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  • Research Dossier
  • 5 min read

Updated: Jun 18, 2020

Aimee Rose




It is often argued that for a social art practice to actually function as social, there must be reciprocity. (Hagoort, 2016). I agree, however I also understand that the practice of exchanging things with others for mutual benefit is always immediately possible because of the shared assumption that an encounter in art is reciprocal. Curating and photography can be compared in how they produce experiences that are not necessarily reciprocal by nature (Hagoort, 2016). But various types of art, aesthetics and concepts share the assumption that any encounter with them is by definition reciprocal. In addition, the role of curation is assumed to break down divisions between the giving artist and the receiving audience. Their combined purpose then is to break down hierarchies and inequalities.

United by a desire to create understanding through creative dialogue that crosses boundaries of race, religion, and culture - Kester.

Hagoort’s thoughts are persuasive when thinking about this idea in practice. American art historian Grant Kester, similarly describes networks of artists and collectives who are 'united by a desire to create understanding through creative dialogue that crosses boundaries of race, religion, and culture' (Kester, 2004). When looking at the type of promotional images below, it is interesting to think about who would realistically be welcomed through the doors of the exhibition (figs 1 & 2). I believe it very possible that the people involved in the curation of the show and the making of the art would turn their noses up at particular people.




There is an order of thinking which frames the way in which we experience and make sense of curation and something in the encounter we have which happens outside of reciprocity. Hagoort calls this an 'asymmetry in encounter' (2016, p.171). If humans are a flawed species with desires that often undermine the precarious balance between giving and receiving, then it is here where we see that reciprocity as a moral principle is as fundamental as it is precarious. In the social art practices of curation and photography there is a promise of reciprocity which turns into the social process itself. Here Hagoort (2016) argues that reciprocity is a social fact that is necessary way of existence. I agree with this and realise that the promise of reciprocity does not seem so much a promise as it does an ideological concept. In relation to this, Viktor Misiano (1998) argues that the more you are engaged in this system of reciprocity in the art world, 'the more you are an artist' (Misiano, 1998), leading me to believe that perhaps this is the end goal of such encounters in photography, and in the curation process.






Anyone who uses a smartphone or computer is now a curator of sorts because of the ways in which digital platforms have allowed individuals to carefully curate spaces online, some of which can be seen in figures three and four, despite how generic some representations of personalised expressions and opinions might be. The Internet’s ubiquitous and ever-growing influence across numerous spheres of activity in developed societies is still being understood by artists and curators alike, bringing into question the contexts and ways in which these kinds of activities meaningfully represent a form of curatorial selection.


The promise of reciprocity does not seem so much a promise as it does an ideological concept.

As the Internet has developed 'curator’s have increasingly used it as an exhibition tool' (Ghidini, 2019). These curators and the artists not only set up and arrange exhibitions, but now also create events and archives. We can see examples of this given the current global crisis wherein various galleries and museums such as IMMA have created projects for their audiences to take part in by means of the Internet and social media (fig 5). However, despite the curator’s work in creating such events, Lowry (2018) argues that the prestige, influence and visibility of the curator in relation to the artist in creating these things can be highly disproportionate.


Algorithmically powered content creates what are known as echo chambers of numerous opinions and perspectives.

Lowry introduces us to the term “circulationism” (2018, 14) which I find to be of key importance to this discussion, wherein it is not necessarily about the art of making an image anymore, but the post production, launch and acceleration of it. An artwork can simultaneously exist as a single entity or have multiple materializations due to its introduction to the Internet. Due to digitization, the specifics about the medium of the physical artwork might become less important than knowing what the work does. I agree with Lowry that this dematerialization of the artwork which could too lead to the dematerialization of the artist.



Fig 5 Screengrab showing IMMA’s Inside Out project initiative during the current pandemic.

The artist and artwork is often interpreted and valued through driven perceptions of popularity which come with the usage of numerous Internet platforms. Algorithmically powered content creates what are known as echo chambers of numerous opinions and perspectives. These algorithmic collections are said to have very little variation as opposed to human-curated ones such as Spotify playlists or Netflix title suggestions. Nonetheless, it is clear to me that these algorithms increasingly influence the way in which we consume culture while being less able to introduce content that has a better chance of expanding our horizons. Lowry argues that “it is imperative that curators present content that actively ruptures filter bubbles and echo chambers” (Lowry, 2018, 19) and that the role of the curator must evolve, and is evolving, in response to the ubiquitous nature of the digital image.




Citation


Rose, A. (2020) 'De-materialising the social' in Curating Photography: Poolside. TU Dublin: BA Photography [Online]. Available at www.curating.photography/post/aimee-rose

References

Ghidini, M. (2019) ‘Curating on the Web: The Evolution of Platforms as Spaces for Producing and Disseminating Web-Based Art’, Arts, 8(3). Available at: https://www.mdpi.com/2076-0752/8/3/78/htm [Accessed 21 April 2020].

