Abstract
Creative holography could still be considered a fringe medium or methodology, compared to mainstream art activities. Unsurprisingly, work using this technology continues to be shown together with other holographic works. This paper examines the merits of exhibiting such works alongside other media. It also explores how this can contribute to the development of a personal critical framework and a broader analytical discourse about creative holography. The perceived limitations of showing holograms in a “gallery ghetto” are explored using early critical art reviews about these group exhibitions. An international exhibition, which toured the United Kingdom (UK) and Australia, is used as a framework to expand the discussion. These exhibitions include examples of the author’s holographic work and those of artists working with other (non-holographic) media and approaches. The touring exhibition as a transient, research-informed process is investigated, as is its impact on the critical development of work using holography as a valid medium, approach, and methodology in the creative arts.
Highlights
It is not unusual for works produced in similar media, or those which investigate similar processes, to be visually and critically grouped
This can encompass broad areas of investigation, such as painting, sculpture, video, print, or performance, and provides a loose, comparative grouping for audience consideration. Within those primary media areas, there are extensive practical, theoretical, critical, and cultural subsections, which become more engaging as they start to highlight, or juxtapose, works which activate discussion or respond to a curatorial “thesis”. From this develops the construct of the gallery as a “laboratory” or research “workshop” (Hou et al 2013), which can be most recently seen in the range of activities at the Research Pavilion organized by UniArts (University of Helsinki) alongside the Venice Biennale in 2019 (Research Pavilion 2019)
“not quite there”, the “transient and momentary event”, and the “peripheral view” (Pepper 2018). Acknowledging these significant attributes, work using holography was included in an international exhibition staged in conjunction with the Alternative Document conference, of the same name, held at the University of Lincoln, United Kingdom (UK), in 2016 (Figure 1)
Summary
It is not unusual for works produced in similar media, or those which investigate similar processes, to be visually and critically grouped It was, for decades, an essential curatorial backbone for exhibitions. For decades, an essential curatorial backbone for exhibitions This can encompass broad areas of investigation, such as painting, sculpture, video, print, or performance, and provides a loose, comparative grouping for audience consideration. Within those primary media areas, there are extensive practical, theoretical, critical, and cultural subsections, which become more engaging as they start to highlight, or juxtapose, works which activate discussion or respond to a curatorial “thesis”. From this develops the construct of the gallery as a “laboratory” or research “workshop” (Hou et al 2013), which can be most recently seen in the range of activities at the Research Pavilion organized by UniArts (University of Helsinki) alongside the Venice Biennale in 2019 (Research Pavilion 2019)
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