audience & presentation final ed

8/3/2019 Audience & Presentation Final Ed.

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0706725 MA Fine Art FAM3: Audience & Presentation January 2012

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0706725

FAM3 Audience & Presentation

A discussion of some aspects

of website based art and

why the gallery is still relevant.

January 2012


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Audience and presentation: A discussion of some aspects of website based art and why

the gallery is still relevant.

Introduction

My current area of studio practice is focussed on video art and the use of the website in fine art. My

original ideas involved using the website as the sole platform for my work. However, the more that I

explored this idea, the more unsatisfactory I felt that it became. I rapidly found myself in a no-mans-

land between graphic design, gaming, and the occasional works of a recognised fine artist.

Moreover I quickly became aware of the limitations on presentation imposed by the computer

screen.

The relationship between electronic media and fine art is still evolving, and often uneasy. My ideas

about my developing art practice are shaped by the culture of contemporary art, which is broadly

the art that has been made since I was born. Those born before the early 1990s are not native in

DSL (digital as a second language) and have a different relationship to electronic media (Dudeney,

2011). People born before the mid-1980s are commonly termed digital immigrants in comparison

with the younger digital natives. The only research unit in the UK (that I am aware of) dedicated to

electronic art is the Slade Centre for Electronic Media in Fine Art which was established in 1995.

My interest in using a website as a platform for my work (increasingly for my videos) arose from my

belief that art galleries, particularly those not subsidised by the state, are forbiddingly elitist,

whereas the majority of the UK population has easy access to the World Wide Web. Thus,

theoretically, work exhibited on a website should attract a much greater cross section of society

than work exhibited in a gallery. Moreover, exhibiting work on the Web should provide the

opportunity for greater comment from, and interaction with, other artists.

As my work has developed I have been increasingly aware that my commitment to (presumed)

egalitarian web-based work has been challenged by the limitations of exhibition/ presentation in that

medium. I have been inspired and overwhelmed by videos exhibited in various gallery spaces,

whereas I have found myself interested and sometimes intellectually involved in the work that I have

seen on websites.

I have used this essay to review two large web-based artists organisations; examining their mission

statements and how well they achieve them. I have been particularly interested in their success in

attracting work and presenting it to their audiences. I have then turned to a selection of well-known

artists that use videos in their work and exhibit in galleries.

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The websites www.furtherfield.org www.rhizome.org

Furtherfield is a British community founded in 1997. Their mission statement is:

to co-create extraordinary art that connects with contemporary audiences providing innovative,

engaging and inclusive digital and physical spaces for appreciating and participating in practices in art,

technology and social change. (www.furtherfield.org/content/about)

Rhizome is a US community founded in 1996. Their mission statement is rather longer:

Rhizome is dedicated to the creation, presentation, preservation, and critique of emerging artistic

practices that engage technology. Through open platforms for exchange and collaboration, our website serves

to encourage and expand the communities around these practices. Our programs, many of which happen

online, include commissions, exhibitions, events, discussion, archives and portfolios. We support artists

working at the furthest reaches of technological experimentation as well as those responding to the broaderaesthetic and political implications of new tools and media. Our organizational voice draws attention to

artists, their work, their perspectives and the complex interrelationships between technology, art and

culture, (www.rhizome.org/about/).

Both organisations have similar concerns, and both started in the second half of the 1990s (3 or 4

years after ready availability of public access to the World Wide Web (http://info.cern.ch/)).

Accessibility

Both Furtherfield and Rhizome encourage open access for artists to exchange information and

ideas, and to collaborate. Indeed Furtherfield wish to engage audiences as co-creators of social

change. The first requirement for any artist using a website as the point of engagement with an

audience is to make that website accessible.

Scanning a number of artists websites (both individual and organisational) demonstrates the

importance of the first impression of the site. Web design and speed of loading both the website and

its pages are increasingly important. I believe that this is another instance of the digital divide;

young digital natives are used to immediate gratification with digital technology, and if an item does

not catch their attention they will move on. Corporate research suggests that investing in high

quality web design and ensuring that web pages load in less than 5 seconds is extremely

commercially profitable (Sutton, T, 2011). The most recent data (1 January 2012) suggests that

there are 582,716,657 registered websites in the world and that this number is growing by as much

as 5% per month (http://news.netcraft.com/). This emphasises the need for professional web

designers and search engine optimisation staff.

