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Situating Internet Art in the Traditional Institution for Contemporary Art by Karen A

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Situating Internet Art in the Traditional Institution for Contemporary Art by Karen A .art Situating Internet Art in the Traditional Institution for Contemporary Art by Karen A. Verschooren B.S. Communication Sciences K.U.Leuven, 2004 Master Cultural Sciences V.U.B., 2005 SUBMITTED TO THE DEPARTMENT OF COMPARATIVE MEDIA STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2007 © 2007 Karen A. Verschooren. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: ______________________________________________________ Program in Comparative Media Studies May 11, 2007 Certified by:_____________________________________________________________ William Charles Uricchio Professor of Comparative Media Studies Co-Director, Comparative Media Studies Thesis Supervisor Accepted by: ____________________________________________________________ Henry Jenkins Peter de Florez Professor of Humanities Professor of Comparative Media Studies and Literature Co-Director, Comparative Media Studies 2 .art Situating Internet Art in the Traditional Institution for Contemporary Art by Karen A. Verschooren Submitted to the Department of Comparative Media Studies on May 11, 2007 in Partial Fulfilment of the Requirements for the Degree of Master in Science in Comparative Media Studies. ABSTRACT This thesis provides a critical analysis of the relation between Internet art and the traditional institution for contemporary art in the North American and West-European regions. Thirteen years after its inception as an art form, the Internet art world finds itself in a developmental stage and its relation to the traditional institution for contemporary art is accordingly. Through an elaborate discussion of the key players, institutions and discourses on aesthetics, economics and exhibition methodologies, this sociological analysis of the past and current situation hopes to offer a solid ground for extrapolation and predictions for Internet art’s future as an art world in its relation to the traditional art institutions. Thesis Supervisor: William Uricchio Title: Professor of Comparative Media Studies, Literature, and Foreign Languages and Literatures Director of the Comparative Media Studies Program 3 Biographical note Karen Verschooren started her undergraduate studies in Communication Sciences in 2000 at the University of Leuven (K.U.Leuven, Belgium) with plans to become a journalist. As an exchange student at the Complutense University of Madrid, she did extensive archival research into Spanish cinema before 1939, work that formed the basis for her undergraduate thesis. Upon graduation, she decided to pursue her passion for the arts with a Masters in Cultural Management at the University of Brussels (V.U.B.), combining it with a sponsored three-month investigative journalism project on European brain drain, which brought her to the Boston area. Verschooren graduated in 2005 from the V.U.B. with a thesis on Art and New Media @ MIT. At MIT’s Comparative Media Studies Department, Karen Verschooren extended the previous research in new media art, focusing on Internet art and its relation to the traditional art and academic institutions both in the North American and West-European regions. She was the co-organizer for the second and third MIT Short Film Festival (April 2006 and April 2007) and as an Art Scholar and Arts Representative, actively worked on the development of the arts community at MIT. She is the recipient of the Belgian American Educational Foundation-fellowship as well as MIT’s D’Arbeloff Award for Excellence in Education. Acknowledgments Although writing most of the time is a solitary activity, in providing the content, the ideas, the motivation and the strength to finalize any text, one relies on many others. This master’s thesis is no exception to that. First of all a special thanks is due to my thesis supervisor, William Uricchio, and the chairman of my thesis committee, Caroline Jones, who together did an excellent job coaching me. Our time spent in conversations – over the phone and face-to-face – as well as the detailed feedback and suggestions were of incredible value in the production of this document. In addition, I am grateful to the many curators, directors, artists, and critics who granted me an interview and shared their stories and viewpoints. Without their collaboration, this thesis would not have been possible. Last but not least, I would like to thank my classmates, partner, family and friends for their support and patience. 