JPEG | Curation in the Digital Age by Isabel Nascimento

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JPEG CURATION IN THE DIGITAL AGE

BY ISABEL NASCIMENTO

WORD COUNT: 8,746 NOTTINGHAM TRENT UNIVERSITY FASHION COMMUNICATION AND PROMOTION 3 NEGOTIATED PROJECT STAGE 1 2014 / 2015

SCHOOL OF ART & DESIGN BA(H) FASHION COMMUNICATION AND PROMOTION 3 MODULE: NEGOTIATED PROJECT STAGE 1 MODULE LEADER: MATT GILL REF. NO: FASH30001

I confirm that this work has gained ethical approval and that I have faithfully observed the terms of the approval in the conduct of this project. This submission is the result of my own work. All help and advice other than that received from tutors has been acknowledged and primary and secondary sources of information have been properly attributed. Should this statement prove to be untrue I recognise the right and duty of the board of examiners to recommend what action should be taken in line with the Universityâ&#x20AC;&#x2122;s regulations on assessment contained in its handbook.

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DECLARATION FORM

C 00 INTRODUCTION

C 01 CONTEXT

C 02 CURATION

PREFACE | 09 INTRODUCTION | 10

INFORMATION SURPLUS | 14 JPEGS AS DIGITAL READYMADES | 16 GENERATION TUMBLR | 18 THE EMERGENCE OF ONLINE CURATION | 20

THE CURATIONAL PRACTICE | 24 A SEMANTIC BATTLE | 26 EXHIBITIONS, TODAY ! 28

CONTENTS PAGE

C 03 THE BIG IDEA

C 04 C 05 CONCEPTEXECUTION CONCLUSION

A HALFWAY ENCOUNTER | 32 MILLENNIALS INTO MUSEUMS | 34 ART CONSUMERS | 42

CONCLUSION | 84 LIST OF REFERENCES | 88 LIST OF ILLUSTRATIONS | 90 BIBLIOGRAPHY |

Having been pacing the room for the past few minutes, Hans comes to a halt, with a book open in his hand. In the 60s we could talk about an expanded notion of art â&#x20AC;&#x201C; he says thoughtfully. Today, we can talk about an expanded notion of curating. WICKER, 2014

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Seth Price, Vintage Bomber, 2006 Am-Mainz, Alma/Rodeo, 2013 Steve Bishop, I Opened My Mouth / ZZ, 2014 John Baldessari, And, 1997 Leroy de Barde, Selection of Shells Arranged on Shelves,1797

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INTRODUCTION INTRODUCTION INTRODUCTION

Curation first came to light in the shape of a cabinet. To some for curiosities, to others for wonders, these cabinets date back to Renaissance, and they held noblemen’s ceaseless findings, varying from religious relics to ancient artworks and exotic artifacts – “any and all objects whose curiousness incited a quest for understanding” (Obrist, 2014: 42). Acquired during travel and displayed for life, these collections of memories were stored and organized according to theme, interest and emotional meaning. They were, inevitably, “a way of thinking about the world” (ibid.), a drive to collate and interpret it. Between each two objects laid a connection, an assumption, and their juxtaposition produced then meaning, a universe of possibilities.

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: From its etymological Latin origin, curation, “curare”, signifies “to take care of” (Rodley, 2014). Its meaning has morphed through times – in ancient Rome, curators were those who oversaw public works; in the Middle Ages they came to be those who guarded the souls of a community (Obrist, 2013: 25). It was only around the 20th century that curators became what we know them to be today – the ones who take care of both the works and the soul of museums – the exhibition makers. While their function has existed for a long time, the form to describe it hasn’t. Being a curator is a fairly new accreditation, one that keeps on stretching and, arguably, developing – constantly adapting itself to contemporary methods of making sense of the world. Upon the digital age, and in relation to an increasingly hyper connected world of information, “curation”, as an activity, leaked from the four walls of museums and spread itself to a much less confined space – the internet.

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However applied and done, today, curation has to mean one, and one thing only – the making of meaning. This project leverages this particular moment in history to analyze the semantic battle between past notions and present complexities of the word, in order to generate possible futures for the profession, the verb, the solution – the way of life that is to curate.

Tilman Hornig, TXT on Devices, 2014

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01 CONTEXT 01 CONTEXT 01 CONTEXT

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INFORMATION SURPLUS | JPEGS AS DIGITAL READYMADES | GENERATION TUMBLR | THE EMERGENCE OF ONLINE CURATION |

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Zachary Norman, Deliberate Operations III, 2014 John Yuyi, Back Post, 2014 Marcel Duchamp, Boîte-en-valise Series D, 1961 Richard Prince, Installation View of New Portraits at Gagosian Gallery, 2014 Michael Staniak, data_888 (725 GB), 2014

INFORMATION SURPLUS FROM BLOGGERS TO REBLOGGERS One minute, 60 seconds – 3.3 million pieces of content shared on Facebook, 4.1 million searches on Google, 100 hours of video uploaded on YouTube and 571 new websites are created (Intel, 2014). Content on the web is doubling every 72 hours (Rosenbaum, 2011: 80). This confounding data explosion stems from the democratization of user-generated content tools brought by the Internet. In 2007, freedom of speech and expression was matured by personal blogging (Wortham, 2007) – self-published and amateur opinion dethroned culture’s oldstyle gatekeepers such as curators, journalists and critics (ibid.). The world was reviewed, shown and reinvented by anyone and everyone with an opinion and an internet connection. However rich and revolutionary this might have been, several personalities talking at once inevitably lead to noise. If last decade’s achievement was to have a voice, this decade’s challenge is to be heard.

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“We’re going from making things to finding and organizing things” (Rosenbaum, 2011: 227). In lieu of scarcity, today’s information surplus makes expert and professional discern appealing yet again. Overproduction of data creates a need, and even urgency, for new systems of detection, selection and contextualization of the horizontal organization of the Internet (Simon, 2014: 30). The shift in the ratio of importance between creation and recreation has, more specifically in relation to visual content, been subject matter to various cultural critics and artists. This issue was firstly discussed in relation to the arrival of film and photography in the twentieth century by German thinker Walter Benjamin. In his timeless essay “The Work of Art in the Age of Mechanical Reproduction”, Benjaming argues that “modern technological reproduction strips institutions and their iconic artworks of their aesthetic authority” (Larsen, 2010), foreseeing changes in the way we produce and consume images today. Later on, photomonteur John Heartfield confirmed Benjamin’s predictions by using “images already in circulation to construct his covers for the AIZ” (Bianconi, 2013), whilst dadaist Marcel Duchamp further questioned and addressed museum’s increasing rate of reproductions in his “Boîte-en-valise” series (MoMA, 1999), as seen in figure 9.

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The same queries were raised posteriorly by Postmodern artist Richard Prince, who, in the 1980s, became known for rephotographing Marlboro ads, “cropping out all text and framing them like fine art” (Guggenheim, n.d.). Today, the artist continues to challenge art’s system, namely with his recent exhibition at the Gagosian Gallery, in which he finds, comments and printscreens people’s photos on Instagram and exhibits them as art (Jovanovic, 2014), (fig.10).

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Nicholas Mottola Jacobsen, Tear It Off, 2013 Brad Troemel, Sensual Rose with Mildly Customizable 6 inch Subway Meetball with Red Onions, Black Olives, and Swiss Cheese, 2013 Evan Roth, Internet Cache Self Portrait, 2012 Derek Paul Boyle, Gravestone, 2013 Cécile Evans, Hyperlinks or It Didn’t Happen, 2014

.JPEGS AS DIGITAL READY MADES REMIX AND REAPPROPRIATION We have entered what MIT researcher Henry Jenkins calls a “convergence culture, in which regular people – not just artists or academics – appropriate cultural artifacts for their own derivative works and discussions” (Jenkins in Simon, 2010: 3). Present creative materials echo this development – fashion designers pack the style of different eras and subcultures into a modern pastiche; music relies on sampling and new genres result from the blending of existing ones; art is being questioned and redefined through remixing and reappropriation.

Post Internet art is created for the purpose of being shared and viewed online, usually losing its essence when transferred to bricks-and-mortar exhibition spaces (McHugh, 2011: 6)

Have all creatives become editors? Against today’s information surplus, is recreation the formula for novelty?

The apex of possibility is a .JPEG.

Evolving from Benjamin’s response to the disruptive media of his time, “this is hardly the first time our notions of art and authorship have been challenged” (Steinhauer, 2013) and will certainly not be the last. Original conceptions of aesthetic and conceptual values in art are being redefined by today’s anarchist circulation of images.

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Much of the conversation around this subject was sparked by Artie Vierkan’s “The Image Object Post-Internet”. The essay discusses how recycling and manipulation are more prevalent than ever on account of Post Internet art, an emergent movement and aesthetic that comments on the repercussions of Internet in our lives (Olson, 2011). The movement boomed in 2014, filling an empty podium as the “dominant ideological style” and representation of our times (Petty, 2014). This art’s scene raises questions of author and ownership which, adjacent to its viral distribution via shares and reblogs, stresses these even further.

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Unconventional Tumblr “The Jogging” (see Appendix 2.1) thoroughly epitomizes today’s changed nature of image creation and distribution. The website, created by artists Brad Troemel and Lauren Christiansen, has an open submission policy and makes a platform for artists to network, share and reblog ideas. Born in 2009, the project has accompanied Tumblr’s growth in attention and scope, being in the top 1% of Tumblrs viewed and coming in third in Time’s “Tumblrs to Follow” section last year (Mellin, 2014: 126).

The Jogging’s aesthetic and reach thereby underline Post Internet Art’s blurred lines between ownership and context, originality and appropriation, artist and spectator.

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What’s peculiar about “The Jogging” is its visual language (fig 13 and 15). Formed out of the desire to rethink ways of making art for online audiences, Troemel and Christiansen juxtapose (and invite others to do so too) mass-produced, mundane objects in deviant ways, using the website as a vehicle for exposure and testing out ideas. Once reblogged, these images, initially conceived as artworks, enter non-artistic contexts and make whoever sees them part of an “accidental” art audience (Troemel, 2013). Where a successful exhibition may have 200,000 visitors, a popular Jogging image is seen by 20 million Tumblr users (Mellin, 2014: 126).

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Luke Libera Moore, Behold Me, 2014 Peter Fischli and David Weiss, Visible World, 1986-2001 Garrett Lockhart, Screen Portraits, 2014 Gerhard Richter, Atlas, 1962-2013 Franz Erhard Walther, Photographie de L’Activation du Werksatz, 1963-1969

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Parallel but close to image reproducers are the image collectors. The will to organize and make sense of the a growing over flood of images began to be seen in the 60s, prominent in both Gerard Richter’s “Atlas” (fig. 20) and Fischli and Weiss’s “Visible World” (fig.18), works that attempt to catalog hundreds of images according to their theme (Dillon, 2004). “Mnemosyne Atlas”, by Aby Warburg, adds an analytical layer to the prior examples and maps over 2,000 unrelated images under interpretative pathways. The project, begun in 1924 and left unfinished in 1929, is seen as not only the catalyst of the later and other similar artworks, but also, and more importantly, as the “precursor of today’s cybernetic approach” (Doove, 2012). F17

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GENERATION TUMBLR I QUOTE OTHERS TO BETTER EXPRESS MYSELF Online curational platforms such as Tumblr and Pinterest emerge from a similar desire – “the desire to interact, reorganize, and re-present elements from an already existing body of media” (Bianconi, 2013). Through these, content created elsewhere is employed as raw material to the making of meaning; its users form personal constellations of images built to be shared and cited – a wordless chain of reblogs and repins.

Ultimately, digital (and social) curation is both a representation and a producer of Millennial’s ideologies, operating as a mediation tool that is central to how they conduct their online lives. Subsequently, this activity has become a significant foundation for how media is circulated both for and from others.

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Ever since Arthur Brisbane advised his colleagues at the New York’s Evening Paper to “use a picture”, as “it’s worth a 1000 words” (Bouch, 2009), these were, ironically, words to live by. Images have always been an effective means of communication and yet today, more than ever, they speak about and for a generation (Sturken and Cartwright, 2001: 2).

The Tumblr community is 420 million strong, primarily composed by users between the ages of 13 to 25, unbound by geography (Smith, 2013). Images are their first and common language, tying like-minded individuals and working as a form of social currency.

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In a time where integrity is possible through change, Millennial’s personalities are defined but never static – they are a product of what they see, think and learn about – much like their online spaces, built in order to simultaneously document and assist their ever-changing, ever-growing visual vocabulary. An idyllic playground for identities under construction, Tumblr, in particular, works as this generation’s studio, lab and scrapbook – the equivalent of what the Surrealists called a morgue – a collection of images torn from different sources to help inspire and intrigue both themselves and others (Hovagimyan, 2013).