Definitions

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http://www.furtherfield.org/http://www.rhizome.org/http://www.furtherfield.org/content/abouthttp://www.rhizome.org/about/http://info.cern.ch/)http://news.netcraft.com/http://www.rhizome.org/http://www.furtherfield.org/content/abouthttp://www.rhizome.org/about/http://info.cern.ch/)http://news.netcraft.com/http://www.furtherfield.org/


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In order for a viewer to access websites such as Furtherfield or Rhizome, s/he has to enter a

suitable search term into Google (or other search engine). This is not easy, as there is no obvious

definition to use. Steve Dietz argues that the term net art is broader than new media art because it

encompasses art work and ideas that predate the World Wide Web (Dietz, S, 2008).

It is debatable when exactly the history of digital art began. Artists have been experimenting with

computers at least since the 1970sOver the decades, art making use of digital technologies has taken

many forms, and even today, the question of how exactly digital or new media art can be defined is still being

debated. (Paul, C, 2008)

The term electronic media appears to be the most accurate (although finding a reputable source

for definition is difficult); Online forms of news publication, including websites, blogs and social networking

sites (PC Magazine Encyclopedia).

Using the search terms net art, digital art, electronic art, web art, video art, and artist

communities in Google, neither Rhizome nor Furtherfield were found on the first page of search

results, although Rhizome does appear in a search for new media art.

One could argue that as Furtherfield has over 26,000 active members, and Rhizome presumably

considerably more (although their website gives no specific details), word of mouth advertisement is

satisfactory. I would counter this by suggesting that they are unlikely to be reaching a non-artistic

community directly from their websites, although of course many individual artists are committed to

community based work.

Artist and Audience

This vital question of accessibility leads me back to the primary question, who is the website for?

Here the two organisations differ subtly, with Furtherfield specifically stating that they wish to

connect with contemporary audiences, whereas Rhizome avoid any reference to direct

communication with audiences, instead emphasising the roles of support for, and encouraging

communication between members of the artistic community.

The Web is faster, more efficient and more accessible than any other means of communication The

Internet brings art to the masses; it is a service everyone can use rather than a form of pleasure reserved for a

select few. (Cosic, V, 2005)

The word Web conjures a visual image of multiple strands, all connecting to form a spiders web,

and this image has been used by Deleuze, and appropriated by Rhizome in their choice of name:

In terms of rhizome or multiplicity, puppet strings do not run back to the assumed will of an artist or

puppeteer, but to the multiplicity of nerve fibres that form, in their turn, another puppet following other

dimensions connected to the first. (Deleuze, G, and Guattari, F, 2005)

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This egalitarian connectivity is, for me, the fundamental appeal of electronic media. I suggest that

the current debate surrounding it is another feature of the digital native/ non-native split. Digitally

native artists and audiences have grown up in a world of Wikipedia and social networking, a world in

which knowledge is co-created, photograph and video albums are created and shared with

hundreds, re-appropriated and re-produced. Ideas of authorship are changing, and this potentially

threatens the current system.

Web artists who privilege open-source systems have provided perhaps the greatest historical

challenge to the art worlds voracious cultural and commercial impulses in part because many web artists

straddle these systems (one closed, based on ownership, authorship, and monetary value; the other open,

based on open-source systems, community, and, if you will, cultural value) and are deviously conversant in

the language of both. (Jones, C, 2010)

Both organisations that I have chosen to study imply in their mission statements that they areunderpinned by a philosophy of working collaboratively, with platforms for free exchange of work

and ideas. During my early visits to the websites I was interested to know how this exchange of

ideas worked in practice. Was I to expect a social networking type of organisation, such as

Facebook or Twitter (I assumed not), and if not, then what?

I decided to look at what the home (front) page presented to me, and then to look at the art

presented, and the ways in which it had been submitted and selected.

Furtherfield

Furtherfields mission statement includes a pledge to co-create extraordinary art that connects with

contemporary audiences.

Arriving at their very busy home page (Rhizomes home page is equally overcrowded, and neither

are models of good web design or aesthetics) the viewer is greeted with large amounts of text and

few images. There is a slowly changing slide show beneath the menu bar but sadly only one of the

images relates to a video, and the majority of the others link to interviews or book reviews. My initial

impression was of a contemporary art magazine rather than a platform for artists to discuss/ debate/critique oneanothers work.

