Posts by Whitney Museum of American Art

Forrest Nash: "when we talk about negotiating with an artist and the artist's agency in terms of who can do what, there's just a changing relationship between a viewer and an art work that makes it no longer appropriate to dictate how people interact with an artwork"
João Enxuto: "these technologies that we're talking about are deployed within the museum through corporate funding, and also the tools that we use--if we want to engage a public--are tools of quantification. So, if there is to be a partnership there needs to be more a equitable one."
Forrest Nash: "getting too invested in the specifics of where we happen to be in this particular moment isn't necessarily something we need to problematize because they're all going to be obviated by inevitable march forward"
Mendi and Keith Obadike: "we work from a proverb, 'you cannot view a masquerade by standing in one place' "
Will Pappenheimer: "Augmented reality, as a concept, suggests that there is a reality, and that this can and should be augmented by technology"
João Enxuto and Erica Love: "The collective intelligence of social media was heralded as the new folk art"
João Enxuto  and Erica Love: "Google reasoned that if there was no break with the past, then no one would alarmed that a new dawn was upon us"
Sarah Hromack: "The notion of having a partial , even fragmented aggregate of a museum's visitorship is an attractive one....Viewed in aggregate, museum-selfies form a collective portrait of privilege and access."
Sarah Hromack: "I find it remarkable, ironic even, that museums have given rise to the distinguishable subcategory of the 'art-selfie.' "
Forrest Nash: "I'm going to suggest a simple premise perhaps that can be agreed or disagreed with during conversation. There's an important change happening in museums, but rather than thinking about the viewers' use of devices within the museum, there's a much larger change happening before viewers' arrival at the museum--the ubiquitous availability of images online."
Lauren Cornell: "But maybe what is relevant from a museum perspective is how these behaviors create new demands on an exhibition space"
Lauren Cornell: "This change in behavior leads me to a question: What else is being spread besides the subject matter itself?"
Christiane Paul: "We're trending towards customization of experience...We want your experience to be what you want it to be."
Ed Shanken: "I think audiences want to have authentic experiences with art but they aren't really sure how to. So they take a picture."
De Salvo: "The reality is that people still want to see the real thing. There is something about that direct experience that you feel witness to the artifact."
Crary: "The perceptual engagement in an online context is different than the capacity illicited by a physical object"
We do allow visitor photography in the collection galleries, and in special exhibitions on a case-by-case basis.
Ed Shanken: "Artworks that demand device use implicitly suggest that we are 'always framing things'"
Jonathan Crary: "I think there are informative parallels with museums & relocations of cinema to digital formats"
Jonathan Crary: "some of the recent shifts (including use of social media) are part of the reemergence of the multi-sensory fairground milieu of museums"
Jonathan Crary: "It is only in the 1890s that idea of museum as temple and with a mission of conservation, etc took hold."
Jonathan Crary: "I think one of the things to bear in mind is how relatively recent the idea of the public art museum is"
Donna De Salvo: "Irwin wanted no other visual excitation his Scrim Veil. What does this mean for us?"
Donna De Salvo: "Daniel Joseph Martinez's badges from the 1993 #WhiBi are great examples of participatory art."
Donna De Salvo: "Artists themselves have begun to want to be more immersive and participatory." Ex: El Lissitzky's Proun Room
Aim of tonight? Whitney curator Christiane Paul says to discuss "who is sharing what, with whom, and when exactly?"
Part 1: A discussion moderated by curator Christiane Paul with Jonathan Crary, Edward A. Shanken, and Donna De Salvo.

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