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THE EMERGENCE OF ONLINE CURATION ALGORITHM VERSUS HUMAN Fluent in references and creative influences, the members of the Tumblr Generation are perceived as tastemakers as they rely on their personal arbitration to discover, contextualize and deliver individualistic aesthetic experiences. Their online spaces have inspired new systems to help us manage the enforced world of information, experiences and knowledge available around us, tools that discern clarity from digital chaos. While some, such as Feedly and Protopage work as content aggregators, others, like Content Gems and iFlow are more focused on content discovery. Whether used on a personal scale or with promotional purposes, these platforms make it easier to find where the interesting and the useful lie.

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Rachel de Joode, The Imaginary Order,2012 Gerhard Richter, Abstract Painting, 2009 Ryan Estep, Dirt. Palm Fronds. Cast Skin. 2011 Own image, Initiating/Meditating, 2013

The emergence of the previously mentioned curational platforms has slowly revolutionized how we make sense information’s superabundance that surrounds us every day. Today, curation is the word that describes much of what’s changing in the way we produce and consume information online. As “citizen editors”, Tumblr and Pinterest users are becoming more and more “central to helping clarify and validate content on the web” (Rosenbaum, 2011: 81).

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On the creative side of things, websites such as ART:I:CURATE, Art Stack and Artsy are changing the way we discover, collect and share contemporary art (see Appendix 2.2). Despite having different features, these curational systems share a common purpose, one similar to Tumblr’s but using art images exclusively. The three channels take full advantage of the fact that most contemporary art can now be found on the Web and create systems through which art lovers can select, juxtapose, discuss and share their likes and personal views, consequently forming online communities. The fashion industry is also making use of social curation tools, yet with more commercial aims. Platforms such as Lyst and Shopstyle allow customized shopping experiences for its users by asking them to follow their favourite products and brands, to then tailor suggestions that respond to their needs.

Whilst algorithms go for what’s safe, relevant and expected, hand-curation responds to context, criticality and authenticity. In relation to the increasingly hyperconnected data surrounding us, this kind of reliability is gaining momentum and proving itself to be key in help us making sense and meaning of it (Kansara, 2011).

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In the same way having information personalized and delivered to us simplifies our busy lives, it also limits us from new, potentially interesting, unrelated findings. Both Lyst and Shopstyle work mostly on predictive algorithms; these are automated and built to collect content based on your preferences and needs. Human curation, on the other hand, is a manual task – it not only adds a qualitative layer to content aggregation but also, and perhaps more importantly, it adds an emotional filter too.

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Shahryar Nashat, Attend to the Wound, 2012

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Nick Waterlow, a Curator’s Last Will and Testament, 2009 Dette van Zeeland, Untitled, 2014 Own image, Frieze Fair, 2014

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THE CURATIONAL PRACTICE MEANING AS A PROFESSION

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In the same way bloggers borrowed from journalist’s craft and endangered their authority, the appearance of digital curators borrows from museum curators, the so-called exhibitionmakers (Van Buskirk, 2012). As previously discussed, and given information’s ubiquitousness, handwoven narratives allow a much needed and more sensible discern from noise to sound – human selection adds quality and character back to the equation, thereby overcoming the vagueness of search engines (Rosenbaum, 2011: 79).

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This activity feeds then from what museum curators do – the assemblage and contextualization of objects in order to tell a story (See Appendix 1.7). Curators detect and select, digest and interpret – ultimately conceiving new ideas and transferring them to a wider audience. In the words of Hans Ulrich Obrist – one of the most forward-thinking curators of our time – “a curator is a catalyst, a generator and motivator – a sparring partner and a bridge builder, creating a bridge to the public” (2014: 25), which suggests that curation is something that starts in ourselves yet is only finished when shared with others. Obrist continues – “the task of curating is to make junctions, to allow different elements to touch” (ibid.), and can therefore be seen as an engine for change. Curators have the power to discover and display the unexpected, to make the public see the familiar through a new set of eyes. At its heart, curation means finding, then situating objects in different contexts, question former ones whilst developing a critical dialog for an audience (Smith, 2012: 46).

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Ian Cheng and Micaela Durand, Portrait of Hans Ulrich Obrist, 2013 Elmgreen and Dragset, the Death of the Collector, 2009 Nicholas Mottola Jacobsen, Save as Dream, Save as a Love, 2014 Own infographic, Millennial Online Activity, 2014 Korakrit Arunanondchai, 2557, 2014

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It is this precisely curators’ discerning nature that appealed to the overwhelmed masses. The word curation is now being stretched and redefined to apply to a greater variety of activities that happen outside museums. Both in new and old contexts, “curation isn’t a buzzword or a trend; it’s the future of content and nothing less” (Rosenbaum, 2011: 79). However adaptable and fitting the word might seem to describe “choice and presentation of other people’s content”, the skill and profession it denominates is still perceived as very meticulous and authorial (Birchall and Cairns, 2013). “Curating” is being used in a wider range of contexts than ever before, referring to every and anything that requires the expression of personal taste and selective insight (see Appendix 1.4). With chefs curating menus, DJ’s curating playlists, bloggers curating closets and Millennials curating Tumblrs, is this newfound popularity of the word diminishing its meaning?

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The opinions are divided. Whilst some, such as curator Mel Buchanan, believe the word is being used superficially, suggesting terms such as “editor” or “arbiter of taste” to be more appropriate (Buchanan in Rosembaum, 2011: 8); others, such as self-proclaimed “museum geek” Suse Cairns and book author Steven Rosenbaum defend that “we should welcome this as a teaching moment” (Cairns, 2013), and see this occurrence as an opportunity to enlighten the general public into what curation really is and how it really works. In an interview with Victoria Broakes, head of exhibitions for the V&A department of Theater and Performance and co-curator of “David Bowie is…” exhibition in 2013, we discussed the usage of the word and concluded that social and online curation resemble, at its core, what curators do, despite missing an extra layer of incessant research and critical analysis. Victoria believes that “language changes all the time”, but emphasizes that it’s valuable to “look behind the word and learn what is portrays” (See Appendix 1.7).

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78 CONTEXTUALIZE THEIR FINDINGS 34 CONSIDER THEMSELVES CURATORS 19 USE THE WORD CORRECTLY 59 ARE CURATING AND DON’T KNOW C02

The figure 33 illustrates the results of a survey taken by 100 participants, all Millennials, in an attempt to assess their awareness towards the word and its relation with their online action (see Appendix 1.5). The results show that although the majority (78) does select, engage, contextualize and share content, only 19 people, from those 78, see a resemblance between their online behavior and curation. These numbers evidence the novelty of the word within this generation; not only are 59 participants curating without knowing, but also 15 of them, who considered themselves curators, didn’t fill the requisites to be so, which leaves a total of 74 unware respondents .

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A SEMANTIC BATTLE TION OF THE WORD CURATION

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Corey Mason, Voyager Queen, 2013 Own image, Frieze Fair, 2014 Katja Novitskova, Orlando: True Story, Free Market, New Face, 2012 Nicholas Mottola Jacobsen, Save as Dream, Save as a Love, 2014 Bill Claps, Itâ&#x20AC;&#x2122;s all Derivative: Campbells Soup in Gold, 2012

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Overall, new curation can and should be practiced as an evolution of the old one – however applied or done, what’s imperative is that both the word and the activity meet their essence – the active making of meaning. On this note, and in order to better understand what holds two objects together for online curators, I have set a Tumblr account to which I have invited aleatory users to log in, post an image that, for them, links to the one posted previously and, alongside it, state why they have made a connection between the two (see Appendix 1.9).

The results, despite being varied, suggest that vast majority of the connections were visual, concerning colour, shape or details. Other connectors included conceptual, historical, thematic and idiosyncratic motives.

Curation is the internet’s natural course, having images as its prime medium and platforms such as Tumblr to offer a perspective on today’s essential condition of an image existing perpetually in relation to another.

This experience points to how exhibitions are at the very base of our curational practice today. Both museums, and now online spaces, “act as filters for cultural abundance” (Birchall and Cairns, 2014) accomplished via personal choice and knowledge.

As Victoria Broakes prudently points out in our interview, “you can’t curate with a single object – curation is about an assembly of objects, working together” (see Appendix 1.7). Art is, conclusively, activated by context. It is therefore impossible to detach the curational practice, both old and new, from exhibition-making. Exhibitions are “the toolboxes to the future” (Obrist, 2014: 24), the prime mechanisms for “how meaning is created in art” (Lind in Cook and Graham, 2010: 91), and therefore deeply embedded in the way both museums and Tumblr users communicate today.

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EXHIBITIONS, TODAY CONSTELLATIONS OF MEANING

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So whilst online practices borrow from offline crafts, offline curation will have to reinvent itself in order to adapt to a digitally active consumer. The next chapters delve further on this project’s holistic aim – to delineate where the two will first encounter.

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Brad Troemel, N Bump Key with 3 Copies and Gerald Raunig ‘Factories of Knowledge Industries of Creativity’, 2014

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03 THE BIG IDEA 03 THE BIG IDEA 03 THE BIG IDEA

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Wickerham-lomax, Workspace, 2014 Unknown, Courber and Malevich, 2011 Austin James, Pirate Ship, 2013 Douglas Gordon, a Divided Self I and a Sivided Self ii, 1996 Martijn Hendriks, Experimental Finance, 2014

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In earlier chapters it was explored how big data is turning filtering into a necessity, revolutionizing cultural consumption and production patterns. A reappropriation culture arises as a fitting approach to both the making of art and the making of meaning. As the Internet becomes saturated by the new, there is a higher demand for the digested, the selected – the reconfigured. In the information age, curating as an activity makes more sense than ever. These points are validated by critic, curator and Post Internet art specialist Domenico Quaranta, who, in an e-mail interview, suggested that due to today’s ubiquitous access and distribution of information, “the presence of ‘hubs’ able to provide a contextualization become increasingly more important; ‘hubs’ to dominate a given filter bubble and to introduce links to other filter bubbles.” (see Appendix 1.6).

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Similarly, museum curation is at the heart of the way we produce and consume information from the above mentioned “hubs”, better known as our Tumblrs, Pinterests and other content curation pages. These hubs of context first appeared in the shape and form of an exhibition. Museums were, for a very long time, people’s primary messengers of the unknown, the unseen and, conceivably, the unforgettable; the curators its senders. Today, they are competing with the Internet for their receiver’s time, attention and even relevance, as they increasingly become authoritative tastemakers of their own. Regardless of their common denominator, “curation”, as an online practice, isn’t yet meeting its offline meaning, lacking layers of research, critical thinking and interpretation. This is thus leaving professional curators to see the use of the word in these newfound contexts as somehow tautological (see Appendix 1.7).

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A HALFWAY ENCOUNTER THE BIG IDEA F43

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This project purposes to, as put by John Stack, head of digital of Tate Museum in an e-mail interview, find a way to â&#x20AC;&#x153;pass the red herring of curation being a process of selection from plenty, in order to find something deeper that unites museum and online curation practiceâ&#x20AC;? (Appendix 1.7). To ultimately merge the two practices, so as to make online more significant and, ergo, recognized as valid, whilst keeping the offline relevant and appealing to the generations to come. The first part of this project presented how there is significant scope to allow individuals to explore and curate for themselves in the digital world; the following half will purpose how it would be positive to see some of that being directed, fostered and leveraged to the benefit of museum and galleries, as appropriate.

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Zachary Norman, Alfred Lord Tennyson Bust 3D Scan, 2014 Unknown, Meanwhile in Rijksmuseum, n.d. Adam McEwen, Bomber Harris, 2008

MILLENNIALS INTO MUSEUMS REDEFINING MUSEUMS FOR THE DIGITAL AGE Museum and gallery visitor figures are increasing in the UK – 2014 saw the largest attendance records since 2004. There have been an astonishing 4.5 million single visits, 8.7% higher than last year’s digits (GOV, 2014). However, very few studies explore these figures’ demographics and, the ones that do, indicate Millennials represent a small percentage in them (Simon, 2010: 3). It is acknowledged by museums that attracting this generation is a challenge (ibid.) – “the main culprit seems to be the high level of competition for leisure time”, announces a study led by Millennial Marketing in 2010. Competition for digitally-engaged visitors’ time and attention is forcing the museum community to reassess their long-kept identity as intellectual centers to concurrently become more leisurable. The redefinition of museums for the digital age comes from two main drivers of change. First and foremost is the pragmatic need to “appeal to modern audiences, who except to be surrounded by technology” (Lohr, 2014), to further align their relevance with Millennials interests, values and needs. Secondly, and in part consequently, is the fact that a great component of contemporary art is nowadays being made through online tools, which comprises a great challenge to curators and exhibition designers in terms of collectability and display.

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The coming few examples analyze how technological innovation can be used to meet these aims and reshape the role and mission of museums as “producers and distributers of images”, filters of an increasingly digital art world (Hargrave and Luebkeman, 2013).

