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Siegel, Corin A.

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Record Type:	Electronic resources : Monograph/item
Title/Author:	Terms of Use: Embodied and Empowered Gallery Participation in the Digital Age./
Author:	Siegel, Corin A.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
Description:	89 p.
Notes:	Source: Masters Abstracts International, Volume: 81-02.
Contained By:	Masters Abstracts International81-02.
Subject:	Art criticism. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=13896817
ISBN:	9781085609548

Terms of Use: Embodied and Empowered Gallery Participation in the Digital Age.
Siegel, Corin A.

Terms of Use: Embodied and Empowered Gallery Participation in the Digital Age. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 89 p.

Source: Masters Abstracts International, Volume: 81-02.

Thesis (M.A.)--University of California, Irvine, 2019.

This item must not be sold to any third party vendors.

Terms of Use was an exhibition that presented artworks by Katie Herzog, Fiona Connor, and The Archive of Privatized Experience. The works were united by themes of community, information, the archive, the internet, and preservation. A central consideration of the exhibition was the way visitors and artists could use the space. The Archive Of Privatized Experience paid viewers for the time they spent in the gallery. The amount visitors were promised was equal to what advertisers pay social media companies for an equivalent consumer's data.I share my experience from the perspective of exhibition organizer and participant through personal reflections and observations in the gallery. I also describe my professional and intellectual development to provide context for how I made this experimental exhibition. The text introduces the inheritance of the western modernist gallery tradition to outline a convention and a subversion of these rules. I draw relationships between the gallery system and sharing platforms online. Historical, economic, and social legacies play out on participatory platforms. The extent of participation and agency of the user is brought into question through reference to several theorists, design ethicists, and participatory responses from friends and strangers who contributed text and voted in polls about their use of social media. I advocate for the importance of an embodied experience in the gallery, as well as a de-hierachized view of the exhibition space. To use art as a place for radical possibility, the curator must work with and for audiences.

ISBN: 9781085609548Subjects--Topical Terms:

526357
Art criticism.
Subjects--Index Terms:

Archive

Terms of Use: Embodied and Empowered Gallery Participation in the Digital Age.
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245 1 0 $a Terms of Use: Embodied and Empowered Gallery Participation in the Digital Age.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2019
300 $a 89 p.
500 $a Source: Masters Abstracts International, Volume: 81-02.
500 $a Advisor: Anastas, Rhea.
502 $a Thesis (M.A.)--University of California, Irvine, 2019.
506 $a This item must not be sold to any third party vendors.
520 $a Terms of Use was an exhibition that presented artworks by Katie Herzog, Fiona Connor, and The Archive of Privatized Experience. The works were united by themes of community, information, the archive, the internet, and preservation. A central consideration of the exhibition was the way visitors and artists could use the space. The Archive Of Privatized Experience paid viewers for the time they spent in the gallery. The amount visitors were promised was equal to what advertisers pay social media companies for an equivalent consumer's data.I share my experience from the perspective of exhibition organizer and participant through personal reflections and observations in the gallery. I also describe my professional and intellectual development to provide context for how I made this experimental exhibition. The text introduces the inheritance of the western modernist gallery tradition to outline a convention and a subversion of these rules. I draw relationships between the gallery system and sharing platforms online. Historical, economic, and social legacies play out on participatory platforms. The extent of participation and agency of the user is brought into question through reference to several theorists, design ethicists, and participatory responses from friends and strangers who contributed text and voted in polls about their use of social media. I advocate for the importance of an embodied experience in the gallery, as well as a de-hierachized view of the exhibition space. To use art as a place for radical possibility, the curator must work with and for audiences.
590 $a School code: 0030.
650 4 $a Art criticism. $3 526357
650 4 $a Fine arts. $3 2122690
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653 $a Embodied
653 $a Empowered
653 $a Exhibition
653 $a Participation
653 $a Social media
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690 $a 0357
710 2 $a University of California, Irvine. $b Fine Arts - M.F.A.. $3 3541401
773 0 $t Masters Abstracts International $g 81-02.
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793 $a English
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