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Whitehot Magazine of Contemporary Art

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frieze magazine (online edition)

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Screen shot of part of Furtherfield front page

There is no obvious facility for submitting electronic work, and the only gallery works available to

the audience are the Flickr thumbnails near the bottom of the home page.

On the menu bar Get Involved offers me the opportunity to try my hand at reviewing work, or to

donate money to the organisation (which is not-for-profit and dependent on charitable funding). I am

told that I can get involved by swapping and sharing code, music, images, video and ideas but the

way to this is unclear. I have to visit NetBehaviour (a subpage of Get Involved) to find a way to

share my own work. I can join the blog and promote links to my work (on my website, on YouTube,

vimeo etc.)

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Screen shot of NetBehaviour page, Furtherfield.org

The claim that debates and controversies are played out by all subscribers in text, image and code

in a public forum is theoretically true, but far from a practical reality. This portion of the website is

for subscribers only, and as such I had hoped for a facility to submit work and receive constructive

peer response. The website offers two blogging facilities that seem more appropriate for writers

than visual artists.

The Outreach section of the website looks promising; I presume that everyone can access this,

including the participants in the projects described. Sadly this is not the case. The promise of the 20

minute film Helgi and Hroar remains a tantalising promise.

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Screen shot of Outreach page, Furtherfield.org

The link to bfi (where it was screened) works but no longer takes the viewer to the film, and

participants (and others) are unable to leave any feedback without registering and logging in.

The same frustrations arise when visiting the Projects page; moving further into the detail of each

project rewards one with text about the project, and more links to external websites, but no moving

or interactive images.

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The only page on the menu that invites artists to submit work is Residencies; artists undertaking a

residency are invited to present their work through online platforms and physically in the Furtherfield

gallery.

Screen shot of Residencies page, Furtherfield.org

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Rhizome

Rhizomes busy front page has more images than Furtherfields, and although it is not particularly

easy to read I find it more user friendly.

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Screen shot of upper part of Rhizome.org home page

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The home page is extremely long, and it is unlikely that a casual viewer will scroll to the bottom.

The first screen view of the Rhizome home page offers me a video (with links to further information),

a contemporary blog, an image of a new piece submitted by an artist, with a single click link to an

engaging piece of interactive art.

Screen shot of interactive art work from home page of Rhizome.org

There is a prominent call for submissions, and a series of images linking to different artists blogs.

Navigating the menu bar in Rhizome appears straightforward, with just four pages (artbase,

community, programs, and join) to choose from. The about us page that one might expect on an

organisations home page is hidden under join. Rhizome states that their website serves to

encourage artistic practices that engage technology, by offering an open platform for exchange and

collaboration. However there is no indication for a new artist about how to submit work for display

on the website, other than an advertisement for submissions (for grants) to the annual Rhizome

commissions programme.

Like Furtherfield, Rhizome has a page encouraging viewers to subscribe and/ or donate, and

(reflecting their larger remit) they also offer organisational subscriptions to schools, colleges,

universities and museums.

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Moving to the community page one finds a jobs board which is a fantastic service for North

American viewers; at the time of writing this essay there is a large variety of arts-related jobs,

spanning all employment sectors, and all geographical areas of the United States.

Further down the list of sub-pages are profile and portfolio pages, and this finally seems to be themechanism for displaying ones own work.

Screen shots from the portfolio page on Rhizome.org

The images on the portfolio pages are all clickable and take the viewer to a more detailed

description of the work. I particularly like the small red link suffix that follows the title and links to the

artists website and/or videos.

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Presentation of electronic art

There is no obvious selection process involved when publishing work to the Furtherfield website, it

appears that anyone can upload details to the NetBehaviour page and offer the viewer access to an

external site (although I have not yet tried to do this).

Furtherfield has a gallery in north London; the address and directions can be found on the

Furtherfield website, but a Google search for the gallery repeatedly returns to the Furtherfield

website.