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ONLINE COLLECTIONS

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64 NEVER CAME ACROSS AN ONLINE EXHIBITION

13 HAVE COME ACROSS AN ONLINE EXHIBITION

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Google, Art Project, 2013 Own infographic, Millennial Contact with Online Exhibitions, 2014 Tate, Gallery of Lost Art, 2013 Google, Art Project, 2011 Artist Placement Group, Context is Half the Work, 1972 Antonello Tolve, Pennacchio Argentato, 2012 Adriana Bustos, Imago Mundi IV; independent thinkers iii, 2014

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With exhibitions and shows being documented via digital cameras and phones, museums are starting to digitize their collections into vast and interactive online archives. A study led by the Museums Association reported that 52% of museum visitors in the UK are demanding access to the 90% of museum collections that are in storage (2014). The digital access to those is strengthening both the “quality and quantity of available object images” on the Web (ibid.). This online, open access leads to other benefits such as the ability to display intrinsic details, invisible to the naked eye, by the use of macro-photography; 360 views of the artworks – at times too delicate for physical display, alongside with the documentation of the process behind putting up an exhibition (Buick and King, 2014). There was a concern that open access would put museum’s position as gatekeepers of cultural content at risk, driving audiences online and hurting museums’ attendance, yet Carrie Barrat, Associate Director and curator of the MET museum, claims that “what [the MET sees] is the opposite. When people see artworks online, it’s a taste and they want to see more, often in person if they can” (Barrat in Lohr, 2014). ISABEL NASCIMENTO

Google Art Project played a very significant role in museums’ online channels (see Appendix 2.3). The project consists of virtual, accurate tours of more than 500 art institutions around the world, presenting circa 7.2 million artworks (ibid). These tours allow its visitors to zoom in and examine most objects in highdefinition, revolutionizing how we experience art. Then as well, 125.000 high resolution images were added to Rijksstudio, an awarded project by Rijksmuseum launched in 2012 that invites everyone to “explore, save, manipulate, curate and share” its collection (Gorgels, 2013). Meanwhile, exhibitions (such as The Gallery of Lost Art by Tate) and art fairs (such as Cybershow) are moving online too. Despite a few successful examples, such as netbased institutions like Rhizome and Turbulence, museums have still “a lot of work to do in order to embrace the internet as an exhibition platform” (see Appendix 1.6). This is further demonstrated by the results derived from my survey, depicted in figure 52, which suggest that the concept of exhibiting art online isn’t fully formed, accessed and even understood by the masses.

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Perhaps for that very reason, artworks and exhibitions are not the only record to be made accessible on the Web – museum curators are using it as a tool to publicly show their thought process and findings, engaging their viewers in their research and allowing them to participate in it. This “new era of openness and transparency in curational practice” (Howard, 2013) is confirmed by Victoria Broakes who, in our interview, revealed that a great percentage of the curators at the V&A have started online spaces where they disclose and test their findings (see Appendix 1.7). Tumblrs pages such as Domenico Quaranta’s “Collect the WWWorld” and Nicholas O’Brien’s “Notes on a New Nature” (fig. 54) are two great examples.

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This is a major shift as hitherto curatorial endeavors have, as previously mentioned, mostly been focused on very finalized and polished products – exhibitions, displays, publications – whereas with new digital media curators are more focused on the exchange of ideas, presenting less finalized products and up for discussion through social media and blog posts. Curator’s former static views are becoming organic and responsive due to online exposure. C03

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The recent openness in the curational practice is extended even further in co-curated exhibitions. With likes, reblogs and shares working as today’s denominators of, if not quality, popularity, curational control in museums is now being handed to the masses. Co-curation allows the public to exchange views, preferences and expertise whilst increasing the museum’s understanding of their public. Brooklyn Museum’s “Click!” project helped pioneer this practice in 2008, where a panel of curators filtered through the most voted entries to build the exhibition (Birchall and Cairns, 2014). A more recent example is the #SocialMedium exhibition at the Frye Art Museum, which featured artworks solely selected via social media (McMillan, 2014), (fig. 57).

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Salvador Dali, Venus de Milo with Drawers, 1936 Frye Art Museum, Social Medium Exhibition Poster, 2014 Nina Beier, Industrial Evolution, 2013 Hiro Sugiyama, Hans Haacke, 2012 El Lissitzky, Abstract Cabinet, 1927–28 Hans Ulrich Obrist, do it Exhibition, 2013 Museum of London, Street App, 2010 Brion Nuda Rosch, Untitled, 2010

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Digital environments are also playing a crucial role in this approximation. The “Street Museum” app by Museum of London is an augmented reality exhibition that asks users to point their camera at the street they’re in and instantly takes them through a journey of past photos, facts and curiosities (Lucas, 2010), as shown in figure 62. C03 C03

Co-curation is part of a larger practice that is allowing museums to rethink its authoritative traditionalism and coming closer to their visitors – viewer engagement. The exchange of knowledge between museums and their audience is happening behind the screen too – exhibition spaces are becoming increasingly interactive, thus allowing an active engagement between parts. This notion was first introduced by Alexander Doner, who, in 1927, invited El Lissitzky to design a room for his museum. The Suprematist artist responded with a room in which the objects could be rearranged through sliding panels, allowing for “gaps, reversals and strange collisions” and, ultimately, allowing visitors to curate their own show (Obrist, 2014: 64).

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Some exhibitions, such as groundbreaking “Do It”, are incomplete without the audience. This open-ended project consisted in a list of commandments and instructions by acclaimed artists, directed to the public, consisting the exhibition in the performance of those (Manchester Art Gallery, 2013).

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IRL / URL Cleveland Museum of Art, Art Lens, 2014 Cleveland Museum of Art, The Collection Wall, 2014 Josh Anderson, Untitled, 2014 15Folds, Everything all at Once Installation View, 2014 Chris Milk, The Treachery of Sanctuary, 2012 F64 F65 F66 F67 F68

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The latter example illustrates how technology is being used to enhance our physical experiences and create new, immersive ones. In the future, these hybrid environments will take over museums as the optimal solution to deliver interactive, educational and ongoing experiences to the increasingly techno-savvy audiences to come (Hargrave and Luebkeman, 2013). To the present, the merge with online environments is done primarily via augmented reality, used in order to layer additional information and value onto physical objects.

This, alongside the online democratization of museum collections, is potentially altering “the where” and “the how” museums will exist in the future (Hargrave and Luebkeman, 2013). Curation avidly follows art, and more and more of it is being created and presented online. All eight curators and/ or museum experts interviewed (see Appendix 1.6) claimed that curators will soon work across the digital and physical, as these two merge and are no longer perceived as separate in the foreseeable future.

Post-internet artist Jon Rafman has recently created a Virtual Reality (VR) booth in acclaimed Art Basel Miami fair, in which visitors could see digital paintings on the wall by wearing a headset (Mullet, 2014). Similarly, apps such as Art++, ArtLens (fig. 64) and iZeeum deliver curational and art history expertise through image-recognition technology – a simple scan with a phone or via tablets provided by museums unveils additional information about an object. Meanwhile, Google Glass has partnered with GuidiGO to develop immersive museum tours with more than 200 institutions around the world (Bell, 2014).

With both artists and curators floating somewhere between digital and real, an important question arises – where should their audiences be? In order to merge both amateur online and professional ourational practices, as earlier purposed, and after understanding what museum curators do, the next chapter distils and follows how Millennials contact, perceive and engage with art today.

Virtual reality reaches its full potential when it brings online art to offline environments. As artists shift their practice to the digital sphere, museums are presented with the challenge to archive and display their work. 15Folds, a self-proclaimed “digital art gallery” that, each month, sets a theme, creates an animated GIF about it and invites 14 other artists to do so too (15Folds, n.d.), account for a successful case study. The online gallery found its way to the offline world through their “Everything All at Once” exhibition, in which visitors could unveil the moving images by scanning the large format QR codes that invaded the walls of Hoxton Square (See Appendix 2.5 and fig. 67). Being animated GIFS the most relevant and compelling artform of the digital age (Turk, 2014), 15Folds have done a ground-breaking job in bringing digital to the white walls, blurring where digital starts and physical ends.

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Roman Schramm, Todays Lies Tomorrows Truths, 2013 Douglas Coupland, Slogans for the 21st Century, 2014 Melissa Paget, How am I not Myself? A Conversation with Wolfgang Tillmans, 2010 King Zog, Google, Volume 1, 2013

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Digital technologies are not only a main instrument to how we create art today, but also how we experience it (Quaranta, 2013). As discussed at the “Art in Circulation” talks by ICA and Rhizome at this year’s Frieze Fair, contemporary art is delivered to us on a screen (ICA, 2014). Be it through our smartphones, laptops, tablets and televisions, a study led by Google shows that 90% of our media intake is screen-based (2012).

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Understanding when, why and how these interactions happen is vital for museums seeking to attract the audiences of tomorrow. The numbers presented in the chapter “Millennials into Museums” show that museum’s visiting figures are positive, yet in in an attempt to explore these figure’s demographics, a survey with 100 arbitrary Millennial respondents was designed to test if they are part of those results. In this survey, participants were asked why they go to museums and when was the last time they have been to one (see Appendix 1.5). The results suggest that museums are doing an effective job in attracting young audiences, being that 76% visited at least one exhibition in October 2014. Millennial’s presence in museums points towards a potentially reinvigorated role for them as filters of information in the digital age, alongside and not against online curated “hubs”. There is an opportunity to leverage Millennial’s online behaviours and curational practices to meet museums’ and galleries’ mission.

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In order to identify what these are, short interviews with students and graduates from Central Saint Martins were conducted outside the university’s exhibition space, so as to catch them in a hot state (see Appendix 1.8). The questions regarded the before, during and after stages of their museum visits, in order to spot gaps and opportunities in this journey. All participants claimed to take their smartphone with them when visiting exhibitions and the majority declared photography to be how they remember their favourites (see Appendix 1.11). However, the 65% interviewees said to neglect these photos afterwards, which thereby shows how the “after” stage of their experience is rare or nonexistent.

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From their answers it was also easy to identify different purposes in looking at art; some sought inspiration to later on create, others to compare and collect, and most referred to spectating was a way to enrich themselves. On the other hand, a common thread was their inquisitive spirit and research mission, which hints on Millennial’s capacity to offer context and interpretation to their findings in their online spaces. This feedback, together with Chapter 3 of Nina Simon’s Participatory Museum, allowed me to form three consumer groups divided in accordance with their different levels of engagement with art. Each group seeks different outcomes and achieves these through different means.

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THE CREATIVE / Vasco / 27 / Lisbon, Portugal / Ask me anything

23 â&#x2122;Ľ / 12 December, 2014 Tagged: #original, #independent, #thinker, #reader v_f is a visual artist v_f dreams of exhibiting his creations around the world v_f could not live without working v_f sees life in the coulour he is working with v_f writes with Didot v_f uses social media to promote his work v_f networks through Facebook v_f reblogs Descent From The Cross, by Rogier van der Weyden from Museo de El Prado and adds: | the best painting ever created v_f favourites Minimalism v_f favourites Dia Art Foundation at Beacon v_f loves Richard Serra v_f believes a good exhibition depends on the quality of the work and its installation v_f values attention to detail v_f values the curational thought behind an exhibition v_f contacts with art mainly offline and adds: | I prefer going to exhibitions, looking at art books and other published media. v_f finds upcoming exhibitions through Facebook pages of galleries and specific media outlets and discovers new artists through ARTSY v_f favors offline contact for quality, despite believing online primes for quantity v_f remembers exhibitions through notes and sketches on his notebook v_f buys exhibition catalogues and adds: | I go back to them quite frequently v_f considers his online presence to be complimentary to his work

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ALL IMAGES ARE CONSUMERSâ&#x20AC;&#x2122; OWN

The creator is a visual artist who uses the internet to finds his way offline. He uses social media to follow his favourite museums and galleries, in order to later on encounter their showings in person. His Fine Arts education granted him a more conservative view on how art should be experienced â&#x20AC;&#x201C; he believes offline contact is synonym to quality, believing physical art encounters to be life changing. The creator values the curatorial thought behind an exhibition and follows it carefully. When stumbled across a favourite, he either buys a catalogue or quickly sketches his interpretation of what he sees.

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The collector, on the other hand, primarily contacts with art through her screen. She is also known as the reblogger, the pinner, the modern curator. The collector is curious, and sees information everywhere. This then distils to inspiration, which she organizes in her online spaces for personal or social consumption. She travels the world from the comfort of her own chair, going to exhibitions, festivals and events alike through research. The collector celebrates artâ&#x20AC;&#x2122;s online democratization and strongly believes the museum of the future is participatory, inviting - everyoneâ&#x20AC;&#x2122;s, much like the Web she lives in.

