When autocomplete results are available use up and down arrows to review and enter to select. Touch device users, explore by touch or with swipe gestures.

Queer(y)ing the Curator's Role

Collection by Anthony Dawson

30 
Pins

Acknowledging Birchall’s understanding on how the role of activist artists has become integral to contemporary curatorial strategies, the chapter investigates the role of the curator within the dissemination of art activism. The board shows how the chapter intends to discuss and offer insight into Brenson’s assertion that the curator is no longer “a behind-the-scenes aesthetic arbiter… [but a] central player in the broader stage of global cultural politics”.

Anthony Dawson
Brenson Michael the Curator's Moment The Scene Aesthetic, Documentary Photography, Art World, Installation Art, Behind The Scenes, Contemporary Art, Stage, Encouragement, Politics

Brenson Michael The Curator's Moment | Curator | Installation Art

Brenson Michael the Curator's Moment - Free download as PDF File (.pdf), Text File (.txt) or read online for free. curatoriat

As Amelia Jones observes here, curatorial labour is “driven by concepts of what is important, how and what to see, and what ends up being encountered in the space of the museum”. The work might then be considered – and critiqued – as the work of selection and exclusion; but one of the themes that emerges prominently in her essay is the importance of affirmation, attachment, and affiliation as modes by which feminist curators imagine their work. The Scene Aesthetic, Amelia Jones, Female Art, Museum, Culture, Space, Affiliate Marketing, Woman Art, Floor Space

As Amelia Jones observes here, curatorial labour is “driven by concepts of what is important, how and what to see, and what ends up being encountered in the space of the museum”. The work might then be considered – and critiqued – as the work of selection and exclusion; but one of the themes that emerges prominently in her essay is the importance of affirmation, attachment, and affiliation as modes by which feminist curators imagine their work.

Atkins criticises curators Rinder and Blake of the Berkeley Art Museum 1996 “In a Different Light,” as well as Art in America’s “After Stonewall". The author yearns for Cotter’s response to Steers’ observation that "gay art is a marketing label ... it’s important to discuss it and expose the fallacy of lumping us all together." The Scene Aesthetic, Felix Gonzalez Torres, Stonewall Riots, Gay Art, Atkins, Art Museum, Art History, Lesbian, No Response

Goodbye Lesbian/Gay History, Hello Queer Sensibility

Robert Atkins, Goodbye Lesbian/Gay History, Hello Queer Sensibility: Meditating on Curatorial Practice, Art Journal, Vol. 55, No. 4, We're Here: Gay and Lesbian Presence in Art and Art History (Winter, 1996), pp. 80-86

Read "The Curatorial A Philosophy of Curating" by available from Rakuten Kobo. Stop curating! And think what curating is all about. This book starts from this simple premise: thinking the activity of. The Scene Aesthetic, Institutional Critique, Museum Studies, Distinguish Between, Stage Set, The Draw, Bloomsbury, Textbook, Nonfiction

This book starts from this simple premise: thinking the activity of curating. To do that, it distinguishes between 'curating' and 'the curatorial'. If 'curating' is a gamut of professional practices for setting up exhibitions, then 'the curatorial' explores what takes place on the stage set up, both intentionally and unintentionally, by the curator.

With an emphasis on the ‘now’ and the most recent exhibitions, this book examines the variety and richness of curating practices today, from public commissions by Art Angel to experimental projects… The Scene Aesthetic, Michael Connor, Online Archive, Background Information, Book Collection, Digital Media, Book Publishing, Art World, New Books

The book examines divergent and fresh types of curatorial practice and how curators are ‘transcending boundaries’ in order to open up new possibilities for art itself.

A Theoretical Structure for Educational Partnerships and Curatorial Practices on JSTOR The Scene Aesthetic, Central Florida, Art Object, Insight, Museum, Relationship, Education, Gallery, Roof Rack

A Theoretical Structure for Educational Partnerships and Curatorial Practices on JSTOR

Progression in curatorial and museological practices postulate that museum or gallery audience interactions should be an exchange and interactive contribution where “[it is] less like that of the isolated [art] object and more like that of the relationship” (Blandy & Congdon, 2004:91).

Birchall, M. 2015. Socially engaged art in the 1990s and beyond. On Curating. 25:13-20.  Birchall defines the 1990s as being an important point in the shift of socially engaged art, with major exhibitions such as "Culture in Action" in Chicago, "Sonsbeek 93" in the Netherlands, as well as "Project Unité" in France. These exhibitions acted as a precursor to what is now known as socially engaged art. The Scene Aesthetic, Exhibitions, 1990s, Netherlands, Acting, Chicago, France, Culture, Art

Birchall, M. 2015. Socially engaged art in the 1990s and beyond. On Curating. 25:13-20. Birchall defines the 1990s as being an important point in the shift of socially engaged art, with major exhibitions such as "Culture in Action" in Chicago, "Sonsbeek 93" in the Netherlands, as well as "Project Unité" in France. These exhibitions acted as a precursor to what is now known as socially engaged art.

