Curated intentions and the art of interpretation

Abstract

This thesis focuses on two different sites of artistic interpretation of visual material; the site of the image itself and the site of audiencing, in order to study how they work with one another to influence viewer interpretation.

At the site of the image itself, the research explores the production of meaning within contemporary visual culture by examining the strengths and weaknesses of the main analytical theories of interpretation; anti-intentionalism and intentionalism. At the site of audiencing these theories are observed in conjunction with their practical curatorial applications within the exhibition setting.

By studying these opposing theories, the research not only reveals the origins, methods and motives behind the Scopic Regime and the history of educating audiences in ways of seeing, entangled with curatorial visions, but also explores the relevance of space (visual economy), author (auteur theory), and curation in defining the value of art, in comparison to the agency of the work itself and the surrounding visual discourse.

This thesis also examines how the practical and curatorial application of these interpretative theories can shift understanding, visibility and authorship. And how these can be used to design alternative curatorial approaches that create more interesting, fair and novel interpretations, challenging hierarchies of visibility that work beyond the institution and its interests.