 287
Mail art, 14, 34, 52, 58, 61–63, 82–83, 84n5, Muir, Gregor, 110n4
230, 271, 278n16, 286 Muller, Lizzie, 183
Makrolab, 225 Multimedia art, 5
Maleuvre, Didier, 26–27, 37 Muntadas, 218
Manetas, Miltos, 254 Museum Highlights (Fraser), 162
Mankau, Dieter, 173, 175 Museum of Contemporary Art Yucatan
Manovich, Lev, 1, 4, 6, 16n5, 26, 35, 49n6, 88, (MACAY), 222
92, 295 Museum of Man, San Diego, 37
Mansfield, Laura, 167 Museum of Modern Art (MoMA), 89, 125, 161,
Massachusetts Museum of Contemporary 179, 193, 203, 211, 235, 243n4
Art, 269 Museums
Mass media, 23, 30, 36, 111, 122, 230, 301 conceptual systems within, 4, 193–194
Mastai, Judith, 42 conservation, 39–41, 81, 153, 206–208
Matinovic, Ivo, 134 current transformations of, 40, 191
McKee, Francis, 267, 274 distinguished from galleries, 211n1
McLean, Alex, 279n23 educational role of, 41, 43, 153, 161
McShine, Kynaston, 128, 132 historicization, 189–190
Media-based art, 21 and participatory systems, 125–126
Media Centre, Huddersfield, 14, 103–104, 128, perceived prestige of, 190
143n25, 150, 212n4 as site for art distribution, 37, 38
Media labs. See New media labs technical staff, 197–198
Medosch, Armin, 118, 149 Mute, 232
Metamute, 232
MetaReciclagem, 241 Naimark, Michael, 238
Midnight (Espenshied and Lialina), 30 Nairne, Sandy, 58, 247–248
Miessen, Markus, 141n11 Nakakoji, Kumiyo, 183
Minimalism, 58, 98 Napier, Mark, 98, 169, 194
Minitel system, 20–21 Napster, 50n15
Miranda Zuniga, Ricardo, 111–112 Nash, Mark, 103
Mirapaul, Matt, 85n18 National Gallery, London, 187n12
Mixed-media art, 5 National Gallery of Canada, 79, 277
MobileScout, 293 National Science Library of Canada, 58
Model 71 Measuring Device (Jennings), 220 Nedkova, Iliyana, 84, 152, 155, 227, 272
Modernism, 36, 58 Negroponte, Nicholas, 54
Möller, Christian, 212n3 Nelson, Ted, 1
MoMA Poll (Haacke), 124–125, 125 Neoism, 278n16
Mondriaan Foundation, 240 Net art, 50n17, 63–65, 70–73, 81, 83, 91, 94,
Mongrel, 230, 237, 244n12, 278n12. See also 96, 102, 164–165, 175–176, 179–180, 187n15,
Harwood, Graham 194–195, 198, 199, 206, 208–209, 219, 221,
Morris, Robert, 15, 125–127, 287 269, 295. See also Web-based art
Morris, Susan, 203, 291 Net Art Browser (Shaw), 71–72
Morse, Margaret, 63, 109n2, 141n16 Net Art Generator (Sollfrank), 6, 32, 33
Moss, Karen, 110n7 Net.art per me (Ćosić), 219, 221, 258
Mouffe, Chantal, 140n5 NetEscape (Whitehurst), 135
Mountain Top (Studer/van den Berg), 6–7, 8, 79 Netherlands Media Art Institute, 239, 269
Index 347

