New Collecting: Exhibiting and Audiences after New Media Art
- Submitting institution
-
University of Sunderland
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 1283
- Type
- B - Edited book
- DOI
-
-
- Publisher
- Routledge
- ISBN
- 9780815399810
- Open access status
- Out of scope for open access requirements
- Month of publication
- May
- Year of publication
- 2014
- URL
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http://sure.sunderland.ac.uk/id/eprint/4982/
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
0
- Research group(s)
-
-
- Proposed double-weighted
- Yes
- Double-weighted statement
- This book was both edited, and also contains 2 substantial chapters which map the field. It was based on at least 8 years of research specialising in collecting new media art. Because there was little published material, primary sources were particularly important, and were busy curators, some of whom needed writing support or interview formats. The international scope including Korea and China also demanded more primary research, fund-raising, and comparative analysis.
- Reserve for an output with double weighting
- No
- Additional information
- I was invited by the publisher to edit, and write 2 chapters on the subject of New Collecting. The research for this book developed over 2 years, was supported by an AHRC Fellowship Grant, to include research trips to meet with collectors in China, Japan, and South Korea (additionally supported by the South Korean Cultural Department).
The research method strategically invited leading international practitioners rather than purely academic theorists, to write chapters reflecting current best practice, including: Heather Corcoran, Rhizome and the New Museum, New York; Steve Dietz, Northern Lights, Minneapolis; Pip Laurenson, Tate, London; Lindsay Taylor, Harris Museum and Art Gallery, Preston; Rudolf Frieling, SFMOMA, San Francisco; Louise Shannon, Victoria & Albert Museum, London; Lizzie Muller, Powerhouse, Sydney. This range of large/small public/private practices aimed to be of relevance to professional as well as academic researchers.
My own chapters drew from over 20 years of research and curatorial contacts in the field, including my own PhD, and running a yearly professional curators’ course in London. It analysed emerging patterns of models of collecting, distributing and exhibiting, likely to be useful across a range of international economic contexts. This research aimed to address the lack of existing literature in this field.
The book has been cited by publications in the USA, Canada, Germany, the Netherlands as well as in the UK, and includes PhD dissertations, peer-reviewed journals, and professional documents such as Governance recommendations for a nonprofit technological arts society in Canada.
It has led to invitations to speak at collecting events, including in Istanbul, Lisbon, and Vancouver, and an international Collecting Think Tank in Mexico (Montabonel Foundation London). Writing has included chapters in the What do Museums Collect? book by National Museum of Modern and Contemporary Art in Seoul, and a book by Bard Graduate Center, New York.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -