Curating Online Collections: Towards an Authentically Digital, Mediation Protocol for Art Digitizations

IF 0.2 0 HUMANITIES, MULTIDISCIPLINARY
S. Bertrand
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引用次数: 0

Abstract

Since the mid-1990s, cultural organizations have increasingly digitized their physical collections and made them available online; however, museums are still puzzled over what to do with these growing digital collections. Meanwhile, art institutions’ reluctance to produce virtual exhibitions, linked to a prevailing skeuomorphic paradigm, has left the matter of curating art digitizations unresolved. While museum computing scholarship has aptly identified the problematic absence of authentically digital curatorial processes, it has largely overlooked the fact that online collections and in-gallery group shows similarly condition artistic reception owing to a shared database logic, subjecting both to a mediation paradox in contemporary culture. This article examines the effects of this shared logic on public engagement, along with recent digital curatorial strategies that have emerged in response around notions of the digital aura and networked objects. The article concludes by proposing three conditions for an alternative curatorial process capable of adequately mediating art digitizations online without sacrificing aesthetic experience to the limited affordances of screen-based information and communications technologies.
策展在线收藏:走向真正的数字化,艺术数字化的调解协议
自20世纪90年代中期以来,文化组织越来越多地将其实物藏品数字化,并在网上提供;然而,博物馆仍然对如何处理这些不断增长的数字藏品感到困惑。与此同时,艺术机构不愿举办虚拟展览,这与流行的skeumorphic范式有关,这使得策展艺术数字化的问题悬而未决。虽然博物馆计算机学术界恰当地发现了缺乏真正的数字策展过程的问题,但它在很大程度上忽略了一个事实,即由于共享的数据库逻辑,在线藏品和画廊群展示了类似的艺术接受条件,这使两者都受到当代文化中的中介悖论的影响。本文探讨了这种共同逻辑对公众参与的影响,以及最近围绕数字光环和网络对象概念出现的数字策展策略。文章最后提出了另一种策展过程的三个条件,这种策展过程能够在不牺牲审美体验的情况下充分调解在线艺术数字化,而不牺牲基于屏幕的信息和通信技术的有限可供性。
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来源期刊
Journal of Curatorial Studies
Journal of Curatorial Studies HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.40
自引率
0.00%
发文量
14
期刊介绍: The Journal of Curatorial Studies is an international, peer-reviewed publication that explores the cultural functioning of curating and its relation to exhibitions, institutions, audiences, aesthetics and display culture. The journal takes a wide perspective in the inquiry into what constitutes ''the curatorial''. Curating has evolved considerably from the connoisseurship model of arranging objects to now encompass performative, virtual and interventionist strategies. While curating as a spatialized discourse of art objects remains important, the expanded cultural practice of curating not only produces exhibitions for audiences to view, but also plays a catalytic role in redefining aesthetic experience, framing cultural conditions in institutions and communities, and inquiring into constructions of knowledge and ideology. As a critical and responsive forum for debate in the emerging field of curatorial studies, the journal will foster scholarship in the theory, practice and history of curating, as well as that of exhibitions and display culture in general. The journal supports in-depth investigations of contemporary and historical exhibitions, case studies of curators and their engagements, and analyses of the critical dynamics influencing the production of exhibitions in art and broader display culture. The Journal of Curatorial Studies invites contributions from scholars within curatorial studies, art history, museum studies, cultural studies, and other academic disciplines. The journal publishes both thematic and open issues, and features research articles, contemporary and historical case studies, interviews with curators, artists and theorists, and reviews of books, exhibitions and conferences.
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