Works or Space?

1. Works or Space? Documentation of Steve Gibson performing Virtual DJ

2. Curator’s aesthetic Space Material Object Audience’s aesthetic Curating involves Aesthetic, Material, & Spatial practices

3. Site Specificity “21st Century Brautiganism,” by DTC students Mikhail Oparin and Christina Broussard-Pearson, installed in the 2nd floor windows of a Vancouver downtown building during “Windows into Art,” June 2010; photo by Christina Broussard-Pearson. A wide range of artistic approaches that ‘articulate exchanges between the work of art and the places in which its meanings are defined’ (Kaye, qtd. in Dziekan, 42).

4. A Shift in Perspective A visitor looking at Harrison Higgs’ work installed in the First American Title Insurance Company drive through window, “Windows into Art,” June 2010; photo by Christina Broussard-Pearson “The universe is a continuum. Since space is endless, the differentiation of ‘inner space’ from ‘outer space’ is rendered meaningless.” Art should . . . not be treated as isolated objects but as parts of a living space” (Dziekan 39).

5. DuChamp’s Notion of Gallery Space • “Intervention of line . . . seems to actualise the virtual space” • “The exhibition, with its own creative value superseding the aesthetic . . . attributed to the artifact, that emerges in sharp relief” • “Problematis[es] the relationship between work and Site” because it “presents a challenge to notions of ‘original’ or ‘fixed location’ Dene Grigar performing “Things of Day and Dream” in the MOVE Lab, a black box site; photo by Jeannette Altman From Vince Dziekan’s Virtuality and the Art of Exhibition 41

6. The role of the Gallery “mediartZ,” at North Bank Artists Gallery, October 2009; photo by Dene Grigar “The gallery acts as a catalyst for the redefinition of the work of art and modes of representation,” particularly the “fleeting experiences of . . . virtualised spaces” (Dziekan 43-4).

7. THE ROLE OF CURATING Curating is an artistic practice. As Dziekan suggests, the “development of institutional critique as a form of self-critical artistic practice has influenced this shift in the role of curator (43). “Loud & Clear,” North Bank Artists Gallery, Vancouver, WA, April 2012. The space changed for each new work presented The poster for “Loud & Clear,” North Bank Artists Gallery, Vancouver, WA, April 2012

8. Curatorial Design “Determining how a viewer encounters artworks through the spatio-temporal frame of the exhibition is defined as a priority for curatorial design” (Dziekan 35). The design of Roderick Coover, Scott Rettburg, and Nick Montfort’s Three Rails Live for the UVW’s downtown library for the “Electrifying Literature” exhibit, June 2012

9. In-Class Activity Directions: Continue working on Project 1 “Laying out a small show.” Also prepare for the in-class critique.