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THE COLLECTOR / Assunção / 21 / Lisbon, Portugal / Ask me anything

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ART CONSUMERS

sunkaas is a Journalism student from Lisbon sunkaas sees herself doing something and anything that combines art, service and technology sunkaas dreams with a profession that isn’t named yet, and adds: | today’s ever-changing art scene will come up with new career paths sunkaas believes art should be at people’s service and become more accessible sunkaas wants to make that happen sunkaas could not live without information, content, news sunkaas sees life in purple sunkaas writes with Brandon Grotesque sunnkas networks through Tumblr sunkaas reblogs the Carsten Höller Experience from the New Museum and adds: | the future of art lies in this exhibition’s concept sunkaas favourites Relational Art and adds: | I love that the viewer is part of the artwork sunkaas loves Le Centre Pompidou sunkaas listens to Connan Mockasin and Mount Kimbie sunkaas believes involvement with the public and the creation of an experience are the pillars of a good exhibition sunkaas contacts with art through Instagram, Facebook pages of museums and magazines, Tumblr, Pinterest and regular visits to Artsy sunkaas reads Art Newspaper online and Contemporary Art Daily to find upcoming exhibitions sunkaas is the recommender of her group of friends sunkaas remembers exhibitions through photos and notes on her phone sunkaas catalogues her findings on Tumblr and Pinterest sunkaas keeps folders on her computer too sunkaas considers her online presence to be a visual representation of her taste and interests

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268 ♥ / 12 December, 2014 Tagged: #curious, #informed, #openminded, #reblogger

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THE SPECTATOR / Louise / 23 / London, UK / Ask me anything

3 ♥ / 12 December, 2014 Tagged: #joiner, #observer, #wanderer, #uploader

The spectator’s contact with art sits somewhere between the previous two. She uses the Internet to find where the interesting lies, and posteriorly to further delve on her offline favourites. She goes to exhibitions for their social content, which later on, and somewhat unconsciously, inform her opinions and Graphic Design projects. She’s a wanderer and cares more deeply about the curatorial statement’s layout or font than its content. She follows what her eye likes, constantly instagramming everyday details.

lbc is a Graphic Designer from Brighton, living in London lbc aspires to create or develop concepts for new or renewed food establishments lbc sees herself developing, visualizing and promoting business ideas lbc dreams of being out, stressless, with a friend and a beer lbc could not live without her phone lbc sees life in white lbc wears black lbc writes with News Gothic MT lbc networks through Instagram lbc uses social media to stay on top of what’s happening and adds: | to procrastinate too lbc believes social media and real life are mutual getaways lbc reblogs Fortune Teller by George LaTour and adds: | it’s my phone’s wallpaper lbc favourites the Postmodernism: Style and Subversion exhibition at the V&A lbc loves the Dada, Fluxus and Punk movements lbc believes a good exhibition has not many people walking around, good lighting and a nice layout lbc values simple interfaces lbc buys a related postcard or other souvenirs after an exhibition lbc contacts with art through work research and adds: | it’s always a combination of websites, magazines and exhibitions lbc googles only the key artists she finds offline lbc reads Dazed, Art Forum and Creative Review and adds: | both on and offline lbc finds new exhibitions by subscribing to her favourite museum’s newsletters lbc daily reads the Art Rabbit lbc remembers exhibitions through photos when possible lbc leaves most of her findings on her phone lbc sporadically goes through them and bookmarks artists’ pages lbc considers her online presence to be voyeuristic

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The creative concept, disclosed in the next chapter, implements the stated aim of bringing online curation closer and truer to what museum curators do, whilst repositioning museums as further filters of the digital world. This is done in view of the three consumer groups identified above.

ART CONSUMERS

ALL IMAGES ARE CONSUMERS’ OWN

The three groups constitute distinct ways of engaging with an exhibition. Whilst the creator has a more active look, the spectator’s is more passive, while the collector sits in between. Digitally, the roles reverse, with the collector being the most involved, the creator the least and the spectator as an intermediate. Despite engaging with art and images in different ways and with different aims, the three presented consumers are responsive to today’s information surplus by curating their own spaces (see Appendix 1.10). Regardless of their chosen social media platforms, they all use content created elsewhere to channel their preferences, views and aesthetic values, reiterating Chapter 1.3.

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04 CONCEPT | EXECUTION 04 CONCEPT | EXECUTION 04 CONCEPT | EXECUTION

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CONCEPT AND SPACE FROM SCREENS TO WALLS “You need to be digital. vYou need a digitial representation of yourself. Opportunities will only arise if you are online”

This project stems from the completion that the digital word is changing the face of curation. As discussed in both Chapters 2 and 3, the role of the curator will continue to adapt itself to changes in media and technology. So confirms John Stack in our interview, when pointing that Tate’s curators will move “from a position of broadcast to one of communication and dialogue with audiences” (see Appendix 1.6), due to the emergence of amateur and social curation.

Harm van Den Dorpel, Untitled #1263, 2008 Darren Almond, Atmos, 2013 Charlie Engman, Surreal Sketchbook, 2013 Richard Sides, Frame, 2014 Jeanette Hayes, Press ESC to Escape, 2013 Josh Anderson, Untitled, 2014

Cornish and Murray, Raw Print, 2014

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Online curated spaces are gaining momentum and instigating curiosity amongst museum curators – Domenico Quaranta considers some anonymous Tumblrs to be “more interesting than many group exhibitions or institutional archives” (see Appendix 1.6), which reasons with this project’s holistic aim – to bring both on and offline practices together. With an increasingly large, fertile and creative sphere of online curation, I propose a crossover – a concept and space that blurs the boundaries between amateur and professional, digital and real, screens and walls; a concept and space that leverage the best of both sides, in mutual benefit… F74

And so .JPEG is born.

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.JPEG aims to showcase today’s new and exciting visual vocabulary brought by those precise spaces; to take the power of the Internet as a tool of display and endure the ephemeral nature of online posts in an exhibition format. Its program will consist of displays curated by and including work from emerging artists, a physical translation of their online selves, in which their work is put against their references and inspiration, much like in their Tumblrs. .JPEG takes Tumblr’s form to its zenith as it believes its pages are valuable pieces of insight for they show, in greater depth, today’s artists’ ethos.

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.JPEG is a physical gallery that sees digital as complimentary, rather than adversarial. It questions the representation of the art object today, namely its viewership, circulation and online commodification, in order to rethink its display in a gallery space. Artists are harnessing the immediacy of images as a representative and promotional tool – digital curational platforms become laboratories of thought, facilitated environments that support and convey “an explanation of their art, independent of language” (Vierkant, 2010). Artists who use their Tumblr blogs as “experiential accumulations of visual connections” (Smith, 2012: 30), are simultaneously image consumers and creators of meaning. Fashion photographer Charlie Engman, for example, calls his Tumblr (cengman.tumblr.com), a “digital sketchbook”, displaying his work against “small ideas and references”. Post Internet artist Jesse Darling, on the other hand, keeps a separate Tumblr (bravenewhatever. tumblr.com) to log her inspiration and findings, describing it as “a semi-public dumping ground for research and experimentation” (Darling, n.d.).

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VISUAL IDENTITY

.JPEG is an acronym for Joint Photographic Experts Group, an ISO team that developed a compression technique to “reduce the amount of data that would otherwise be needed to store, handle, and/or transmit” visual content (Open the File, n.d). Alongside being the most common format for “storing and transmitting” images on the Internet (ibid.), the acronym metaphorically takes after the first and foremost step of online curation – compression reads as selection. A .jpeg image is, ultimately, a transmission of visual meaning achieved by encoded and compressed data, much like a Tumblr blog – a transmission of visual meaning achieved by associated and selected content. Used as a filename extension, it can be used following the exhibitors’ names, so as to show their curational activity is an extension of their views, much like the exhibition itself.

.JPEG’s logo, shown in figure 83, resonates with the literal visual representation of a .jpeg desktop icon, which, together with the cursor, directly communicates the gallery’s correlation with the digital world. Its shape and meaning also touches upon the objectification of images that takes place on the Web, a plight that is at the very bottom of the gallery’s concept. As shown, the letters “J” and “P” in .JPEG are extended and connected to the two “L”’s in “gallery”, in order to reiterate how this project explores and celebrates the links between objects. Similarly, when together in a sentence, the words “JPEG” and “Gallery” amalgamate and become one – “jpegallery” – to represent the union of on and offline. Full details on experimentation and design process can be found in Appendix 4.3.

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Business Card Mock-up, 2015 Typography Overview, 2015 Visual Identity Screenshot, 2015 .jpegallery Logotype, 2015

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The gallery’s visual identity (figures 80, 84 - 86) directly references Tumblr’s aesthetic. By alluding to the platform’s visual literacy, .JPEG will directly communicate with its users, who will instantly identify and understand the visual references. More specifically, the gallery’s branding picks upon the “Exposed Content” visual trend stemmed from Tumblr’s Syndex theme (see Appendix 4.2), in which images are uncompromisingly placed in different compositions, put against each other to form infinite moodboards. Its reduced but flexible grid allows a variety of sizes, proportions and overlaps, favoring the use of negative space to enhance each image’s inner content. Other visual elements are taken from Mac’s operating system and Internet browser Safari (see Appendix 4.2), on behalf of Millennials familiarity with them, and subsequent direct association with the Web. Once printed, these features will challenge the viewer to adjust to seeing graphic elements that belong on the screen presented in real life, which is in accordance and supplements the gallery’s concept. Finally, Helvetica Neue is the chosen font for its simple and inconspicuous appearance (fig. 81), omnipresent in our day-to-day interactions with screens and immortalized as a perfect fit for museums by MoMA (Web Designer Depot, 2010) .

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.jpegallery Outside Signage Mock-up, 2015 .jpegallery Outside Venue Mock-up, 2015

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LOCATION

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Correspondingly, the exhibition space resonates with Tumblr by addressing its sleek aesthetic and geometric compositions. Its white walls against the cemented floor are consistent with both the gallery’s and the Web’s colour scheme. When investigating possible locations (see Appendix 4.5), the primary requirement was that the space had no surrounding visual noise, so as to allow a good use of negative space. Wilkinson gallery, located in Bethnal Green – an area “famous for its thriving contemporary art gallery scene” (Desai, n.d) – reunites all these conditions and is therefore the best candidate. Most notably, the space is composed by two floors which allow the exhibitions to be sectioned. Its exterior is simultaneously pungent and discrete; its black walls and ample window form a contrasting combination that immediately attracts the eye. The window’s rectangular shape serves as the perfect base for logo placement, as shown in figure 88.

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.jpegallery Inside Signage Mock-up, 2015 .jpegallery Visual Identity: Stationary, 2015 Curatorial Statement Wall Mock-up, 2015

MODUS OPERANDI .JPEG brings websites into its four walls in its logistics too, directly competing, therefore, with the digital sphere. What can a physical gallery offer that a Tumblr can’t? What will it add to the online experience? Fundamentally, how does it benefit both artists and visitors? Firstly, the idea of launching a physical space to exhibit Tumblr blogs supports Alexei Shulgin and Tilman Baumgaertl’s street performance “Cyberknowledge for real people”, which, in 1997, took place in the streets of Vienna and consisted of the artists printing and distributing their online work to passers-by. The performance’s manifesto reads: “The information you can get on the Internet doesn’t go to all people who really need it. HTML becomes just another language of exclusion. (…) Print out cyberknowledge, go to the street, give it to real people!” (Shulgin, 1997) Although a bigger truth at the time, this is still valid to the present day. By exhibiting emerging artists’ online spaces in a gallery, their work will be exposed to new audiences that don’t necessarily visit Tumblr.

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Secondly, and as earlier discussed in Chapters 2 and 3, offline exhibitions complement what online curation absences – .JPEG provides an opportunity for new talents to communicate their vision with more legitimacy, authority and consideration, in comparison to the online (re) presentation of it. The artist becomes the curator; he or she will, alongside an allocated professional, reflect on and decide how much of the work displayed in their exhibition is theirs or other people’s – whatever they feel speaks more about themselves. The display of third-party’s work will be possible and legal under the Creative Common CC-BY-SA license, which allows content to be used and displayed for any purpose, as long as it is duly credited and shared under the same license (Creativecommons. org, n.d.). Tumblr’s Terms of Service also indicate that all and any content published in the platform is “nonexclusive, sublicensable, transferable and licensed to use, host, store, cache, reproduce, publish, display (publicly or otherwise), perform, distribute, transmit, modify, adapt and create derivative works of” (Tumblr, 2015). The bridge between on and offline curation will also be supported by the addition of a curatorial statement (fig. 91) – compulsory in the gallery, its presence will demonstrate the critical thought behind the artists’ decision, allowing visitors to find an explanation, a disclosed interpretation lacking from online spaces.

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Image Recognition App Mock-up, 4 Screens, 2015 Hashtag Submission Screen Mock-up, 2015 Image Recognition App Mock-up, Instruction Screen, 2015

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VIEWER ENGAGEMENT .JPEG also aims to reproduce the accessibility, democracy and interactivity of the Internet. As presented in Chapter 1, upon the arrival of Web 2.0, viewers become active participants via reblogs, reposts, likes and shares. Images’ meanings are “reinterpreted and multiplied” through their online, global circulation – continuously curated in different contexts (Backman in Peckman, 2014). With its circulatory system, the gallery will reproduce the five stages of interface between the Web and its users, shown in Appendix 3.3. The Internet has transformed the curator from “teacher and transmitter” to “facilitator and assister” (Gurian, 2008), and so will the gallery.

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Upon their arrival, visitors will be invited to download .JPEG’s image recognition app, a service that enables them to scan and then save, like or reblog the exhibited pieces in their chosen social media platforms (fig. 96). This service is conceivable through recent softwares such as Tesseract, an open source library maintained by Google (Tesseract OCR, n.d) or Qualcomm’s Vuforia Image-recognition system, successfully used by Curiator, a platform to favourite and collect art uploaded by its users (Boonstoppel, 2014).

