This article reflects on the translation of gallery space into a virtually immersive experience in an era of remote access. Curators and scholars such as Mary Nooter Roberts, Susan Vogel, Carol Duncan, Tony Bennet, Stephen Greenblatt, Judith Mastai, and Barbara Kirshenblatt-Gimblett have discussed the myriad of ways in which the experience of culturally significant objects and sites in person has been critical to the study of art and its history. Focusing on theories of curation and display, I utilize practice-based examples from six virtual reality (VR) exhibitions produced in three different institutional contexts: the International Journal of Digital Art History’s online gallery, the European Cultural Center’s Performance Art program, and the Digital Humanities program at the University of California, Los Angeles. By documenting and analyzing the extended reality (XR) methods employed and the methodological approaches to the digital curatorial work, I address some of the challenges and opportunities of presenting objects in virtual space, offering comparisons to those faced when building physical exhibitions. I also consider how digital modalities provide a distinctly different paradigm for epistemologies of art and culture that offer greater contextualized understandings and can reshape exhibition documentation and the teaching of curatorial practice and museum studies.

中文翻译：

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通过虚拟展览搭建拓展对策展实践的理解


本文反思了在远程访问时代将画廊空间转化为几乎身临其境的体验。玛丽·努特·罗伯茨 （Mary Nooter Roberts）、苏珊·沃格尔 （Susan Vogel）、卡罗尔·邓肯 （Carol Duncan）、托尼·班纳特 （Tony Bennet）、斯蒂芬·格林布拉特 （Stephen Greenblatt）、朱迪思·马斯泰 （Judith Mastai） 和芭芭拉·基申布拉特-金布利特 （Barbara Kirshenblatt-Gimblett） 等策展人和学者讨论了亲身体验具有重要文化意义的物体和遗址对艺术及其历史研究至关重要的多种方式。专注于策展和展示的理论，我利用了在三个不同机构环境中制作的六个虚拟现实 （VR） 展览的基于实践的例子：国际数字艺术史杂志的在线画廊、欧洲文化中心的行为艺术项目和加州大学洛杉矶分校的数字人文项目。通过记录和分析所采用的扩展现实 （XR） 方法以及数字策展工作的方法论方法，我解决了在虚拟空间中展示物品的一些挑战和机遇，并与构建实体展览时面临的问题进行了比较。我还考虑了数字模式如何为艺术和文化的认识论提供截然不同的范式，从而提供更强的语境化理解，并可以重塑展览记录以及策展实践和博物馆研究的教学。