Summer School: Curatorial Masterclass

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Patrick Lichty (b.1962) is a technologically-based conceptual artist, writer, independent curator, animator for the activist group, The Yes Men, and Executive Editor of Intelligent Agent Magazine. He began showing technological media art in 1989, and deals with works and writing that explore the social relations between us and media. Venues in which Lichty has been involved with solo and collaborative works include the Whitney & Turin Biennials, Maribor Triennial, Performa Performance Biennial, Ars Electronica, and the International Symposium on the Electronic Arts (ISEA). He also works extensively with virtual worlds, including Second Life, and his work, both solo and with his performance art group, Second Front, has been featured in Flash Art, Eikon Milan, and ArtNews. He is also an Assistant Professor of Interactive Arts & Media at Columbia College Chicago, and resides in Baton Rouge, LA.

Eyebeam CV
2009FHonorary Resident
SHonorary Resident
 
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Hans Bernhard [CH/USA], is an artist, born 1973, who lives and works in Vienna and St. Moritz. He is the founder of etoy, the etoy.CORPORATION & UBERMORGEN.COM. Known aliases include: hans_extrem, etoy.HANS, etoy.BRAINHARD, David Arson, Dr. Andreas Bichlbauer, h_e, net_CALLBOY, Luzius A. Bernhard, Andy Bichlbaum, and Bart Kessner. Bernhard holds an M.F.A. in visual media from the University of Applied Arts in Vienna, Austria. His work has been seen in a number of solo exhibitions (The Premises Gallery Johannesburg, Kunsthaus Graz, Kunsthalle St. Gallen, Blasthaus Gallery San Francisco, c3 Budapest) and group exhibitions (Konsthall Malmoe, NTT ICC Tokyo, Lentos Museum of Modern Art, SFMOMA, Kunsthaus Graz, Ars Electronica, KOP Taiwan, EXPO.02 Switzerland, Aldrich Contemporary Art, Museu d`Art Contemporani de Barcelona, Secession, and Museum of Contemporary Art, Tokyo).

Eyebeam CV
2009FExhibiting Artist
S
 
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Anne Barlow is the Executive Director of Art in General. Prior to her current position, Anne Barlow was for seven years the Curator of Education and Media Programs at the New Museum of Contemporary Art, where she organized artists' presentations, performances, and critical debates relating to contemporary art and new media. Her projects included New Museum exhibitions Killer Instinct (cocurated with Rachel Greene); Videodrome II; Trust Me; and installations by Lansing/Dreiden, Angie Eng, and lab[au]. Independent projects included Copy It, Steal It, Share It, (in collaboration with Michele Thursz), Borusan Art Gallery, Istanbul. Formerly Curator of Contemporary Art and Design at Glasgow Museums, Anne Barlow has organized numerous artists' residencies, exhibitions, and new media projects, and selected work for public collections and commissions in the U.K.

 
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Co-Founder, Polytechnic, UK. PhD candidate, CRUMB.
Dominic Smith originally studied sculpture and electronic installation, and worked at Tyne and Wear Museums in the UK for five years in curatorial, outreach, and new media development roles. He is one of the founders of The Polytechnic, an artist’s group that re-purposes technology and explores open source methods of project development. The work of The Polytechnic has been included in exhibitions and festivals at the Govett-Brewster Art Gallery in New Zealand, at the ICA in London; the Tyneside Cinema in Newcastle and in Liverpool. Dominic is currently undertaking a practice-based PhD with CRUMB at the University of Sunderland. His doctoral research examines the relationship between open source production methods, and art/curating methods.

 
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Scott Burnham; Creative Director, Montreal Biennial 2009
Scott Burnham is a creative strategist, director, researcher and writer specializing in design and open source innovation, often in urban contexts. He created and curated the Urban Play project for Droog Design in Amsterdam, and has directed projects ranging from Will Alsop’s SuperCity to The China Show while Creative Director for the Urbis Centre for Urban Culture in Manchester, UK. He has collaborated with Stefan Sagmeister, Peter Saville, Weiden + Kennedy, and the city of Barcelona among many others throughout Europe, North America and China. He maintains an international portfolio of writing, consulting and lecturing assignments, most recently addressing the World Urban Congress in Riga.

 


Day 3: Tues., July 14, 3–5PMNetworking and CollaborationNew media tools seem to make remote working and networking easier, but do they facilitate curating? How is the time-frame of collaboration­—between artists and curators or producers, or between the art and its audience—different when adopting open source methodologies (such as iterative or modular methods, sometimes called bootstrapping)? Discussions of the different shapes of collaboration and the tried and tested “rules” of good collaboration were ascertained.Guests: Amanda McDonald Crowley (Executive Director, Eyebeam) ; Patrick Lichty (Curator, Artist).Eyebeam respondent: Jon Cohrs (Resident, Eyebeam).Videography: Rus Garofalo

 
Projects: CRUMB, Summer School: Curatorial Masterclass
Tags: art, Summer School: Curatorial Masterclass, curatorial masterclass, eyebeam, new york, curating, open source, crumb, Videos


Day 5: Tues., July 21, 2009Evaulation and Audience EngagementThe last session of the curatorial masterclass series asked, who is participating in open curatorial projects? Why? How do we know what they’re getting out of it? What can be learned from the revisions/lifelines used in open source software generation and how can that way of thinking be applied to consideration of the “lifeline” of a curatorial project? What are other evaluation strategies that can be applied to curating, such as comment boxes or feedback forms? Obvious and proposed benchmarks of success were interrogated.Guests: Anne Barlow (Executive Director, Art in General); Hans Bernhard (Artist, Ubermorgen.com).Eyebeam respondent: Stephen Duncombe (Research Associate, Eyebeam) Videography: Rus Garofalo

 
Projects: CRUMB, Summer School: Curatorial Masterclass
Tags: art, Summer School: Curatorial Masterclass, curatorial masterclass, eyebeam, new york, curating, open source, crumb, Videos


Day 4: Thur., July 16, 2009Curating in the public domainCurating is often a private activity with a very public outcome, but recent hype about the term in relation to “filtering” online content (from videos and photos to tweets and urls) have made “curating” something people now think of as a very public process. What can we learn from public art models of curatorial practice? How do we cater for passerby audiences? What are the lessons to be learned from open submission projects online and offline? The ideal conditions for creating a platform for participation were dreamt up.Guest: Steve Dietz (Curator).Eyebeam respondent: Amanda McDonald Crowely (Eyebeam, Exectutive Director), Taeyoon Choi (Eyebeam Alumni Resident Artist) Videography: Rus Garofalo

 
Projects: CRUMB, Summer School: Curatorial Masterclass
Tags: art, Summer School: Curatorial Masterclass, curatorial masterclass, curating, new york, eyebeam, open source, crumb, Videos


Day 2: Thur., July 9, 2009Publication and DocumentationAs part of Fair Use Day, we considered some of the practical and legal issues concerning reproduction, particularly as it applies to issues of curating participatory and time-based art forms or art which takes place in the public domain. Can publishing be a documentation strategy for creating and curating ephemeral work, or work that is based on conversations or actions? What happens when the art and its documentation are the same thing, as in the case of maps? Release strategies used by curators working with emergent new media forms was rigorously compared.Guests: Lize Mogel (Artist/Curator).Eyebeam respondant: Rebecca Cittadini (Communications and Marketing Manager, Eyebeam).Videography: Rus Garofalo

 
Projects: CRUMB, Summer School: Curatorial Masterclass
Tags: art, eyebeam, new york, curatorial masterclass, curating, open source, Summer School: Curatorial Masterclass, crumb, Videos
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