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.jpegallery Artwork Label, 2015 Image Recognition App Mock-up, Results Screen, 2015 Image Recognition App Mock-up, Image Scan Screen, 2015

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The decision of boosting viewer engagement feeds the previously identified need to endure the “after” stage of Millennials exhibition journey (see Appendix 1.8 and 1.11). Not only do image recognition systems remove the permission/prohibition of taking photos, but also extend visitors’ relationship with their favourite artworks, by allowing them a second life. Accordingly, and so as to prolong the “after” stage to the visitors’ experience, the exhibitions will end with their take. A screen will be placed at the end of the show in the interest of displaying their own associations with what’s being exhibited, by simply tagging their chosen images with #nameoftheartistjpeg and uploading them in any social media channel (fig. 93).

The curatorial statement is where visitor’s participative journey starts. The wall will resemble Tumblr’s interface, and thus allow the audience to follow, ask questions and visit the artist’s archive (fig. 91). By incorporating this app, the curator facilitates whilst the visitor assembles, granting a point of interest for each identified group of consumers – wherein the creator would possibly be the exhibitor, the collector and the spectator are provided with other participatory options.

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EXHIBITION MODEL

The following mock-ups use Nickolay Dyandechko’s Tumblr – together and against his work – as an exhibition prototype. The Russian photographer logs his inspirations at htswfd.tumblr. com, presents his own pieces at nickolaydyandechko.tumblr.com and has never had this work exhibited, making him a valid candidate. Other potential exhibitors can be found in Appendix 4.6. The exhibition display gives continuity to .JPEG’s visual identity and Tumblr’s layouts, carefully considering its “visual impact, weight, direction and balance” (Dean, 1996: 31). The majority of the objects sit in a comfortable, eyelevel viewing height, contrasting with the printed works situated on a floor level, so as to entice an active visual motion. The mock-ups also acknowledge chromaphilic, photophilic and megaphilic behavior, meaning the average visitor finds vivid colours, bright illumination and large objects visually stimulating (ibid).

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htstwfd Exhibition Mock-upa, 2015

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Poster / Postcard Pack Mock-ups, 2015

TAKEAWAY

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In a view to take advantage of the enduring quality of offline objects, visitors will have the opportunity to purchase a poster or a postcard pack, retailed at the prices of £10 and £5, correspondingly (fig. 101). The packs leave the buyer to explore the connection between the objects in any way they want, becoming the exhibition’s “re-curators”. Consumer research revealed that Millennials rarely buy exhibition catalogues due to their high price, yet are often interested in acquiring small souvenirs from museum’s gift shops (see Appendix 1.10).

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Work Submission Entry, GIF Image, 2015 Work Submission Entry at Novembre Magazineâ&#x20AC;&#x2122;s Tumblr, 2015 Nicholas Irzyk, No Title, 2013

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COMUNICATION STRATEGY ADMISSION

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Although restrictive, entries will happen through Tumblr. By liking or reblogging figure 102, artists will be submitting their pages, which will then be thoroughly reviewed by a panel of museum curators and, if successful, be given an opportunity be exhibited in the gallery. So as to achieve a wide reach, the image will be launched in popular Tumblrs whose traffic is generated by “creatives” and “collectors”, such as Contemporary Art Daily, Cover Arts and Novembre Magazine.

The panel of curators will accompany the chosen artists throughout the whole process, lending their expertise and guidance to the emerging artist. The panel shall be composed by forward-thinking professionals such as Domenico Quaranta, Attilia Fattori Franchini and Nicholas O´Brien. Throughout their promising careers, all three have curated influential shows that promoted pioneering artists and celebrated the coexistence of digital and real both within its production and its presentation. As mentioned in “See-through Digital”, they also keep “behind the scenes” Tumblrs of their practice.

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.JPEG will combine the formal qualities of offline promotion with the reach made possible by the online stratosphere – the gallery exists in both dimensions, and its promotion should thus validate this. It is important these communication channels speak both about .JPEG’s aesthetic and conceptual values; the main purpose in publicizing the gallery is to build a positive and visible presence, to ultimately earn credibility once awareness is built. With 86% of Millennials claiming to use Instagram on a daily basis (see Appendix 1.5), .JPEG’s online presence will, alongside Tumblr, seek activation through these two platforms. Both channels will play a vital role in building, maintaining and enduring the relationship with its followers. Prior to each exhibition, the selected artist will take-over Instagram and Tumblr, curating its content in accordance with their aesthetic and ethos. This will give followers a glimpse of what’s coming, and hopefully entice them to visit the gallery once the exhibition is built. Fashion and video hub SHOWStudio undertakes the “takeover system”

in their Tumblr page by having guest creatives posting content chosen by them for short periods of time; Splash & Grab Magazine, a bi-annual photography publication, has also adopted this strategy in their Instagram account. By having different creatives curating .JPEG’s social media channels, its content will be in a constant state of flux, varying in style and theme and therefore widening their follower base. On the offline side of the spectrum, interactive posters and rebloggable images will be distributed around London, demonstrating the gallery’s modus operandi and simultaneously generating hype.

The perceptual map shown in Appendix 3.2 further demonstrates how galleries that promote young artists have low and niche follower-bases across their social media channels. This represents both an opportunity and need to create a vehicle to launch firsttime exhibitors, which is where .JPEG is positioned.

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htstwfd Exhibition Promotional Poster Detail, 2015 .jpegallery’s Instagram Page Mock-up, 2015 htstwfd Exhibition Promotional Poster Mock-up, 2015

PROMOTION

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Josh Anderson, Onion Skin, 2014

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05 CONCLUSION 05 CONCLUSION 05 CONCLUSION

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CONCLUSION | LIST OF REFERENCES | LIST OF ILLUSTRATIONS | BIBLIOGRAPHY |

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Batia Suter, Lecture, 2012 Piotr Uklanski, untitled nightflight to venus, 2014 Martijn Hendriks, Not yet titled, 2014 Ed Ruscha, That was then this is now, 2014

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CONCLUSION CONCLUSION CONCLUSION

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This project envisaged to unite old meanings of the word curation with its present analogies – to find mutually benefiting common ground, in order to update the first and add depth to the latter. Key insights show that present and future generations speak through images, curating their thoughts and aspirations via social media platforms such as Tumblr, Pinterest and Instagram (see Appendix 1.5). Despite sharing a common result with museum exhibitions – the making of meaning – online curated spaces are said to lack critical and interpretative thought, professional curators’ primary asset. Similarities and differences aside, the fact remains that the Web is playing a leading role in delivering curated insight. Museums, once seen as the world’s leading filters of information, are dethroned by these same social hubs, in which “ideas are visually phrased” (Storr in Smith, 2012: 48) and delivered through personal discern. As a means to stay relevant to increasingly connected visitors, museums and curators need to reassess their mission in relation to a modern, digital world (Dean, 2003: 92).

JPEG Gallery is born after this will – to rethink museum’s service by endorsing its visitors’ online habits. In its system, the artist is the curator, the curator is the viewer, the viewer is the artist – a cyclical community of creatives already existent within the digital sphere. .JPEG is a gallery in its form and a Tumblr in its function, establishing a halfway line where professional and amateur curators meet, screens and walls merge, past and future blur. Its exhibitions fuse all those fragments of inspiration, detail and stories that feed into great ideas, elevating artists’ Tumblr pages as intrinsic to their work, ultimately bringing curation to a new, innovative stage – one where on and offline coexist.

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This report presents .JPEG as the solution to validate and deservedly celebrate online curation. Since 2007, Tumblr gathered 420 million individuals looking to make sense of the Web’s hyperconnected data (Smith, 2015). In 2015,.JPEG steps up to make sense of their pages, curating the future for and with self-curators.

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| BOOKS | Cook, S. and Graham, B. (2010). Rethinking curating. Cambridge, Massachusetts: MIT Press Dean, D. (1996). Museum exhibition: Theory and Practice. London: Routledge McHugh, G (2011). Post Internet. Brescia, Italy: LINK Editions Obrist, H. (2008). A Brief History of Curating. London: JRP Ringier Obrist, H. (2014). Ways of curating. London: Allen Lane Quaranta (2013). Beyond New Media Art. Brescia, Italy: LINK Editions Rosenbaum, S. (2011). Curation nation. New York: McGraw-Hill

Review [online] Available at: http:// www.informallearning.com/archive/ Gurian%2089%20article.pdf [Accessed 20 Dec. 2014], 89.

curating-the-digital-world-pastpreconceptions-present-problemspossible-futures/ [Accessed 19 Oct. 2014]

Hargrave, J. and Luebkeman, C., (2013). Museums in the Digital Age. ARUP, Foresight. [online], p.8 + p? IRLURL. Available at: http:// publications.arup.com/Publications/M/ Museums_in_the_digital_age.aspx [Accessed 16 Nov. 2014]

Boonstoppel, T. (2014). How we made the Curiator iPhone app [online] The Guardian. Available at: http:// w w w. t h e g u a r d i a n . c o m / c u l t u r e professionals-network/cultureprofessionals-blog/2014/may/30/ how-we-made-curiator-iphone-app [Accessed 24 Nov 2014]

Troemel, B. (2013). The Accidental Audience. The New Inquiry. [online] Available at: http://thenewinquiry. com/essays/the-accidental-audience/ [Accessed 3 Nov. 2014] Vierkant, A. (2010). The Image Object Post-Internet. [online] Available at: http://www.artlurker.com/wp-content/ uploads/2011/03/image-objectpostInternet.pdf [Accessed 3 Nov. 2014]

Simon, N. (2010). The participatory museum. Santa Cruz, California: Museum 2.0.

| MAGAZINES |

Simon, P. (2014). The visual organization: data visualization, big data, and the quest for better decisions. New York: Wiley

Dillon, B., 2004. Aby Warburgâ&#x20AC;&#x2122;s Mnemosyne Atlas. Frieze Magazine, Issue 80, January â&#x20AC;&#x201C; February. [online] Available at: http://www.frieze. com/issue/article/collected_works/ [Accessed 4 Nov. 2014]

Smith, T. (2012). Thinking contemporary curating. New York: Independent Curators International Sturken, M. and Cartwright, L. (2001). Practices of looking. Oxford; New York: Oxford University Press

Mellin H. and Troemel, B., 2014. The Jogging: An art project for the masses. GARAGE Magazine. Spring Summer, p. 126 Olson, M. (2011). Post internet: Art after the Internet. FOAM Magazine. September, p.59

| JOURNALS | | WEBSITES | Doove, E. (2012). Exploring the Curatorial as Creative Act, Part I Hidden Similarities. Transtechnology Research, Plymouth University [online], p. 2. Available at: http:// trans-techresearch.net/wp-content/ uploads/2010/11/Doove1.pdf [Accessed 4 Nov. 2014] Google (2012). The New Multiscreen World: Understanding Cross-platform Consumer Behavior. Think With Google [online] Available at: https://ssl. gstatic.com/think/docs/the-new-multiscreen-world-study_research-studies. pdf [Accessed 12 Nov. 2014] Gurian, H. (2008). The essential museum. The Informal Learning

LIST OF REFERENCES

Bell, K. (2014). Google Glass Could Replace Audio Guides at Some Museums. [online] Mashable. Available at: http://mashable.com/2014/06/19/ google-glass-museums/ [Accessed 10 Nov. 2014]. Bianconi, G. (2013). Organizing the World. [online] Hyperallergic. Available at: http://hyperallergic.com/66513/ organizing-the-world/ [Accessed 29 Oct. 2014] Birchall, D. and Cairns, S. (2014). Curating the Digital World [online] MW2013: Museums and the Web 2013. Available at: http://mw2013. museumsandtheweb.com/paper/

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Bouch, J. (2009). A picture is Worth a Thousand Words [online] Advances in Psychiatric Treatment. Available at: http://apt.rcpsych.org/content/15/2/81. full [Accessed 23 Oct. 2014] Buick, N. and King, M. (2014). Curating Fashion Online. [online] Design Online. Available at: http://designonline.org. au/content/curating-fashion-online/ [Accessed 22 Nov. 2014] Cairns, S. (2013). Continuing the conversation about museums and curating the digital world. [online] Museum Geek. Available at: http://museumgeek.wordpress. com/2013/07/22/continuing-theconversation-about-museums-andcurating-the-digital-world/ [Accessed 25 Oct. 2014] Creativecommons.org (n.d.). About [online] Creative Commons. Available at: http://creativecommons.org/about [Accessed 11 Nov 2014] Gorgels, P. (2013). Rijksstudio: Make Your Own Masterpiece. [online] Museums and the Web. Available at: http://mw2013.museumsandtheweb. com/bow/rijksstudio-make-your-ownmasterpiece/ [Accessed 22 Nov. 2014] Guggenheim, (n.d.). Richard Prince: Spiritual America. [online] Teacher Resources. Available at: http://www. guggenheim.org/new-york/education/ school-educator-programs/teacherresources/arts-curriculum-online?vie w=item&catid=726&id=82 [Accessed 12 Nov. 2014] Howard, L. (2013). The Way We Share: Transparency in Curatorial Practice. [online] Hyperallergic. Available at: http://hyperallergic.com/66581/ the-way-we-share-transparency-incuratorial-practice/ [Accessed 22 Oct.

