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Full Description
This important and first-of-its-kind collection addresses the emerging challenges in the field of media art preservation and exhibition, providing an outline for the training of professionals in this field. Since the emergence of time-based media such as film, video and digital technology, artists have used them to experiment with their potential. The resulting artworks, with their basis in rapidly developing technologies that cross over into other domains such as broadcasting and social media, have challenged the traditional infrastructures for the collection, preservation and exhibition of art. Addressing these challenges, the authors provide a historical and theoretical survey of the field, and introduce students to the challenges and difficulties of preserving and exhibiting media art through a series of first-hand case studies. Situated at the threshold between archival practices and film and media theory, it also makes a strong contribution to the growing literature on archive theory and archival practices.|"A companion to media art" provides the first full-fledged introduction to the emerging new field of the preservation and presentation of media art from a truly international perspective. Bringing together contributions from authors from all over Europe and the United States and combining the rich insights of scholars, curators and artists the book addresses the history, theory and technical aspects of creating and curating media art. |"A companion to media art" is the first textbook for students in advanced degree programs that lead to careers in the field of preserving and curating media art in media archives and museum collections. For the general reader the book provides an introduction to this fascinating new field. |The combination of incisive scholarly articles and cases studies provides for a comprehensive view of the field that will interest scholars, artists, archivists and curators alike.
Contents
Introduction Part I History, Archaeology, Aesthetics, Archive: Theoretical Paths 1 Between Art History and Media History: A Brief Introduction to Media Art 2 Media Archaeology: Where Film History, Media Art, and New Media (Can) Meet 3 Media Aesthetics 4 Media Art and the Digital Archive Part II Analysis, Documentation, Archive 5 The Analysis of the Artwork 6 Methodologies of Multimedial Documentation and Archiving 6.1 Enjoying the Gap: Comparing Contemporary Documentation Strategies 6.2 Case Study: No Ghost Just a Shell by Pierre Huyghe, Philippe Parreno, and Many Others 6.3 The Artist's Interview as a Tool for Documenting and Recreating a Complex Installation: The Example of Mbube, an AudioInstallation by Roberto Cuoghi in the Museo Del Novecento, Milan 6.4 MAXXI Pilot Tests Regarding the Documentation of Installation Art Part III Technological Platforms, Preservation and Restoration 7 Technological Platforms 7.1 The History and Technological Characteristics of Cinematographic Production and Reception Devices 7.2 The History and Technological Characteristics of Video Production and Reception Devices 7.3 Computers and Digital Reception Devices: History and Technological Characteristics 7.4 Obsolete Equipment: Ethics and Practices of Media Art Conservation 8 Theories, Techniques, Decision-making Models: The European Context 8.1 Operational Practices for a Film and Video Preservation and Restoration Protocol 8.2 Operational Practices for a Digital Preservation and Restoration Protocol 8.3 Case Study: The Conservation of Media Art at Tate Part IV Access, Reuse and Exhibition, 9 Exhibition Strategies 9.1 From Cinema to the Museum: A State of Affairs 9.1.1 A "Cinema Effect" in Contemporary Art 9.2 Exhibiting Images in Movement 9.2.1 Exhibiting/Editing: Dominique Païni and Programming at the Cinémathèque française at the Turn of the Centenary 9.2.2 The Expanded Archive: The Mind Frames exhibition 9.2.3 Exhibiting Film and Reinventing the Painting 9.3 The Image Traveling across Territories: Cinema, Video, TV, Museum, the Web, and beyond 9.3.1 On Passages Between Art and Cinema 9.3.2 Across the Territories: Exhibiting Music Video 9.3.3 Developing, Presenting, and Documenting Unstable Media at V2_ 9.4 New Dispositifs, New Modes of Reception 9.4.1 Video Installations as Experiences in Montage 9.4.2 From the Film to the Map: Patrick Keiller and The City of the Future 9.4.3 Site-specific Exhibition and Reexhibition Strategies: Max Neuhaus's Times Square 9.4.4 From Archival Model to Exhibition Platform? Video Art As a Web 10 On Curating New Media Art Epilogue. List of contributors. Index.