Hagoort, E. (2016). ‘Pertaining Asymmetry’, in Beatrice von Bismarck, Benjamin

Meyer-Krahmer (eds.) Hospitality: hosting relations in exhibitions - cultures of the curatorial.

Berlin: Sternberg Press.

IMMA. (2020) IMMA. Available at: https://imma.ie/whats-on/immainsideout-collective-project/ [Accessed 25 April 2020].

Kester, G. (2004) ‘The Eyes of the Vulgar’. In: Conversation Pieces: Community and Communication in Modern Art. US: University of California Press.

Lowry, S (2018). ‘Curating with the internet’ in Buckley, B and Comomos, J. (eds.) A

Companion to Curation. Oxford: Wiley Blackwell.

Misiano, V. (1998) The Institutionalization of Friendship. Available at: http://irwin-nsk.org/texts/institualisation/ [Accessed 14 April 2020].

Images

Figure 1: Leonhard’s Gallery. (2019) David Yarrow - “Wild Encounters”. Available at: http://www.leonhardsgallery.com/exhibition/david-yarrow-wild-encounters/ [Accessed 25 April 2020].


Figure 2: Leonhard’s Gallery. (2019) David Yarrow - “Wild Encounters”. Available at: http://www.leonhardsgallery.com/exhibition/david-yarrow-wild-encounters/ [Accessed 25 April 2020].


Fig 3. Rose, A. (2020) Instagram Screenshot 01 [Image].


Fig 4. Rose, A. (2020) Instagram Screenshot 02 [Image].


Fig 5. Rose, A. (2020) Screenshot of IMMA website [Image].

  • Research Dossier
  • 4 min read

Updated: Jun 18, 2020

Valdis Alijevs




Our timeframes need to be broad when analysing how institutions of photography have created modes of exhibition-making and methods of curatorial practice. The period from 1920 to 1940 is described as the era that brought about the institutionalisation of photography (Sheikh, 2013). The historical background is important to adequately understand why curatorial practices have come to be described as performances and events (Schorch, 2017). Wolfgang Tillmans' influence on young photographers is partly due to his exhibition techniques (Fig 3). The success of the dynamic spaces he produces is attributed to how he devises exhibitions both with and for images (Östlind, 2018 and Davies, 2017).



Fig 1 Kaski, H. (2015). Tranquility. Exhibition Views. Finish Museum of Photography, Helsinki.


Another photographer pushing developments in curatorial practice is Heikki Kaski (Fig 1). His exhibition ‘'Vibrate on Silent' (2017) includes transitions evident in the techniques associated with Tillsmanian techniques, in terms of the spatial layout of images in books. It is difficult to understand why there is sometimes such a difference between what is meant by the terms fine-art and contemporary photography. Angie Kordic argues that fine art photography is 'created in accordance with the photographer’s vision, and it manifests an emotion, a personal impression and a unique vision of a subject the artist has a passion for' (Kordic, 2015). About contemporary photography, Östlind argues that it cannot be easily defined because it is so impacted by ongoing developments in the field of the photography. Nonetheless, Geoffrey Koslov does offer a definition of contemporary photography as ‘a rolling and evolving view of photography from a contemporaneous moment in time' (Koslov, 2015). I agree with Östlind’s view that contemporary photography still remains difficult to define because of how the technologies of circulation and distribution that shape a particular time also affects how photographs are made and seen.



Fig 1 Jensen, J. (1973). Boy on the Wall. MoMa, NYC.


In 1973, Jens Jensen made an exhibition at the Fotografiska Museet resembling enlarged pages of a photobook, images were attached to large white paper and laminated to help with moving the exhibition to its next venue. This clearly shows the influence of the book, also evident in Kaski and Tillmans’ work. I think this provided limitations to the portrayal of photographs, since you always had to keep in mind the need to be mobile. Aaron Knochel describes visuality as ‘a central construct of critical thinking in visual culture, assembles social constructions of images that are often invisible to understand the performativity of visual culture in constructing our social worlds’ (Knochel, 2013, p. 13). This is not very different to Glenn Rugga's (2010) description of documentary photography as a tool employed by practitioners to inform people about events they cannot see for themselves. In my view, visuality has is significantly impacted by the circulation of photographs.


As regards the circulation of the viewer, consider the standard adopted by exhibitions to hang photographs in straight horizontal rows on walls painted white or more likely in a specialist photography space a mid-grey (Langford, 2005). Now consider wheelchair users. in such a scenario. The representative overview of the ADA guidelines for wheelchair users provides important data for curating photography because ease of access is necessary (Smitshuijzen, 2007). If considering our culture which values visuality so highly, it means that you are excluded from mainstream experience if you do not see the way others do. The standard is considered 152 to 156 centimeters from the floor to create an eyeline for the exhibited images, which doesn’t allow access to some people, implying a negative view of the wheelchair user. The first figure appears to show the importance of the positioning of elevator buttons. The second figure is showing the appropriate eyeline level for wheelchair users, to make sure the whole audience can see the work. IMMA is well known for having full wheelchair accessibility.