Netherlands Ministry of Culture, 239 New York Times, 254

Nettime, 212n2, 221, 231 Nezvanova, Netochka, 186n7
Network-based art, 28, 32, 36, 45, 48, 51, 60–61, Nigten, Anne, 236, 266
65–66, 68, 75, 83, 155 9 Evenings, 90
Networks, types of, 45, 57–58, 58, 267, 289 Nocturne (Dickinson), 79
centralized, 51, 230–231 NODE.London, 16, 137, 167, 181, 252, 259–265,
decentralized, 25, 57–59, 84, 111–112, 268 267, 269, 275–276, 278n17, 279n21, 301
distributed, 158, 230–231, 261, 268–270, 273 Noguchi, Mizuki, 184
informal, 272–273 Nolan, Stuart, 114
peer-to-peer, 46, 50n15, 112, 123, 181, 231– Nomadic networks, 5
232, 234, 258, 270 Non–gallery-based organizations, 15. See also
Neumark, Norie, 120 Arts agencies; Festivals and events; New
New media art media labs
algorithms in, 6, 26, 35, 61, 63–64, 92 Noordegraaf, Julia, 185n6
art/science collaboration, 28 Nori, Franziska, 172
behaviors of, xiv, 2, 5–6, 8, 10, 27, 34 Northern Gallery for Contemporary Art,
collections of, 202–208, 210–211, 296–297 86n21, 152
commodification of, 61, 81, 199–200, 202, 217, Norvell, Patricia, 60
219, 244n14, 259 n 0 time (Vesna), 107
compared to viral genetics, 6
and computability, 6, 8, 10, 34, 98, 303 Obrist, Hans Ulrich, 107–108, 235, 295
and connectivity, 6–8, 10, 34, 65, 98, 122, 1:1 ( Jevbratt and C5), 76
303 One and Three Chairs (Kosuth), 132
contemporary art vs., xiv, 1, 21–22, 25–26, O’Neill, Paul, 152–153, 275, 295
28–31, 29, 35, 37, 48, 289–293 Online galleries. See Virtual galleries and
and distribution, 65 exhibitions
emergent nature of, 2, 21, 24, 28–29, 154–155, Ono, Yoko, 90, 123, 137
253, 284–285 Open Congress, 260
hybrid characteristics of, 120, 173, 185, 222 Open source, 116–118, 124, 136, 141nn13–14,
(im)materiality of, 29, 35, 61–64 168–169, 197, 240, 261, 272–274, 277n6,
and interactivity, 6–7, 10, 34, 61, 112, 303 289. See also Free/libre open source software
modernism vs., 26–28 (FLOSS)
newness in, 21–24, 26–28 Oppenheim, Dennis, 128
process-oriented nature of, 61, 115, 279n31 Osmose (Davies), 97, 102
research and experimentation, 108, 235–242,
262–263 Package Holiday (Studer/van den Berg exhibi-
self-referentiality in, 30–31, 36 tion), 6, 8, 9
time characteristics of, 92–100, 102, 222, 290 Paik, Nam June, 49n6, 53, 90, 97, 203, 205–
variability of, 70, 108, 206, 208–209 206, 217
virtuality, 8, 35, 51, 63–65, 68–69, 95 Palo Alto Research Center (Xerox), 1
New-Media-Curating Discussion List (CRUMB), Paragraphs on Conceptual Art (LeWitt), 56
212n7 Parallelogramme, 277nn2–3
New media labs, 235–242, 300–301 Parry, Ross, 175
New Media Scotland, Edinburgh, 227–229 Participation in art, 96, 106, 108, 120–122.
New media technology, as interpretive aid, See also Interactive art; Socially engaged art
161–166 audience dynamics, 125–126, 128–133
New Museum, New York, 105, 105 authorship, 46–47
348 Index

