Abstract

This paper examines a curatorial approach to digital art that acknowledges the symbiotic relationship between the digital and other more traditional art practices. It considers some of the issues that arise when digital content is delivered within a public gallery and how specialist knowledge, audience expectations and funding impact on current practices. From the perspective of the Digital Curator at MOSTYN, a contemporary gallery and visual arts centre in Llandudno, North Wales, it outlines the practical challenges and approaches taken to define what audiences want from a public art gallery. Human-centred design processes and activity systems analysis were adopted by MOSTYN with a community of practice—the gallery visitors—to explore the challenges of integrating digital technologies effectively within their curatorial programme and keep up with the pace of change needed today. MOSTYN’s aim is to consider digital holistically within their exhibition programme and within the cannon of 21st century contemporary art practice. Digital curation is at the heart of their model of engagement that offers new and existing audience insights into the significance of digital art within contemporary art practice.

Highlights

  • It is hard to believe that at the beginning of the 1960s it was still possible to consider artworks as falling into the category of either painting or sculpture

  • All of its operational costs are met by Arts Council Wales (ACW) with exhibitions and further activities funded via other grants and charitable funds, commercial activity and visitor donations

  • MOSTYN understood that the introduction of digital technologies in public art galleries has the potential to result in tangible benefits in terms of audience engagement and financial performance

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Summary

Introduction

It is hard to believe that at the beginning of the 1960s it was still possible to consider artworks as falling into the category of either painting or sculpture. Digital technologies have transformed art practices further through the introduction of new tools and new possibilities in the ways in which artworks can interact with audiences. Harding is herself a visual artist, whose practice includes incorporating digital intervention within traditional media such as oil painting and printmaking She interviewed staff and stakeholders, experimented with basic digital media and monitored social media to map out the existing organisation relationships within MOSTYN to analyse where digital tools could be of the greatest benefit. Once identified, she sought funding for projects to research and develop products to enhance audience engagement at MOSTYN. This paper will focus on the practical considerations of making such a shift within cultural institutions

The Digital Shift
The Digital Challenges
Josephine
Challenges of Digital to Curators
Challenges of Digital to Cultural Organisations
Findings
Identifying the Digital Potential at MOSTYN
Conclusions
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