Fig 3 Tillmans, W. (2013). Folding, Refraction, Touch. Busch-Reisinger Museum.


Interestingly, Tillman’s photographs are often deliberately placed too high for wheelchair users to view, showing the Tillsmanian tantalising method of portrayal (Fig 3). The Smithsonian Guidelines state that accessible design is necessary because ‘people with disabilities are a part of the museum’s diverse audience’ (Majewski, 2010, p. 2). I think guidelines that promote equality and diversity are a necessity. The third and fourth figures of the ADA Guidelines show the length and width of the wheelchair because it's important that it can fit in everywhere and have enough space. The last 3 figures show how far the wheelchair user’s arms can reach. When exhibiting work, it’s important to me to know all the guidelines and follow them because then you will have a larger audience and promote equality (Smitshuijzen, 2007).


Citation


Alijevs, V. (2020) 'Dynamic spaces' in Curating Photography: Poolside. TU Dublin: BA Photography [Online]. Available at www.curating.photography/post/valdis-alijevs


References

Davies, C. (2017). The Ultimate Guide to Wolfgang Tillmans. Sleek Magazine. Available at:https://www.sleek-mag.com/article/wolfgang-tillmans/


Knochel, A. (2013). Assembling Visuality: Social Media, Everyday Imaging, and Critical Thinking in Digital Visual Culture. Visual Arts Research, 39(2), Pp. 13-27. DOI:10.5406/visuartsrese.39.2.0013


Kordic, A. (2015). Fine Art Photography – As Valuable as Other Types of Art. Widewalls. Available at: https://www.widewalls.ch/fine-art-photography/


Koslov, G. (2015). What is Contemporary Photography? FotoRelevance. Available at: https://fotorelevance.com/what-is-contemporary-photography/

Langford, M. (2005). Langford's Starting Photography: The guide to great images with digital or film. Massachusetts: Focal Press.


Majewski, J. (2010). Smithsonian Guidelines for Accessible Exhibition Design. Smithsonian Accessibility Program. Available at:https://www.sifacilities.si.edu/ae_center/pdf/Accessible-Exhibition-Design.pdf


Mirzoeff, N. (2006). On Visuality. Journal of Visual Culture, 5(1), pp. 53–79. https://doi.org/10.1177/1470412906062285



Östlind, N. (2018) ‘’Framed or Unframed? How the Question of Photography as Art Has Shaped Exhibition Practice in Contemporary Photography’’ In Rastenberger, A.K and Sikking, I (eds). Why Exhibit? : Positions on Exhibiting Photographies. Amsterdam: Fw Books. pp. 147-160.


Phillipp Schorch. (2017). ‘’Assembling Communities: Curatorial Practices, Material Cultures and Meanings’’ In Onciul, B., Stefano. L., Hawke, S (eds). Engaging Heritage, Engaging Communities. Suffolk: Boydell Press. Pp. 31-46. Available at: https://books.google.ie/books/about/Engaging_Heritage_Engaging_Communities.html?id=N7Q4DwAAQBAJ&printsec=frontcover&source=kp_read_button&redir_esc=y#v=onepage&q&f=false


Rodriguez, J. (2019). Rick Hansen's new mission: Improving accessibility across Canada. CTVNews. Available at:https://www.ctvnews.ca/lifestyle/rick-hansen-s-new-mission-improving-accessibility-across-canada-1.4433561?cache=%3FclipId%3D89530


Rugga, G. (2010). Documentary Photography: The impact that photographs can have is illuminated in a look back at iconic images. NiemanReports. Available at: https://niemanreports.org/articles/documentary-photography/


Sheikh, R. (2013). Photography in the Grey Years (1920-1940). History of Photography. Pp. 117-125. DOI:10.1080/03087298.2012.738550


Smitshuijzen, E. (2007). ‘’Appendix II ADA Sight Requirements'’ In Signage design manual. Baden: Lars Muller Publishers.


Tiffentale, A. (2018). The Family of Man: The Photography Exhibition that Everybody Loves to Hate. FK Magazine. Available at:https://fkmagazine.lv/2018/07/02/the-family-of-man-the-photography-exhibition-that-everybody-loves-to-hate/

Images


Fig 1. Kaski, H. (2015). Tranquility. Exhibition Views. Finish Museum of Photography. Viewed 28 March 2020. <http://heikkikaski.com/Exhibition-Views>


Fig 2. Jensen, J. (1973). Boy on the Wall. MoMa. Viewed 28 March 2020. <https://www.hasselbladfoundation.org/wp/portfolio_page/jens-s-jensen-hammarkullen-40-years-later/>


Fig 3 Tillmans, W. (2013). Folding, Refraction, Touch Busch-Reisinger Museum. Viewed 14 April 2020. <https://www.harvardartmuseums.org/article/a-conversation-with-wolfgang-tillmans>


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