chapter
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Notes

When addressing material and process it is dicult not to consider ideas of collective authorship. In works such as Felix Gonzalez-Torres’s, where the visitor has a major impact on the form of the exhibition and its continued role, we can see that authorship has dissolved boundaries of singular ownership. This awareness of pluralistic authorship has instigated the blurring of boundaries within museum culture of presenter and participant, which has given rise to a productive friction between artist as instigator and audience as participant/co-author. Part V, ‘Curation and Authorship’, explores the challenges to the concepts of control and modes of authorship, including collective authorship and the idea of craft as a collective activity – something that has been broadly recognised by the sociologist Richard Sennett (2012) and the sociologist and media theorist David Gauntlett (2011). Collaborative works and works that involve audience interaction often use unconventional formats which are ephemeral, site-sensitive, or made across multiple materials, genres, platforms and places. In such cases, curators may eectively be included in the authorship structure, as they must work closely with artists in determining questions of preservation, ownership and future display.