Traditionally, art institutions endeavour to display true craftsmanship in respect to art practices for example painting, sculpture, print etc. The original format, as produced at the labour of the artist. Whether leaving the piece at the mercy of the public to analyse, or telling the story and intention by means of a curator. However, these institutions have long been avoided by the general public as they are believed to be elitist, leaving many works open for appreciation and acknowledgement by those learned and practised in the arts alone.
Art itself on the other hand, is becoming increasingly accessible in recent years as a result of the radical advance in modern technology and digitalisation. More and more artists are using internet domains and websites to publicise and display their work, without the "inconvenience" or "restrictions" of art museums, galleries etc. Their work, or rather images of their work, are so easily distributed and exposed with many people finding its accessibility more suitable, accommodating and favourable to approach and invest in.
This notion of context is described briefly in Boris Groys' esssay, "two cures: making art visible". It is in this essay that the question is raised, whether art in the institution, or art for the world wide web is the truest form of art and whether digital images need any sense of narration from a curatorial, exhibition context at all. Many other interesting questions are raised throughout this text, which I intend to discuss in succession as per the author's construction.
Groys composes his essay into 3 concepts; the cure, the copy and video. In his first division, the cure, he collects h...
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Collectors Forum, 010101: Art in Technological Times. San Francisco: MOMA, 2001
Colson, Richard, The Fundamentals of Digital Art. Switzerland: AVA Publishing, 2007
Friehling, Rudolph and Wulf Herzogenrath, 40 Years Video Art: Digital Heritage: Digital Art in Germany from 1963 to the present. Dusseldorf: Maidstone, 2006
Groys, Boris. After the event: New perspectives on Art History (Rethinking Art’s histories). Manchester: University Press, 2011
Mondloch, Kate. Screens: Viewing Media Installation Art. Minnesotta: University of Minnesotta Press, 2010
Murphy, Gavin. Placing Art: A Pilot Art Programme. Sligo: Sligo County Council, 2000
Rieser, Martin and Andrea Zapp. New Screen Media: Cinema/Art/Narrative. London: BFI Publishing, 2002
Staniszewski, Mary Anne. The Power of Display: A history of Exhibition Installations at MOMA. Cambridge: MIT Press, 2001
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