This hypothetical exhibition would be small, quiet, and conservative in its curation. One could easily imagine one of the first major exhibitions in North America devoted to bringing video games into the museum following similar rules. Griffith and Fritz Lang, with figures such as Fernand Léger included to provide some additional continuity with the art world. The early screenings of the Museum of Modern Art’s Film Library in the mid-1930s, for instance, highlighted the works of recognized masters such as D. Cinema’s initial tentative steps into the space of the museum during the first half of the twentieth century were governed by a conservative philosophy of curatorial selectivity: early exhibitions were often limited to a small group of exemplary works that seemed appropriately highbrow, appropriately challenging, and, importantly, attributable to a recognizable “artist” who had indisputably contributed to the medium. The Art of Video Games exhibition raises an intriguing question: How should a curator go about making the argument that a medium long associated with mass culture deserves to be taken seriously as an art form? Considering the possible approaches to such a situation, we can look to precedents-cinema provides an obvious analogue. Performance Art/Performance Studies/Public Practice.
Museum Practice/Museum Studies/Curatorial Studies/Arts Administration.Drawings/Prints/Work on Paper/Artistc Practice.
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