Image, Google Images

Looking through the gallery archive it appears that there are two exhibitions a year, attracting a very

interesting international group of contemporary artists the most recent exhibition Made Real was

by the founders of Wikipedia Art, Scott Kildall and Nathaniel Stern. Another recent exhibition was

the first solo UK exhibition by Annie Abrahams, If not you not me. The statement accompanying

the exhibition strikes me as central to the work that Furtherfield is interested in nurturing:

Annie Abrahams (b. NL 1954, lives and works FR)is an internationally regarded pioneer of networkedperformance art. If not you not me at HTTP Gallery in London is the first solo exhibition of her work in the UK.

While social networking sites make us think of communication as clean and transparent, Annie Abrahams

creates an Internet of feeling - of agitation, collusion, ardour and apprehension. This exhibition presents three

new collaborative works alongside documentation of recent networked performances created and curated by

the artist.

Working with simple interfaces, disruptions in data-flow and carefully crafted instructions, Abrahams sensitises

participants and audiences to glitches in communication and invites them to experience and reflect on

different ways of being together in a machine-mediated world. This exhibition asks how we deal with the

tensions of collaboration and physical separation as we negotiate relationships through video imagery,computer software and digital networks.

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(http://www.furtherfield.org/exhibitions/if-not-you-not-me)

There are similarly interesting statements, supporting essays, and several links to the artists and

other relevant online documents for each exhibition that has been hosted by the Furtherfield gallery

since its debut in October 2004.

Rhizome is explicit about organising both online and physical gallery exhibitions; presenting new

media in innovative and challenging ways is a key part of Rhizome's mission.

Throughout our history, Rhizome has organized exhibitions online and also in the galleries of partner

spaces, including our affiliate the New Museum of Contemporary Art. Rhizome also invites our community to

organize online exhibitions from our online archive, the ArtBase. (http://rhizome.org/artbase/exhibitions/)

It seems curious that this access to one of the key functions of Rhizome is buried deep in a

subpage under the parent page artbase. There are three interesting member-curated exhibitions

available, and the mechanism for submission appears to be as simple as clicking on curate a new

artbase exhibition.

The major exhibition page appears as a subpage of programs, and as with Furtherfield there are

links to all the exhibitions (approximately two a year) that Rhizome has hosted since November

2004. Rhizome is affiliated with the New Museum of Contemporary Art in New York

(http://www.newmuseum.org/), and holds its offline exhibitions there. Unlike Furtherfield these

appear to be curated by Rhizome members or supporters, and many exhibitions relate directly tomaterial that derives from the Rhizome website. There is considerably less supporting material

available than with Furtherfield.

Summary of my study of Furtherfield.org and Rhizome.org

As previously stated, the egalitarian nature of new electronic media, particularly when website-

based, appeals to me on many theoretical levels, and is directly relevant to my developing studio

practice.

For the first half of this case study I have looked at two well-established website-based visual arts

organisations.

My first and most important question concerns egalitarianism. Both sites fail dismally. I suspect that

the casual viewer with a passing interest in contemporary art would never find either organisation;

even a postgraduate art student will struggle to find the exact terminology to register success with

Google.

For the enthusiast (who is likely to find both organisations through word of mouth) both sites offerexcellent archival resources. Navigation of both sites could be improved despite Rhizome having an

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impressive sounding web technology team, and Furtherfield also having an individual responsible

for the website.

The developing electronic media artist can submit work to both organisations, but the opportunity for

peer group and more experienced practitioner feedback appears haphazard.

Therefore I conclude that, as a platform to find an egalitarian audience for ones work, and to obtain

feedback, neither Rhizomes nor Furtherfields websites succeed.

Presentation of videos in the gallery

There are, of course, a number of public artworks that are neither based on a website nor in a

gallery, but space does not permit me to include these in my discussion.

As stated, one of my arguments for website based art was its egalitarian nature; potentially I felt that

it should be the antithesis of gallery based art, which I perceive to be (in the main) elitist, and also

historically unenthusiastic about electronic media (although video work has become accepted over

the past two decades.) However, research relating to my own work as well as for the two case

studies that I have presented reveals the current situation for disseminating contemporary art via a

website to be unsatisfactory.