Participation in art (continued ) r a d i o q u a l i a, 232

history of, 111 Raqs Media Collective, 85n20, 240
systems of, 14–15, 112, 116–117, 123–124, Rashid, Karim, 133
136–139 Raven, Arlene, 140n7
collaboration and interaction vs., 112–114, 117 Ready-mades, 32, 49n11, 286
Passage Sets (Seaman), 135 Redler, Hannah, 101, 149
Paul, Christiane, 5, 70–71, 100, 124, 138, 151– Redundant Technology Initiative (RTI),
152, 189, 211, 302 Sheffield, 240
Performance art, 87, 89–93, 97–98, 101, 141n10, Rees, Michael, 254
209, 212n7, 216, 287, 289–290 Rehearsal of Memory (Harwood), 43, 135–136
Perimeter Flux, 195 Reichardt, Jasia, 107, 158n4
Perry, Grayson, 49n8 Relation in Time (Ulay & Abramovic), 90
Petrovic, Neven, 134 Relay (Koh), 192, 193, 201, 287
Philip Morris Europe, 198 Rellie, Jemima, 164, 181
Phillips, 240 Renton, Andrew, 279n22
Photography, xiv, 62, 190 Research and Development Informed by
Pico Mirador (Reupke), 94–95, 95 Creative Arts Labs (RADICAL), 238
Pier Arts Centre, Orkney Islands, 227 Resonance of 4 (Iwai), 135
Piet Zwart Academy, Rotterdam, 239 Reupke, Rachel, 94–95
Plewe, Daniela, 170 Reuters, 198–199
Pogacar, Tadej, 219 Rhizome, 15, 27–29, 71, 82, 243n1, 269
Polytechnic, 277n6 Rich, Kate, 15, 232–234, 260
Pope, Nina, 65, 164, 185n4, 255–256, 264, 274. Rieser, Martin, 143n24
See also Guthrie, Karen Rinaldo, Ken, 223, 223
Pope, Simon, 231, 234 Rinehart, Richard, 15, 207, 209
Popper, Frank, 140n3 Rockefeller, Nelson, 125
Portable document formats (PDFs), 244n14 Rokeby, David, 15, 30–31, 92, 129, 141n16,
Portway, Joshua, 95–96, 96, 98, 108, 198 183, 212n3
Postmasters, New York, 171, 202 Rollig, Stella, 100
Postmedia art/postmedium condition, 5–6, Ross, David, 22–23, 39, 87, 92, 96, 110n2, 194
22, 29–30, 32, 34–35, 37–38, 47–48, 62, 286 RTMark, 34, 219
Postmodernism, 22, 28–32, 34, 36–38, 43, 48, runme.org, 46, 269–270
62, 286 Russian constructivism, 6
Preservation and Archiving of Newmedia and
Interactive Collections (PANIC), 213n13 Sabol, Gabrijela, 134
Price, Cedric, 101 Sack, Warren, 142n19
Primal Graphics (Campbell), 225, 226 Sadotti, Giorgio, 256
Private collectors, 15, 202–204 SAM (Sound-Activated Mobile) (Inhatowicz),
Productivism, 111 173, 174
Public art, 224–229 Sanchez, Lizi, 167
Public Space/Two Audiences (Graham), 84n3 San Francisco Museum of Modern Art
Purves, Ted, 116 (SFMOMA), 13, 15, 89, 150, 179, 182, 186n6,
Puzar, Matija, 134 191, 194–197, 197, 199, 205–206, 207
San Jose Airport, 226
Rabinowitz, Sherrie, 93 San Jose Museum of Art, 67, 244n11
Radical Software Group (RSG), 213n9 Saper, Craig, 53
Radio90, 232 Sarai. See Temporary autonomous zone (TAZ)
Index 349