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2014] Hovagimyan, G. (2013). Tell Me About Your Mother’s Tumblr. [online] Hyperallergic. Available at: http:// hyperallergic.com/65968/tell-meabout-your-mothers-tumblr/ [Accessed 11 Nov. 2014] ICA (2014). Do You Follow? Art in Circulation #1 [online] ICA.org. Available at: https://www.ica.org.uk/ whats-on/ica-site-do-you-follow-artcirculation-1 [Accessed 10 Nov. 2014] Intel (2014). What Happens in an Internet Minute? [online] Available at: http://www.intel.com/content/ www/us/en/communications/internetminute-infographic.html [Accessed 22 Nov. 2014] Jovanovic, R. (2014). Richard Prince Is Selling Conceptual Instagram Art at Gagosian [online] Artnet News. Available at: http://news. artnet.com/in-brief/richard-prince-isselling-conceptual-instagram-art-atgagosian-106536 [Accessed 9 Nov. 2014] Kansara, V. (2011). Social Curation Startups Target Fashion Industry [online] The Business of Fashion. Available at: http://www.businessoffashion. com/2011/04/fashion-2-0-socialcuration-start-ups-target-fashionindustry.html [Accessed 21 Oct. 2014] Larsen, E. (2010). The Work of Art in the Age of Mechanical Reproduction - Modernism Lab Essays. [online] The Modernism Lab at Yale University. Available at: http://modernism. research.yale.edu/wiki/index.php/ The_Work_of_Art_in_the_Age_of_ Mechanical_Reproduction [Accessed 29 Nov. 2014] Lohr, S. (2014). Museums Morph Digitally. [online] The New York Times. Available at: http://www.nytimes. com/2014/10/26/arts/artsspecial/themet-and-other-museums-adapt-to-thedigital-age.html?_r=0 [Accessed 19 Nov. 2014] Lucas, G. (2010). StreetMuseum iPhone app. [online] Creative Review. Available at: http://www. creativereview.co.uk/cr-blog/2010/ may/streetmuseum-app [Accessed 15 Nov. 2014]

Manchester Art Gallery (2013). Do it [online] Available at: http://doit2013. org/about/ [Accessed 06 Nov. 2014] McMillan, G. (2014). Here’s What Happens When You Let the Internet Curate an Art Museum [online] WIRED. Available at: http://www. wired.com/2014/08/frye-museumcrowdsourced-exhibit/ [Accessed 22 Nov. 2014] Millennial Marketing, (2010). Marketing Museums to Millennials. [online] Millennial Marketing. Available at: http://www.millennialmarketing. com/2010/10/marketing-museums-tomillennials/ [Accessed 22 Nov. 2014] MoMA, (1999). Museum as Muse - Duchamp. [online] Available at: http://www.moma.org/interactives/ exhibitions/1999/muse/artist_pages/ duchamp_boite.html [Accessed 12 Nov. 2014] Mullet, D. (2014). Jon Rafman’s digital wanderings at Art Basel Miami. [online] Dazed & Confused. Available at: http:// www.dazeddigital.com/artsandculture/ article/22901/1/jon-rafman-s-digitalwanderings-at-art-basel-miami [Accessed 15 Dec. 2014] Open the File, n.d. What is a jpg file and how do I open a jpg file? [online] Available at: http://www.openthefile. net/extension/jpg [Accessed 27 Dec. 2014] Peckman, R. (2014). Post Internet and Post Gallerie – Conor Backman and The Reference Gallery [online] Digicult. Available at: http://www.digicult.it/ digimag/issue-072/post-internet-epost-gallerie-conor-backman-e-lareference-gallery/ [Accessed 27 Dec. 2014] Petty, F. (2014). 2014, the year... the post internet art world went mainstream [online] i-D. Available at: https://i-d.vice.com/en_gb/ article/2014-the-year-the-post-internetart-world-went-mainstream [Accessed 26 Dec. 2014] Rodley, E. (2014). “Outsourcing” the curatorial impulse, Part One [online] Thinking About Museums. Available at: https://exhibitdev.wordpress. com/2014/10/29/outsourcing-thecuratorial-impulse-part-one/ [Accessed 16 Nov. 2014]

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Smith, C. (2013). Tumblr Offers Advertisers A Major Advantage: Young Users, Who Spend Tons Of Time On The Site. [online] Business Insider. Available at: http://www. businessinsider.com/tumblr-andsocial-media-demographics-2013-12 [Accessed 19 Nov. 2014] Steinhauer, J. (2013). Our Reblogs, Ourselves. [online] Hyperallergic. Available at: http://hyperallergic. com/66425/our-reblogs-ourselves/ [Accessed 3 Nov. 2014] Tesseract OCR (n.d). Tesseract [online] Available at: https://code.google. com/p/tesseract-ocr/ [Accessed 22 Nov. 2014] Tumblr (2015). Terms of Service [online] Tumblr. Available at: https:// www.tumblr.com/policy/en/terms-ofservice#dmca [Accessed 03 Jan, 2015] Turk, V. (2014). I Went to an IRL GIF Gallery. [online] Motherboard. Available at: http://motherboard.vice. com/en_uk/read/a-real-life-gallery-ofgifs [Accessed 6 Nov. 2014] Van Buskirk, E. (2012). Curation: How the Global Brain Evolves. [online] WIRED. Available at: http:// www.wired.com/2012/07/curation/ [Accessed 19 Oct. 2014] Wicker, T. (2014). When 1+1=11. [online] The Space. Available at: http://www.thespace.org/news/view/ hansulrichobristinterview [Accessed 28 Oct. 2014] Wortham, J. (2007). After 10 Years of Blogs, the Future’s Brighter Than Ever. [online] WIRED. Available at: http:// archive.wired.com/entertainment/ theweb/news/2007/12/blog_ anniversary [Accessed 22 Nov. 2014] | CONFERENCES | Cornish, L. and Murray, C. (2014). In: Raw Print #3.

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Fig.1 | Price S., 2006. Vintage Bomber [vacuum formed high impact polystyrene]. Petzel Gallery, New York Fig. 2 | Am-Mainz, 2013. Alma/ Rodeo [digital photography] [online] Available at: http://rodeo.net/alma/2013/09/21/ am-mainz/ [Accessed 10 Jan 2015] Fig. 3 | Bishop S., 2014. I Opened My Mouth / Zz [A4 printouts, cardboard boxes, strapping, shrink film, 4” x 5” photographs]. Carlos/ Ishikawa Gallery, London Fig. 4 | Baldessari, J., 1997. And [ink jet and synthetic polymer paint on canvas]. MoMA, New York Fig. 5 | de Barde, L., 1797. Selection of Shells Arranged on Shelves [watercolour and gouache on heavy paper]. Musée du Louvre, Paris Fig. 6 | Hornig, T., 2014. TXT on Devices [digital photography] [online] Available at: http://tilmanhornig.tumblr. com/post/99995599773/tilman-hornigtxt-on-devices [Accessed 10 Jan 2015] Fig. 7 | Norman, Z., 2014. Deliberate Operations III [video still] EIC [online] Available at: http://zacharynorman. t u m b l r. c o m / p o s t / 9 9 5 2 8 6 2 8 4 9 0 / making-work-for-deliberate-operationsiii-w-eic [Accessed 11 Jan 2015] Fig. 8 | Yuyi, J., 2014. Back Post [digital photography] [online] Available at: http://cargocollective.com/johnyuyi [Accessed 11 Jan 2015] Fig. 9 | Duchamp, M., 1961. Boîte-envalise Series D [large glass, collotype on celluloid; 69 items] MoMA, New York Fig. 10 | Prince, R., 2014. Installation view of New Portraits at Gagosian Gallery [digital photography] Vulture [online] Available at: http://www. vulture.com/2014/09/richard-princeinstagram-pervert-troll-genius.html [Accessed 11 Jan 2015]

Available at: http://www.ignant. de/2014/02/26/tear-it-off-by-nicholasmottola-jacobsen/ [Accessed 11 Jan 2015] Fig. 13 | Troemel, B., 2013. Sensual Rose with Mildly Customizable 6 inch Subway Meetball with Red Onions, Black Olives, and Swiss Cheese [digital photography] Paper Magazine [online] Available at: http://www.papermag. com/2014/03/the_etsy_biennial_a_ snapshot_o.php [ Accessed 11 Jan 2015] Fig. 14 | Roth, E. 2012. Internet Cache Self-portrait [lambda and vinyl prints] [online] Available at: http://www.evanroth.com/work/internet-cache-selfportrait/ [Accessed 11 Jan 2015] Fig. 15 |Boyle, D., 2013. Gravestone [digital photography] Beautiful Decay [online] Available at: http:// beautifuldecay.com/2013/07/02/theplayfully-surprising-juxtapositions-ofderek-paul-boyle/ [Acessed 11 Jan 2015] Fig. 16 | Evans, C., 2014. Hyperlinks or it Didn’t Happen [HD video] Seventeen Gallery, London Fig. 17 | Moore, L. 2014. Behold Me [colour photograph] ART:I:CURATE [online] Available at: http://www. articurate.net/curated-by/ [Accessed 11 Jan 2015] Fig. 18 | Fischll. P and Weiss, D., 1986-2001. Visible World [3,000 transparencies on fifteen light tables] LEVIN Art Group [online] Available at: http://www.levinartgroup.com/visualsdetail-20.php [Accessed 11 Jan 2015] Fig. 19 | Lockhard, G., 2014. Screen Portraits [screenshot] [online] Available at: http://cargocollective. com/garrettlockhart/screen-portraits [Accessed 11 Jan 2015]

Fig. 11 | Staniak, M., 2014. Data_888 (725 GB) [digital photography] Art Stack [online] Available at: https:// theartstack.com/

Fig. 20 Richter, G., 1962-2013. Atlas [newspaper and album photos] Gerhard Richter [online] Available at: https:// www.gerhard-richter.com/en/art/ atlas/newspaper-amp-album-photos11591/?&p=1&sp=32 [Accessed 11 Jan 2015]

Fig. 12 | Jacobsen, N., 2013. Tear it Off [digital collage] iGNANT [online]

Fig. 21 | Walther, F., 1963-1969. Photographie de l’activation du

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werksatz [analog photography] Wiels Gallery, Brussels Fig. 22 | Joode, R., 2012. The Imaginary Order [digital photography] [online] Available at: http://www. racheldejoode.com/ [Accessed 11 Jan 2015] Fig. 23 | Richter, G., 2009. Abstract painting [oil on canvas] Hypebeast [online] Available at: http://hypebeast. com/2009/11/gerhard-richter-abstractpaintings-exhibition [Accessed 11 Jan 2015] Fig. 24 | Estep, R., 2011. Dirt. Palm Fronds. Cast skin [digital photography] Hyperallergic [online] Available at: h t t p : / / h y p e r a l l e r g i c . t u m b l r. c o m / post/3889790306/ryan-estepsubmission [Accessed 11 Jan 2015] Fig. 25 | Initiating/ Meditating, 2013 [own photography] Fig. 26 | Nashat, S., 2012. Attend to the wond [digital photography] Frieze Magazine [online] Available at: http:// www.frieze.com/issue/article/perfectpretence/ [Accessed 12 Jan 2015] Fig. 27 | Waterlow, N., 2009. A Curator’s Last Will and Testament [video still] [online] Available at: http:// julietdarling.com/Film [Accessed 12 Jan 2015] Fig. 28 | Zeeland, D., 2014. Untitled [digital art] [online] Available at: http://dettevanzeeland.com/blog/ ramswork1112014 [Accessed 12 Jan 2015] Fig. 29 | Frieze Fair, 2014 [own photography] Fig. 30 | Cheng, I. and Durand, M., 2013. Portrait of Hans Ulrich Obrist [GIF] Hyperallergic [online] Available at: http://hyperallergic.com/84606/ inside-the-mind-of-hans-ulrich-obrist/ [Accessed 12 Jan 2015] Fig. 31 | Elmgreen & Dragset, 2009. The Death of the Collector [digital photography] Galeria Helga de Alvear, Madrid Fig. 32 | Jacobsen, N., 2014. Save as Dream, Save as a Love [digital collage] Behance [online] Available at: https://

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www.behance.net/gallery/14551325/ Save-as-a-dream-Save-as-a-love [Accessed 12 Jan 2015] Fig. 33 | Millennial Online Activity, 2014 [own infographic]

Fig. 43 | James, A., 2013. Pirate Ship [mixed media on board] [online] Available at: http://luckyacid.com/ post/104924502041/austin-jamespirate-ship-2013-mixed-media-on [Accessed 13 Jan 2015]

Fig. 34 | Arunanondchai, K., 2014. 2557 [HD Video still] Carlos/ Ishikawa, London