4 Table of Content 0. Introduction 7 0.1. Methodology 11 0.2. Defining the entities in the relation 14 0.2.1. Defining Internet art 14 0.2.2. Defining the traditional institution for contemporary art 23 1. Towards an understanding of the museum’s relation to Internet art 25 1.1. Institutional profiles: mission statements and organization of the institutions 31 1.2. Key individuals 32 1.2.1. Brave young hearts 32 1.2.2. Directors and their departments 36 1.2.3. Institutional support, foundations and collaborations 41 1.3. Engagement strategies 48 1.3.1. Lectures and Symposia 48 1.3.2. Commissions 51 1.3.3. Exhibitions and Festivals 60 1.3.4. Awards 65 1.4. Marginal (?) institutional attention along geographical lines 66 2. The relation in context 77 2.1. Academic institution 79 2.2. The Internet and networked communities 81 2.3. New media art centers 91 2.4. Conclusion 96 3. Explicit Aesthetic system for Internet art 97 3.1. The ‘art’ in Internet art 101 3.2. The importance of an explicit aesthetic system 114 3.3. Internet art aesthetic within art history and art today: The same, yet different 119 4. Collecting and exhibiting, Internet art in an exchange economy 124 4.1. ‘Collecting’ and ‘owning’ Internet art 126 5 4.2. Making exhibiting Internet art financially viable 141 5. Exhibition methodologies 148 5.1. An important debate 148 5.2. An ongoing debate 149 5.3. Three levels of incorporation 152 5.3.1. ‘Separation’ 153 5.3.2. ‘Sepagration’ 158 5.3.2. ‘Integration’ 161 5.4. Requirements to present Internet art in the museum space 174 Towards an evolution in the art world 178 Appendixes Appendix 1: List of interviewees 184 Appendix 2: Theoretical Grid 185 Bibliography 187 6 0. Introduction The Internet has influenced our society in numerous ways and to a greater extent than could have been imagined in 1994. As the unruly object it is, the Internet is both subject to the appropriation of thousands of individual internet users and grass root movements, while at the same time being utilized and subject to the controlling attempts of centralized industries and institutions. It is both appreciated and feared for its democratic potential, and at the same time condemned and loved for its economic opportunities. It is everywhere and its pervasiveness is bound to increase in the future, for better or worse. Just as the Internet can be characterized as an unruly object – still young and still lacking a dominant definition or institutional form - its creative offspring, Internet artworks, are equally difficult to define. They are art, and they are technology, they adhere to an art historical context and aesthetic, while strongly relying and often speaking to a programming aesthetic. They are immaterial, but require hardware to be experienced. They are anti-institutional, but use an evermore commercially owned network, not to speak of commercial software. They have their own models of evaluation but speak to traditional parameters of success as well. And to complicate things even more, after every ‘but’, one should place an ‘often’, as homogeneity and uniformity are as rare within the Internet art community as in any other international grassroots organization. Although the above paragraph makes clear that Internet art and its community in all its aspects necessarily go beyond the institutional walls of the art museum, this text will focus on the relation between the Internet art world and the traditional institution for contemporary art. Rather than writing a manifesto for or against the inclusion of the art form within the institutional walls based on Internet art’s intrinsic worth, this text will – through a combined sociological and historical approach - offer a dissection of the intermediate stage in which the Internet art world finds itself in relation to the traditional institution of contemporary art. Through an elaborate discussion of the key players, institutions and discourses, this analysis of the past and current situation will offer a more solid ground for extrapolation and predictions for Internet art’s future as an art world in 7 relation to the traditional art institutions than any textual analysis of Internet art’s intrinsic value. From the viewpoint of the museum or institution for modern and contemporary art, this investigation into its relation with Internet art can be understood as an investigation into how a traditional institution, characterized by strong hierarchical relations and centuries- old customs and habits, can come to terms with the artworks the 21st century networked society is developing. The traditional art institution, via its art museums, today continues to filter what the public at large understands to be art. Contemporary art museums have, as museums have always had, the power to define what art is to the public at large: for this public, contemporary art is what one can find in the galleries and rooms of the contemporary art museum. This statement is hardly new: the idea that “museums are where the great majority of people in the West encounter art” has been used widely and most recently as the premise of the 2006 publication Art and its Publics. Museum Studies at the Millennium, a collection of essays edited by Prof. Andrew McClellan. “Since their inception two centuries ago, museums have been vested with ever greater responsibility to define what qualifies as art.
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