Sarai, Delhi, 231, 240 SMARTlab, London, 238

Sawon, Magda, 171 Smith, Dominic, 141n14, 277n6
Scanner, 212n3 Smithson, Robert, 60
Scanner (Seawright), 298 Socially engaged art, 1–2, 15, 34, 66, 77,
Scher, Julia, 205 114–120, 124–126, 130, 137, 139, 140n7,
Schleiner, Anne-Marie, 45, 269 141n13, 142n22, 147, 212n7, 224, 249, 287,
Schöffer, Nicolas, 110n4 289, 291, 298, 303
Scholz, Trebor, 137 Social software, 35, 68, 271
Schubert, Karsten, 191 Softscape (Rashid), 133
Schubiger, Caroline, 187n16 Software art, 3, 8, 14, 24, 31, 35, 64–65, 93,
Schultz, Pit, 279n23 96–98, 123–124, 169–170, 201, 213n9, 238,
Science Museum, London, 149, 182, 190, 263 269–270, 279n27, 287
Scofidio, Ricardo, 135 Solanki, Sneha, 123
SCOPE, 202 Sollfrank, Cornelia, 6, 14, 32, 34–37, 45, 295
Seaman, Bill, 135 Somlai-Fischer, Adam, 274
Seawright, James, 298 Sonata (Weinbren), 101
Second Life, 91–92, 202 Sound art, 101, 121, 173, 178, 186n10, 228
Secret Agent Gel, 106 Spatiodynamism (Schöffer), 110n4
“Secret net.art Conf,” 258 Speakers Corner (de Jonge), 128, 129
Seek (Negroponte), 54 Special Interest Group for Computer Graphics
Seijdel, Jorinde, 21, 70 (SIGGRAPH), 217–218
Selbo, Vivian, 85n19 Spike Island Art Space, 166, 167
Serpentine Gallery, London, 141n9 Sponsorship, 198–200, 239–240
SFMOMA. See San Francisco Museum of Stalder, Felix, 117, 141n14
Modern Art (SFMOMA) Stallabrass, Julian, 152, 164, 198, 300
Shanken, Edward, 13 Staniszewski, Mary Anne, 11, 125
Shaw, Jeffrey, 71–72 Star and Shadow Cinema, Newcastle upon
Shedroff, Nathan, 140n3 Tyne, 249–252, 250, 256
Shepherd, Michael, 126 Status Project (Bunting), 77, 78
Sherman, Tom, 93, 217 Steam Powered Internet Computer (Deller),
Sherwin, Guy, 277n6 87
Shikata, Yukiko, 169 Steam Powered Internet Machine (Deller and
Shockbot Corejulio (5voltcore), 292 Kane), 88
Sholette, Gregory, 115, 142n18 Stenakas, Carol, 101
Shooting Live Artists, 232 Stengers, Isabelle, 21
Short Films about Flying (Thomson & Craig- Stinger, Daniel, 167
head), 61 Stone, Allucqére Rosanne, 141n15
Shredder (Napier), 169 Struppek, Mirjam, 224, 229
Shulgin, Alexei, 14, 23, 97–98, 279n23, 287 Studer, Monica, 6–7, 79
Siegelaub, Seth, 14, 56, 82, 286 Suicide Box (BIT), 66
Signwave Auto-Illustrator (Ward), 170 Sun Microsystems, 199
Simon, John F., Jr., 209 Surrender Control (Etchells), 105, 120
Sims, Patterson, 180 Surrey Art Gallery, 235–236, 300
Simulation-based art, 79 Sutton, Gloria, 39
Sine Wave Orchestra, 183, 184 Systems-based art, 51–53, 56–57, 61, 68, 83,
Site specificity, 58, 59, 66–67, 76, 120, 122, 90, 125, 287, 303
141n11, 216 Szeeman, Harald, 198
350 Index