The second issue with website based art relates to the limitations imposed on the viewer by the

computer screen, which can be (but are not always) overcome in the gallery. The effect of scale is

illustrated by this description of Olafur Eliassons The Weather Project, in the Turbine Hall, 2003:

Something unexpected happens to spectators ofThe Weather Project. We lie down and lose

ourselves, become part of, indeed become, the spectacle before us. But The Weather Projectdelivers a

mass audience that cannot fail to be overwhelmed by the magnitude of the installation itself: The museum is

not so much revealed as transformed into a destination, an event. (Meyer, J, 2004)

The aim of making the viewer become totally absorbed in the art that they are seeing is, I would

imagine, the elusive goal of many artists, and entering a gallery rather than turning on ones lap top

may increase the likelihood of success. To illustrate this point I have selected four well known artists

whose work I have seen; Matthew Barney, Sam Taylor-Wood, Susan Hiller, and Pipilotti Rist.

One of my early exposures to contemporary video art in the gallery setting was at the New York

Guggenheim in 2003, when I stumbled upon Matthew Barneys The Cremaster Cycle. It would be

difficult to imagine watching these five feature-length films on a computer screen, although

interestingly Barney now has website devoted to the work, that enables the viewer to watch a trailerofCremaster 3. (http://www.cremaster.net/crem3.htm)

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http://www.cremaster.net/crem3.htmhttp://www.cremaster.net/crem3.htm


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Images from Cremaster Cycle

Sam Taylor Wood also produces work that would have a very different impact if viewed on a

computer screen; several of her well known works are multiscreen video projections:

Sam Taylor-Wood: Sigh, 2008 Duration: 8 minutes 37 seconds, 8 screen projection(http://whitecube.com/artists/sam_taylor-wood/)

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http://whitecube.com/artists/sam_taylor-wood/http://whitecube.com/artists/sam_taylor-wood/


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Screen shot from Google Images (PinchukArtCentre)

Susan Hillers video work is often multiscreen and large scale, and having personally experienced

her work at the recent Tate retrospective, it is impossible to conceive it having the same effect if

seen on computer screens.

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Susan Hiller: An Entertainment 1990 4 synchronised video projections, quadrophonic sound.

"Susan Hiller's An Entertainment, 1990 - four video projectors and sound in a square room - is 26 minutes

long, during which huge coloured images... are thrown against the wall; the soundtrack evokes a seaside

audience as well as the murderous doings of Mr.Punch with his thrusting nose; entertainment clichs ("Oh yeshe is! Oh no he isn't!") are menacingly intoned. Memories of Edward Munch and James Ensor... and the cruel

caricatures of Regency London all spring to mind in Hiller's absorbing disquisition on ritual and myth, vicious

comedy, violence and death. The brutality of what passes for entertainment still erupts in London life, and

Hiller has unnervingly traced one of its histories."

Richard Shone, Artforum, 1995 (http://www.susanhiller.org/Info/artworks/artworks-entertain.html)

Pipilotti Rist produces work that ranges from the very small to the very large much of her work

uses multiscreen video projection, but she also produces tiny video projections in unexpected

places.

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Pipilotti Rist: Images from Eyeball Massage at the Hayward Gallery, London, 2011(http://www.guardian.co.uk/artanddesign/video/2011/oct/05/artist-pipilotti-rist-eyeball-massage-video

Pipilotti Rist: Images from Eyeball Massage at the Hayward Gallery, London, 2011

(http://www.guardian.co.uk/artanddesign/video/2011/oct/05/artist-pipilotti-rist-eyeball-massage-video)

Each of the presentations here challenges ones notions of reality whilst presenting the viewer with

elements of everyday existence. Personally I find that an initial response at a rational and

intellectual level is impossible the works are immersive and response is intuitive, defying logic or

rationality. McEvilley, writing in 1986 about white cube galleries, expresses the potential for the

gallery to manipulate the viewers experience:

It is this other world, or access to it, that the white cube represents. It is like Platos vision of a higher

metaphysical realm where form, shiningly attenuated and abstract like mathematics, is utterly disconnected

from the life of human experience here below. (McEvilley, B, 1986)

Christine Ross writes about augmented reality (AR) art projections in relation to the increased

blurring of the real and the virtual, defined in her chapter as systems that:

supplement the real world with virtual (computer-generated) objects that appear to co-exist in thesame space as the real world. (Ross,C, 2011)

Although she is not talking about the types of video installations cited above (but I suggest that any

result of video editing can legitimately claim to be computer-generated), I think that augmented

reality is an appropriate description for the experience that the installations produce

I suggest that the use of multiscreen video projection, major alterations in scale (frequently moving

towards the massive), and the removal of the viewer from everyday life into the gallery setting all

predispose the viewer to a situation where perception of reality is blurred.