Fig. 44 | Gordon, D., 1996. A Divided Self I and A Divided Self II [video installation]. Blain | Southern, London

Fig. 35 | Mason, C., 2013. Voyager Queen [mixed media on paper] Artsy Forager [online] Available at: http:// artsyforager.com/tag/corey-mason/ [Accessed 12 Jan 2015]

Fig. 45 | Hendriks, M., 2014. Experimental Finance [mixed media] [online] Available at: http:// www.martijnhendriks.com/archive/ [Accessed 13 Jan 2015]

Fig. 36 | Frieze Fair, 2014 [own photography]

Fig. 46 | Norman, Z. 2014. Alfred Lord Tennyson Bust [3D scan] [online] Available at: http://zacharynorman. tumblr.com/ [Accessed 13 Jan 2015]

Fig. 37 | Novistskova, K., 2012. Installation view from Orlando: True Story, Free Market, New Face [digital print on PVC] [online] Available at: http://katjanovi.net/orlando.html [Accessed 12 Jan 2015] Fig. 38 | Jacobsen, N., 2014. Save as Dream, Save as a Love [digital collage] Behance [online] Available at: https:// www.behance.net/gallery/14551325/ Save-as-a-dream-Save-as-a-love [Accessed 12 Jan 2015] Fig. 39 | Claps, B., 2012. Itâ&#x20AC;&#x2122;s all derivative: Campbells Soup in Gold [negative monoprint] Artspace [online] Available at: http://www.artspace. com/bill_claps/campbells_soup_gold_ negative [Accessed 12 Jan 2015] Fig. 40 | Troemel, B., 2014. N Bump key with 3 Copies and Gerald Raunig â&#x20AC;&#x2DC;Factories of Knowledge Industries of Creativity [digital photography] [online] Available at: http://futuregallery. org/past/brad-troemel-the-edwardscopy-1796-2014/ [Accessed 12 Jan 2015] Fig. 41 | Lomax, W., 2014. Workspace [digital art] Rhizome [online] Available at: http://rhizome.org/editorial/2014/ nov/12/artist-profile-wickerham-lomax/ [Accessed 13 Jan 2015] Fig. 42 | Unknown Artist, 2011. Courbet and Malevich [digital collage] [online] Available at: http://julianminima. t u m b l r. c o m / p o s t / 7 3 4 1 9 7 8 8 0 2 / renaissancecore-har-har [Accessed 13 Jan 2015]

Fig. 47 | Unknown Artist, n.d. Meanwhile in Rijskmuseum [digital photography] [online] Available at: h t t p : / / t h e b e r r y. c o m / 2 0 1 4 / 1 2 / 2 3 / morning-coffee-39-photos-772/ [Accessed 13 Jan 2015] Fig. 48 | McEwen, A., 2008. Bomber Harris [acrylic and chewing gum on canvas] Phillips Auctions [online] Available at: http://www.phillips.com/ detail/ADAM-MCEWEN/NY010112/10 [Accessed 13 Jan 2015]

VMIcG0esUn0 [Accessed 13 Jan 2015] Fig. 54 | Tolve, A., 2012. Pennacchio Argentato [digital photography] Art Tribune [online] Available at: http:// w w w. a r t r i b u n e . c o m / 2 0 1 2 / 1 2 / l a trasparenza-della-scultura-pennacchioargentato-a-napoli/ [Accessed 13 Jan 2015] Fig. 55 | Bustos, A., 2014. Imago Mundi IV. Independent thinkers III [acrylic, graphite and silver on canvas]. Art Basel Miami [online] Available at: http:// www.artbaselmiamibeach-online.com/ en/Adriana-Bustos-Imago-Mundi-IVIndependent-thinkers-III,p1462033 [Accessed 13 Jan 2015] Fig. 56 | Dali, S. 1936. Venus de Milo with Drawers [painted plaster with metal pulls and mink pompons]. Art Institute Chicago, Chicago Fig. 57 | Frye Art Museum, 2014. Social Medium Exhibition Poster [screenshot]. Frye Art Museum [online] Available at: file:///C:/Users/ User/Pictures/Nottingham/Year%203/ JPEG/Secondary%20Research/Visual/ social%20medium.png [Accessed at 13 Jan 2015] Fig. 58 | Beier, N., 2013. Industrial Revolution [installation view]. David Robert Art Foundation, London

Fig. 49 | Google, 2013. Art Project [screenshot] Cultural Institute [online] Available at: http://www.google.com/ intl/en-GB/culturalinstitute/about/ artproject/ [Accessed 13 Jan 2015]

Fig. 59 | Sugiyama, H., 2012. Hans Haacke [digital art] [online] Available at: http://www.elm-art.com/ hirosugiyama/?p=128 [Accessed 13 Jan 2015]

Fig. 50 | Millennial Contact with Online Exhibitions, 2014 [own infographic]

Fig. 60 | Lissitzky, E., 1927-28. Abstract Cabinet [installation view]. Openspace [online] Available at: http://openspace. sfmoma.org/2013/01/proposal-for-amuseum-el-lissitzky/ [Accessed 13 Jan 2015]

Fig. 51 | Tate, 2013. Gallery of Lost Art [screenshot] Tate.org [online] Available at: http://www.tate.org.uk/about/ projects/gallery-lost-art [Accessed 13 Jan 2015] Fig. 52 | Google, 2013. Art Project [screenshot] Cultural Institute [online] Available at: http://silverandexact. com/2011/02/07/google-art-project/ [Accessed 13 Jan 2015] Fig. 53 | Artist Placement Group, 1972. Context is Half the Work [online] Available at: http://we-makemoney-not-art.com/archives/2012/10/ the-individual-and-the-organis.php#.

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Fig. 61 | Ulrich, H., 2013. Do It Exhibition. Manchester Art Gallery [online] Available at: http://doit2013. org/ [Accessed 13 Jan 2015] Fig. 62 | Museum of London, 2010. Street Museum App [screenshot]. Creative Review [online] Available at: http://www.creativereview.co.uk/ cr-blog/2010/may/streetmuseum-app [Accessed 13 Jan 2015]

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Fig. 63 | Rosch, B., 2010. Untitled [digital collage]. Daily Serving [online] Available at: http://dailyserving. com/2010/01/interview-with-brionnuda-rosch/ [Accessed 13 Jan 2015] Fig. 64 | Cleveland Museum of Art, 2014. Art Lens App [screenshot]. App Shopper [online] Available at: http:// appshopper.com/education/artlens [Accessed 13 Jan 2015] Fig. 65 | Cleveland Museum of Art, 2014. The Collection Wall [digital photography]. MW2014 [online] Available at: http://mw2014. museumsandtheweb.com/bow/ collection-wall/ [Accessed 13 Jan 2015] Fig. 66 | Anderson, J., 2014. Untitled [digital photography] [online] Available at: http://joshandersonphotography. t u m b l r. c o m / p o s t / 8 2 3 2 2 4 2 4 0 6 3 [Accessed 13 Jan 2015] Fig. 67 | 15Folds, 2014. Everything All at Once [installation view]. Dezeen [online] Available at: http://www. dezeen.com/2014/06/03/15foldsaugmented-reality-exhibitionanimated-gif-art/ [Accessed 13 Jan 2015] Fig. 68 | Milk, C., 2012. The Treachery of Sanctuary [installation view] [online] Available at: http://milk.co/treachery [Accessed 13 Jan 2015] Fig. 69 | Schramm, R., 2013. Today’s Lies Tomorrow’s Truths [installation view]. Croy Nielsen, Berlin Fig. 70 | Coupland, D., 2014. Slogans for the 21st Century [digital art] [online] Available at: https://twitter.com/dougcoupland/ status/478986694436192256 [Accessed 13 Jan 2015] Fig. 71 | Paget, M., 2010. How am I not myself? A conversation with Wolfgang Tillmans [zine] [online] Available at: http://zero1magazine.com/2010/03/ how-am-i-not-myself/ [Accessed 13 Jan 2015] Fig. 72 | Zog, K., 2013. Google, Volume I [hardover, 1328 pages]. Artbook [online] Available at: http://www. artbook.com/9782365680059.html [Accessed 13 Jan 2015]

LIST OF ILLUSTRATIONS

Fig. 73 | .jpegallery Exterior Mock-up, 2015 [own image]

Fig. 87 | .jpegallery Outside Signage Mock-up, 2015 [own mock-ups]

Fig. 74 | Dorpel, H., 2008. Untitled #1263 [digital collage] [online] Available at: http://dissociations.com/1230 [Accessed 13 Jan 2015]

Fig. 88 | .jpegallery Outside Venue Mock-up, 2015 [own mock-ups]

Fig. 75 | Almond, D., 2013. Atmos [mixed media] [online] Available at: http://revistahsm.com/que-hacer/ museos-exposiciones/darren-almondexplora-los-efectos-del-tiempomediante-una-exposicion-en-madrid [Accessed 13 Jan 2015] Fig. 76 | Engman, C., 2014. Surreal Sketchbook [digital photography] [online] Available at: http:// magazine.good.is/slideshows/goodpictures-charlie-engman-s-surrealsketchbook#0 [Accessed 14 Jan 2015] Fig. 77 | Sides, R., 2014. Frame [installation view]. Carlos/Ishikawa, London Fig. 78 | Hayes, J. 2013. Press ESC to espace [oil on canvas]. Creators Project [online] Available at: http:// thecreatorsproject.vice.com/blog/ painting-the-internet-jeanette-hayes [Accessed 14 Jan 2015] Fig. 79 | Anderson, J., 2014. Untitled [digital collage] [online] Available at: http://joshandersonphotography. t u m b l r. c o m / p o s t / 7 0 4 2 2 1 2 5 9 7 0 [Accessed 14 Jan 2015] Fig. 80 | Business Card Mock-up, 2015 [own mock-up] Fig. 81 | Typographic Overview, 2015 [own image] Fig. 82 | Visual Identity Screenshot, 2015 [own image] Fig. 83 | .jpegallery Logo, 2015 [own image] Fig. 84 | .jpegallery Visual Identity: Business Cards, 2015 [own mock-ups] Fig. 85 | .jpegallery Visual Identity: Stationary, 2015 [own mock-ups] Fig. 86 | .jpegallery Visual Identity: Lanyards, Tickets and Website, 2015 [own mock-ups]

ISABEL NASCIMENTO

Fig. 89 | .jpegallery Inside Signage Mock-up, 2015 [own mock-up] Fig. 90 | .jpegallery Visual Identity: Stationary, 2015 [own mock-up] Fig. 91 | Curatorial Statement Wall Mock-up, 2015 [own mock-up] Fig. 92 | Image Recognition App Mockup, 4 screens, 2015 [own mock-up] Fig. 93 | Hashtag Submission Screen Mock-up, 2015 [own mock-up] Fig. 94 | Image Recognition App Mockup, Instruction Screen, 2015 [own mock-up] Fig. 95 | .jpegallery Artwork Label, 2015 [own mock-up] Fig. 96 | Image Recognition App Mockup, Results Screen, 2015 [own mockup] Fig. 97 | Image Recognition App Mockup, Image Scan Screen, 2015 [own mock-up] Fig. 98 | htstwfd Exhibition Mock-ups, 2015 [own mock-ups] Fig. 99 | htstwfd Exhibition Mock-ups, 2015 [own mock-ups] Fig. 100 | htstwfd Exhibition Mock-up, 2015 [own mock-up] Fig. 101 | Poster or Postcard Pack Mock-ups, 2015 [own mock-up] Fig. 102 | Work Submission Entry, 2015 [own image] Fig. 103 | Work Submission Entry at Novembre Magazine’s Tumblr, 2015 [own mock-up] Fig. 104 | Irzyk, N., 2013. No Title [UVcured inkjet print and acrylic on canvas] [online] Available at: http://htstwfd. t u m b l r. c o m / p o s t / 7 6 0 8 6 2 1 7 2 6 5 / nicholasirzyk-no-title-uv-cured-inkjetprint [Accessed 15 Jan 2015]

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Fig. 105 | htstwfd Exhibition Promotional Poster, Detail, 2015 [own mock-up] Fig. 106 |.jpegalleryâ&#x20AC;&#x2122;s Instagram Page Mock-up, 2015 [own mock-up] Fig. 107 | htstwfd Exhibition Promotional Poster Mock-up, 2015 [own mock-up] Fig. 108 | Anderson, J., 2014. Onion Skin [digital photography] [online] Available at: http://joshandersonphotography. tumblr.com/archive [Accessed 15 Jan 2015] Fig. 109 | Suter, B., 2012. Lecture [Laserprint on paper, installation view] [online] Available at: http://www. batiasuter.org/bs050.html [Accessed 15 Jan 2015] Fig. 110 | Uklanski, P., 2014. Untitled Nightflight to Venus [mixed media]. Gagosian Gallery, London Fig. 111 | Hendriks, M., 2014. Not Yet Titled [installation view] Available at: http://www.martijnhendriks.com/ archive/ [Accessed 13 Jan 2015] Fig. 112 | Ruscha, E., 2014. That was then, This is Now [lithography]. Gagosian Gallery, London

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BIBLIOGRAPHY

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Troemel, B. (2011). Peer pressure. Brescia: Link Editions

Noble, I. and Bestley, R. (2005). Visual research. Lausanne: AVA

| JOURNALS |

O’Neill, P. (2012). The culture of curating and the curating of culture(s). Cambridge, Mass.: MIT Press Obrist, H. and Lamm, A. (2011). Everything you always wanted to know about curating but were afraid to ask. Berlin: Sternberg Press

Cook, S. and Graham, B. (2010). Rethinking curating. Cambridge, Massachusetts: MIT Press

Obrist, H. (2008). A Brief History of Curating. New York: JRP Ringier

Crow, D. (2010). Visible Lausanne: AVA Academia

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Obrist, H. (2014). Ways of curating. London: Allen Lane

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O’Neill, P. (2012). The culture of curating and the curating of culture(s). Cambridge, Mass.: MIT Press

Denscombe. M, 2007, The good research guide. Maidenhead: Open University Press.