Tagging, 46, 167–168, 185n5 Ultima Ratio (Plewe), 170

Taho, Ritsuko, 113, 135–136, 208 Uncomfortable Proximity (Harwood@Mongrel),
Tall Ships (Hill), 113 14, 43–45, 44, 151, 154, 164, 175, 286
Tate, 14, 15, 37, 43–45, 57, 110n5, 125–127, 152, Under Scan (Lozano-Hemmer), 187n17, 201
164, 179, 197, 211, 216, 240, 263–264, 287, 291 University of Openess, 15, 166, 260, 261
Tate Media, 15, 164, 166, 179, 290–291 Untitled (Golden) (Gonzalez-Torres), 73, 205
Tate Online, 164–166 Upgrade!, 228, 258
Tatlin, Vladimir, 115 user-generated content, 46, 80, 113, 143n23,
Tech_nicks, 81, 245n21 251, 268, 270, 303. See also data-driven art
Technology art, 26
Telecommunication Museum, Copenhagen, V2_, Rotterdam, 15, 201, 215, 238–240, 239
172 Van de Sompel, Ronald, 159n7
Telephone Call, The (Cardiff), 205 van Heeswijk, Jeanne, 303
Temporary autonomous zone (TAZ), 257–260, van Mourik Broekman, Pauline, 232
265 Variable Media network, 15, 207–208, 210, 213
tenantspin, 138, 232 Variable media, 4, 204, 211
“Terminal Futures,” 141n18 Venice Biennale, 15, 93
Thacker, Eugene, 258 1986, 14, 217
Thing, The, 243n1 2001, 220, 221
Thompson, Sarah, 200 2007, 217
Thomson, Jon, 272. See also Thomson & Vergne, Philippe, 73
Craighead Vesna, Victoria, 107
Thomson & Craighead, 6, 14, 23, 61, 67–68, Video art, 1, 62, 81, 87, 91–94, 97–99, 101, 103,
194, 202, 286 109n1, 111, 147, 159n8, 202, 215–217, 225,
ThoughtMesh, 231 228, 230, 243n4, 290
386DX (Shulgin), 97–98, 99 Video art, interactive, 24, 101, 113
Time-based art, 48, 61–62, 87–92, 96, 100–102, Video games, 5, 79, 92, 169
102, 109, 201, 222 Videopositive, 215
Time Based Text (Jaromil and JODI), 93 Vinyl Video, 221
Tinguely, Jean, 49n6 Viola, Bill, 178, 205
Tiravanija, Rirkrit, 113, 116, 140n9, 143n29 Virtual Bootleg (Sadotti), 256
Tokyo Rose (Kos), 205–206 Virtual galleries and exhibitions, 65, 70–71,
Transmediale, 216 84n8, 85n18, 155, 166, 176, 297
TriggerHappy (Thomson & Craighead), 23 Virtuality, competing with reality, 187n12
Trini, Tommaso, 217 Virtual reality, 2, 6–7, 41, 63, 66, 79, 80, 80, 91–
Tse, Shirley, 194 92, 97, 196, 241
Turing, Alan, 4 virus log (digitalcraft), 302
Turing-land, xiii–xiv, 4, 49n6, 237, 242 Vishmidt, Marina, 25–26, 30, 109n2
Turing test, 113 Visitors’ Profile (Haacke), 39, 53, 54
Turner Prize, 216 Vue des Alpes (Studer/van den Berg), 6–7, 9
TV Swansong (Pope and Guthrie), 65, 255, 256,
277nn9–10 Walczak, Marek, 186, 208
Twitter, 45 Walker Art Center, 15, 73, 110n7, 150, 164, 191,
Two Planes (MacDonald), 196 203–204, 279n22
Ward, Adrian, 31, 170
Ulanski, Piotr, 73 Wattenberg, Martin, 186, 208
Ulay & Abramovic, 90 Web 2.0, 45–47, 233
Index 351

Web-based art, 23, 27, 30, 34, 35, 39, 41, 60, Zeromorphosis (Taho), 135–136, 136
66–68, 70–71, 75, 79, 155, 218–221, 250, 253. ZeroOne, 67, 244n11
See also Net art 0100101110101101.org, 220–221, 272
Web-only exhibitions. See virtual galleries and Zimmerman, Patricia, 168–169
exhibitions Zurbrugg, Nicolas, 29, 32
Webster, Meg, 98
Weibel, Peter, 29
Weil, Benjamin, 106, 150, 194–195, 197, 205
Weinbren, Grahame, 101, 141n16, 208
Wellcome Wing at Science Museum, London,
212n3
Whid, T., 288
Whitehurst, Anne, 135
Whitelaw, Mitchell, 142n20
Whitney Biennial, 73, 122, 128, 254
2000, 34
2002, 243n1
Whitneybiennial.com, 254
Whitney Museum of American Art, 83, 151,
199
Wikipedia, 46, 143n23
Wikis, 13, 46, 122–123, 137, 166, 260, 262, 265–
266, 270–271, 288
Willats, Stephen, 125
Wilson, Mick, 141n12
Wilson, Stephen, 3
Winet, Jon, 1, 36
Woolley, Benjamin, 140n4
Wooster, Ann-Sargent, 141n16
Workaholic (Hoberman), 132
Works 1993–2004, Typologies and Capacities
(van Heeswijk), 303, 304
World Information Summit on Free Informa-
tion Infrastructures, 260
World Wide Video Festival, 243n1
Wortzel, Adrianne, 291

Xerox Parc, 238, 240

Yamamoto, Yasuhiro, 183

Yes Men, 37, 279n23
YouTube, 45, 82, 93–94, 113, 143n23, 271, 301

Zapp, Andrea, 143n24

Zentrum für Kunst und Medientechnologie
(ZKM), Karlsruhe, 103, 131, 173, 175, 190,
204, 290