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http://www.guardian.co.uk/artanddesign/video/2011/oct/05/artist-pipilotti-rist-eyeball-massage-videohttp://www.guardian.co.uk/artanddesign/video/2011/oct/05/artist-pipilotti-rist-eyeball-massage-videohttp://www.guardian.co.uk/artanddesign/video/2011/oct/05/artist-pipilotti-rist-eyeball-massage-videohttp://www.guardian.co.uk/artanddesign/video/2011/oct/05/artist-pipilotti-rist-eyeball-massage-videohttp://www.guardian.co.uk/artanddesign/video/2011/oct/05/artist-pipilotti-rist-eyeball-massage-video


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Susan Hiller uses scale (and in the case of Psi girls, colour editing) to blur the reality of what are

essentially ordinary everyday images. She also enlists the gallery setting; I am unable to do the

experiment, but I doubt that her work would have the same impact if viewed in, for example, a large

school hall or university lecture theatre.

Susan Hiller: Psi Girls 1999 5 screen video installation

Susan Hiller: The J Street Project 2002-5 67 min video of collected static images

Conclusions

The impetus for this consideration ofAudience and Presentationwas the dilemma that I confronted

in my own work.

I have always challenged boundaries, and the medium of website based art is still sufficiently new to

challenge to more established art forms. Moreover the apparently egalitarian nature of the World

Wide Web (at least in the developed world) appeals to my socio-political beliefs, and confronts the

elitist world of the art gallery.

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The development of my arguments has been limited by word count, but I have presented my

disappointment with the websites that I have investigated, at least for the purposes of presenting

work to audiences. Equally my enthusiasm for the video based work that I have seen presented in

galleries remains undimmed.

When watching an art video I wish to have a sense of being removed from the ordinary, the routine,

and of becoming more in touch with the ineffable. It may be that the very ubiquity of websites in 21st

century Britain on our computers, tablets, and smartphones, and the saturation of exposure to

social networking renders the medium incapable of facilitating such an effect when used to

present a work of art.

It is not healthy for art to be too closely integrated with the society from which it springs or to be totally

diluted within it. This would result in its losing its critical function. It is therefore necessary, more than ever

before, for artists to maintain a distance between their work and the world in which they live if their art is to be

anything more than a simple mirror reflecting changing issues. (de Meredieu, F, 2005)

Some galleries, particularly a space like Tate Moderns Turbine Hall, have the capacity to create a

sense of awe, and certainly help to distance the work from the world from which it comes.

If I conclude that the gallery space offers me the potential for a symbiotic relationship when

presenting my work, whereas the computer/ tablet/ smartphone diminishes and imprisons it, where

does this leave my egalitarian desire concerning my audience? It is ironic that the medium with the

potential to transcend boundaries of race, gender, sexuality, class, income, religion, and politics, is

delivered to its audience in small rigid rectangular boxes. This single boundary irrevocably alters the

ways in which the viewer experiences the work.

ODohertys questions about the relationship between the artist and the gallery, and his conclusion

of a Faustian compromise, seem to be as relevant now as they were 35 years ago:

During modernism the gallery space was not perceived as much of a problem. The artist was not

aware he was accepting anything except a relationship with a dealer. And if he saw beyond it, accepting a

social context you can do nothing about shows a lot of common sense. Most of us do exactly that. Before

large moral and cultural issues, the individual is helpless but not mute. His weapons are irony, rage, wit,

paradox, satire, detachment, scepticism. A familiar kind of mind comes into focus here restless, self-

doubting, inventive about diminishing options, conscious of void, and close to silence. It is a mind with no fixed

abode, empirical, always testing experience, conscious of itself and thus of history and ambiguous about

both. (ODoherty, B, 1976)

In summary I discussed the potential for new electronic media (specifically video and website) to

provide egalitarian appeal to a wide audience. I have suggested that the elitism of the gallery is

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better at optimising the presentation of some video art work. As always, I believe that working with

the compromise is likely to be creative.

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