Quaranta, D. (2013). Beyond new media art. Brescia: LINK Editions

Graham, B. and Cook, S. (2010). Rethinking curating. Cambridge, Massachusetts: MIT Press Greenfield, A. (2006). Everyware. Berkeley, CA: New Riders Hooper-Greenhill, E. (2000). Museums and the interpretation of visual culture. London: Routledge Kholeif, O. (2014). You are Here: Art after the Internet. London: Cornerhouse Publications Lovejoy, M. and Lovejoy, M. (2004). Digital currents. New York: Routledge.

Rosenbaum, S. (2011). Curation nation. New York: McGraw-Hill Ryan, D. and Jones, C. (2009). Understanding digital marketing: marketing strategies for engaging with the digital generation. London: Kogan Page. Samara, T. (2005). Making and breaking the grid. Gloucester, MA: Rockport Publishers Simon, N. (2010). The participatory museum. Santa Cruz, California: Museum 2.0

McHugh, G. (2011). Post Internet. London: Lulu.com

Simon, P. (2014). The visual organization: data visualization, big data, and the quest for better decisions. New York: Wiley

Hooper-Greenhill, E. (2000). Museums and the interpretation of visual culture. London & New York: Routledge.

Smith, T. (2012). Thinking contemporary curating. New York, NY: Independent Curators International

Marincola, P. (2006). What makes a great exhibition?. Philadelphia, PA: Philadelphia Exhibitions Initiative

Steyerl, H. and Berardi, F. (2012). The wretched of the screen. Berlin: Sternberg Press

Manovich, L. (2002). The language of

Sturken, M. and Cartwright, L. (2001).

ISABEL NASCIMENTO

Doove, E. (2012). Exploring the Curatorial as Creative Act, Part I Hidden Similarities. Transtechnology Research, Plymouth University [online], p. 2. Available at: http:// trans-techresearch.net/wp-content/ uploads/2010/11/Doove1.pdf [Accessed 4 Nov. 2014] Hargrave, J. and Luebkeman, C., (2013). Museums in the Digital Age. ARUP, Foresight. [online], p.8. Available at: http://publications.arup. com/Publications/M/Museums_in_ the_digital_age.aspx [Accessed 16 Nov. 2014] Keene, S. (2008). Collections for People. Museums’ Stored Collections as a Public Resource, UCL [online] (4), pp.29-61. Available at: http:// discovery.ucl.ac.uk/13886/ [Accessed 15 November 2014] Google, (2012). New Multi-Screen World. Understanding Cross-Platform Consumer Behavior [online] (1), pp. 8-15. Available at: http://think. withgoogle.com/databoard/media/ pdfs/the-new-multi-screen-worldstudy_research-studies.pdf [Accessed 12 November 2014] Gurian, H. (2008). The essential museum. The Informal Learning Review [online] Available at: http:// www.informallearning.com/archive/ Gurian%2089%20article.pdf [Accessed 20 Dec. 2014], 89. Hargrave, J. and Luebkeman, C., (2013). Museums in the Digital Age. ARUP, Foresight. [online], p.8 + p? IRLURL. Available at: http:// publications.arup.com/Publications/M/ Museums_in_the_digital_age.aspx [Accessed 16 Nov. 2014] Rigney, A. (2005). Plentitude, scarcity and the circulation of culture. Journal of European Studies 35 (1), 11–28. Available at: http://www.hum.uu.nl/ medewerkers/a.rigney/plenitudescarcity.pdf

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Rogoff, I. (2008). Turning. e-flux. [online] Available at: http://www.eflux.com/journal/turning/ [Accessed 8 November 2014]

Tillman, L. (2013). Decade-ism. Frieze Magazine, [online] (155). Available at: http://www.frieze.com/issue/article/ decade-ism/ [Accessed 12 Oct. 2014].

Roloff, M. and Ströbel, I. (2013). Rewind and Fast Forward: Play. On Curating [online] (12), pp.8-11. Available at: https://www.academia.edu/8342019/ Reinterpreting_Collections_Rewind_ and_Fast_Forward_Play [Accessed 17 November 2014]

| VIDEOS |

Sheng, C. (2011). A study of experience expectations of museum visitors. 1st ed. Taiwan: Elsevier. [online] Available at: http://jpkc.fudan. edu.cn/picture/article/179/bc/0c/ ca58cbde4e718fcb4f835a0bf9b7/ c517ce31-03d2-4ece-8fdbac2166b3f24f.pdf [Accessed 12 Dec. 2014] Troemel, B. (2013). The Accidental Audience. The New Inquiry. [online] Available at: http://thenewinquiry. com/essays/the-accidental-audience/ [Accessed 3 Nov. 2014] Vierkant, A. (2010). The Image Object Post-Internet. [online] Available at: http://www.artlurker.com/wp-content/ uploads/2011/03/image-objectpostInternet.pdf [Accessed 3 Nov. 2014] | MAGAZINES | Boccioletti, E. and Quaranta, D., 2013. Content Aware. Modern Matter. Autumn Winter, p. 70 Dillon, B., 2004. Aby Warburg’s Mnemosyne Atlas. Frieze Magazine, Issue 80, January – February. [online] Available at: http://www.frieze. com/issue/article/collected_works/ [Accessed 4 Nov. 2014] Kim, D., 2013. The Post-it Man: An Essay on Hans Ulrich Obrist. Surface Magazine. December, p. 134 Lind, M., 2012. Chapter IV - Why Mediate Art? Ten Fundamental Questions of Curating. Mousse Magazine. Issue 28 Olson, M. (2011). Post internet: Art after the Internet. FOAM Magazine. September, p.59

Dezeen, (2014). The City of the Future will be both Physical and Digital. [video] Available at: http://www. dezeen.com/2014/10/26/MOVIE-CITYFUTURE-BOTH-PHYSICAL-DIGITALSCANLAB-WILLIAM-TROSSELL/ [Accessed 8 Nov. 2014] Marina Abramovic: The Artist is Present. (2012). [film] Russia: Matthew Akers

Available at: http://www.ted.com/talks/ shyam_sankar_the_rise_of_human_ computer_cooperation [Accessed 27 Oct 2014] TED Talks, (2012). Weaving narratives in museum galleries. [video] Available at: http://www.ted.com/talks/thomas_p_ campbell_weaving_narratives_in_ museum_galleries [Accessed 21 Nov. 2014] TED Talks, (2014). What do we do with all this big data?. [video] Available at: http://www.ted.com/talks/susan_ etlinger_what_do_we_do_with_all_ this_big_data [Accessed 27 Oct. 2014] | WEBSITES |

MuseumNext, (2014). Jasper Visser - Nationaal Historisch Museum. [video] Available at: http://vimeo. com/101308718 [Accessed 12 Oct. 2014]

Ahn, A. (2013). You Are Not a Curator. [online] Bullettmedia.com. Available at: http://bullettmedia.com/article/youare-not-a-curator/ [Accessed 19 Oct. 2014].

Pariser, E. and Butters, K. (2012). The State of Curation: Livestream Conference. [video] Available at: http://new.livestream.com/smwnybiz/ StateOfCuration [Accessed 26 Oct. 2014]

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JPEG | CURATION IN THE DIGITAL AGE

Artsy.net, (2014). Robert Rauschenberg Foundation Emerging Curator Competition | Robert Rauschenberg Foundation | Artsy. [online] Available at: https://artsy.net/post/robertrauschenberg-foundation-robertrauschenberg-foundation-emergingcurator-competition [Accessed 19 Oct. 2014] Artupdate, (2014). Concerning The Bodyguard, The Tetley 12 Sep-2 Nov 2014. [online] Available at: http:// artupdate.com/en/concerning-thebodyguard-at-the-tetley-12-september2-november-2014/ [Accessed 19 Oct. 2014] Bell, K. (2014). Google Glass Could Replace Audio Guides at Some Museums. [online] Mashable. Available at: http://mashable.com/2014/06/19/ GOOGLE-GLASS-MUSEUMS/ [Accessed 19 Nov. 2014] Bess, G. (2014). PAPERMAG: 10 Etsy Finds: The Biennial Edition. [online] Papermag.com. Available at:

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http://www.papermag.com/2014/03/ the_etsy_biennial_a_snapshot_o.php [Accessed 19 Oct. 2014] Bianconi, G. (2013). Organizing the World. [online] Hyperallergic. Available at: http://hyperallergic.com/66513/ organizing-the-world/ [Accessed 29 Oct. 2014] Binkowski, P. (2013). 10 Of The Best Content Curation Tools. [online] Dendrite Park. Available at: http:// dendritepark.com/10-best-contentcuration-tools/ [Accessed 19 Oct. 2014] Biggs, J. (2014). Wolfgang Tillmans: ‘Pictures are replacing words as messages’. [online] the Guardian. Available at: http://www.theguardian. com/artanddesign/2014/may/09/ wolfgang-tillmans-interview [Accessed 9 Oct. 2014] Birchall, D. (2014). Post-web technology: what comes next for museums?. [online] the Guardian. Available at: http://www.theguardian. com/culture-professionals-network/ culture-professionals-blog/2014/ oct/03/post-web-technologymuseums-virtual-reality [Accessed 9 Oct. 2014] Birchall, D. and Cairns, S. (2014). Curating the Digital World: Past Preconceptions, Present Problems, Possible Futures. [online] MW2013: Museums and the Web 2013. Available at: http://mw2013. museumsandtheweb.com/paper/ curating-the-digital-world-pastpreconceptions-present-problemspossible-futures/ [Accessed 19 Oct. 2014] Boccioletti, E. (2012). Content Awareness. [online] Available at: http:// www.spcnvdr.org/content-awareness/ [Accessed 13 Nov. 2014] Boonstoppel, T. and Erbuer, M. (2014). How we made the Curiator iPhone app | App Story. [online] The Guardian. Available at: http://www.theguardian. com/culture-professionals-network/ culture-professionals-blog/2014/ may/30/how-we-made-curiator-iphoneapp [Accessed 8 Dec. 2014] Bouch, J. (2009). A picture is Worth

a Thousand Words [online] Advances in Psychiatric Treatment. Available at: http://apt.rcpsych.org/content/15/2/81. full [Accessed 23 Oct. 2014] Buick, N. and King, M. (2014). Curating Fashion Online. [online] Design Online. Available at: http://designonline.org. au/content/curating-fashion-online/ [Accessed 22 Nov. 2014] Buck, S. (2013). If You Use the Web, You Are a ‘Curator’. [online] Mashable. Available at: http://mashable. com/2013/05/09/curator/ [Accessed 19 Oct. 2014] Cains, S. (2013). Continuing the conversation about museums and curating the digital world. [online] museum geek. Available at: https://museumgeek.wordpress. com/2013/07/22/continuing-theconversation-about-museums-andcurating-the-digital-world/ [Accessed 3 Oct. 2014] Creativecommons.org (n.d.). About [online] Creative Commons. Available at: http://creativecommons.org/about [Accessed 11 Nov 2014] Culture Whisper, (2014). Curation in the digital age [online] Available at: http:// www.culturewhisper.com/whisper/ view/id/823 [Accessed 19 Oct. 2014] Digicult, (2014). The platform that is changing the contemporary art market. [online] Digicult | Digital Art, Design and Culture. Available at: http://www. digicult.it/news/sedition-platform-willchange-contemporary-art-market/ [Accessed 27 Dec. 2014] E-flux.com, (2014). Crowdfunding Initiative: supporting non-profit visual art projects from around the world [online] Available at: http://www.e-flux. com/announcements/crowdfundinginitiative-supporting-non-profit-visualart-projects-from-around-the-world/ [Accessed 19 Oct. 2014] E-flux.com, (2014). Art Post-Internet [online] Available at: http://www.e-flux. com/announcements/art-post-internet/ [Accessed 19 Oct. 2014] Evolver, F. (2012). Curation: How the Global Brain Evolves [online] WIRED. Available at: http://www.wired.

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JPEG CURATION IN THE DIGITAL AGE

BY ISABEL NASCIMENTO

THANK YOU FOR READING 2014 / 2015

Tom Wicker in conversation with Hans Ulrich Obrist