The Museum and the Internet: Examining Institutional Approaches to Collecting and Exhibiting Web Art

网络艺术是一种依托互联网而存在的当代艺术，是从世纪初的黑客和行动主义发展起来的全球性艺术运动。博物馆部门对这一领域表现出了积极的兴趣，使学术学科落在后面。该项目将首次通过初级研究和跨学科方法弥合这一日益增长的差距，将当代博物馆研究，艺术史和数字人文学科结合在一起。本研究将探讨收集和展示网络艺术的机构方法。主要研究问题是：如何深入参与网络艺术目前的挑战和机遇的博物馆，以及如何才能有效地分享经验教训，跨区域博物馆影响实践？这项研究的核心是挑战中心-边缘等级制度的主要研究。这项研究将研究在区域数字艺术中心FACT，利物浦; QUAD，德比;伯明翰开放媒体，和纽约的惠特尼博物馆和新博物馆，V&A博物馆和Serpine画廊，伦敦的节目。本文将使用博物馆研究理论的框架，包括尼娜·西蒙和克莱尔·毕晓普的学术，质疑二十一世纪博物馆的作用。数字人文理论将提供洞察数字媒体和博物馆之间的关系，以及网络艺术吸引新的模式和观众参与水平的潜力。当代艺术理论，特别是Hito Steyerl和Boris Groys对数字艺术的批评，将有助于本研究重新审视网络艺术、博物馆和艺术史经典之间的关系。

Web Art, contemporary art that relies on the internet to exist, is a global art movement that developed from early twenty-first century hacking and activism. The museum sector has demonstrated active interest in this field, leaving academic disciplines lagging behind. For the first time, this project will bridge this growing gap through primary research and an interdisciplinary approach bringing together contemporary museum studies, art history and digital humanities. This research will examine institutional approaches to collecting and exhibiting Web Art. The main research question is: how does an in-depth engagement with Web Art present both challenges and opportunities for museums and how can lessons learnt be shared effectively across regional museums to influence practice?At the core of this study is primary research that challenges centre-periphery hierarchies. This study will examine programming at regional digital art centres FACT, Liverpool; QUAD, Derby; Birmingham Open Media, and New York's Whitney Museum and New Museum, the V&A Museum and Serpentine Gallery, London. The thesis will use a framework of museum studies theory, including scholarship by Nina Simon and Claire Bishop, to question the role of the twenty-first century museum. Digital humanities theory will provide insight into the relationship between digital media and museums, and the potential of Web Art to attract new modes and levels of audience engagement. Contemporary art theory, particularly Hito Steyerl and Boris Groys' criticism of digital art, will aid this study to readdress the relationship between Web Art, the museum and the canon of art history.