Sjöholm Skrubbe, J. 2016. Curating differently: Feminisms, exhibitions and curatorial spaces. Newcastle upon Tyne: Cambridge Scholars Publishing.  Exhibitionary spaces and curatorial strategies ideologically frame the encounter between art and its publics. For more than forty years, feminist art curating, as a practice of art interpretation and a politics of display, has intersected with the diverse area of feminist art historical research and feminist artistic practices. The Scene Aesthetic, The Encounter, Feminist Art, Newcastle, Exhibitions, Cambridge, Feminism, Insight, Public

Sjöholm Skrubbe, J. 2016. Curating differently: Feminisms, exhibitions and curatorial spaces. Newcastle upon Tyne: Cambridge Scholars Publishing. Exhibitionary spaces and curatorial strategies ideologically frame the encounter between art and its publics. For more than forty years, feminist art curating, as a practice of art interpretation and a politics of display, has intersected with the diverse area of feminist art historical research and feminist artistic practices.

Read "Curatorial Dreams Critics Imagine Exhibitions" by available from Rakuten Kobo. What if museum critics were challenged to envision their own exhibitions? In Curatorial Dreams, fourteen authors from di. The Scene Aesthetic, Dream L, But Is It Art, Museum Studies, University Of Louisville, Critic, Social Science, Butler, Thought Provoking

In "Curatorial Dreams", fourteen authors from disciplines throughout the social sciences and humanities propose exhibitions inspired by their research and critical concerns to creatively put theory into practice.

The position of the "social curator" emerged in the 2000s after a slow process of development. The main curators associated with this practice have become the leaders of museums, galleries and art institutions. However, this process was drastically changed by the authoritarian turn in 2010. The article sketches the history of social curating after the transition and also intends to highlight the possibilities in the current political situation. The Scene Aesthetic, Eastern Europe, 2000s, Investigations, Museums, Highlight, Galleries, Insight, Public

The position of the "social curator" emerged in the 2000s after a slow process of development. The main curators associated with this practice have become the leaders of museums, galleries and art institutions. However, this process was drastically changed by the authoritarian turn in 2010. The article sketches the history of social curating after the transition and also intends to highlight the possibilities in the current political situation.

The idea of collective curating is a matter of being able to renounce to what one already knows in order to learn what they do not know – and someone else does. The curatorial approach asks how far can a viewer embrace this attitude and renounce their individual knowledge. The Scene Aesthetic, Ramadan, Texts, Attitude, Knowledge, Captions, Text Messages, Facts

The idea of collective curating is a matter of being able to renounce to what one already knows in order to learn what they do not know – and someone else does. The curatorial approach asks how far can a viewer embrace this attitude and renounce their individual knowledge.

Simons argues that her task as curator is – in curating art activism –  to treat an exhibition like archive and investigate the activism and its documentation prefigure. By looking back over an archive, she states that curators can look forward to the civil partnerships which are established through activist efforts and whose existence will have become established in the present. The Scene Aesthetic, Indiana University, Social Activities, Human Rights, Looking Back, Investigations, Insight, Archive, Image

Simons argues that her task as curator is – in curating art activism – to treat an exhibition like archive and investigate the activism and its documentation prefigure. By looking back over an archive, she states that curators can look forward to the civil partnerships which are established through activist efforts and whose existence will have become established in the present.

How and why do curators choose to exhibit sexually provocative works? How do curators negotiate the challenges of controversy, or counter narratives of censo. The Scene Aesthetic, Social Change, Public Spaces, Exhibit, Investigations, Counter, Insight, Politics, Challenges

Curating Sex and Sexuality - Asato Ikeda

How and why do curators choose to exhibit sexually provocative works? How do curators negotiate the challenges of controversy, or counter narratives of cens...

How and why do curators choose to exhibit sexually provocative works? How do curators negotiate the challenges of controversy, or counter narratives of censo. The Scene Aesthetic, Social Change, Public Spaces, Exhibit, Counter, Behind The Scenes, Insight, Politics, Challenges

Curating Sex and Sexuality - John Paul Ricco

How and why do curators choose to exhibit sexually provocative works? How do curators negotiate the challenges of controversy, or counter narratives of cens...

Read "Seeing Power Art and Activism in the Twenty-first Century" by Nato Thompson available from Rakuten Kobo. In our chaotic world of co-opted imagery, does art still have power? A fog of images andinformation permeates the world . The Scene Aesthetic, Saint Marys College, World Library, Political Organization, Thing 1, Alternative Art, Creative Workshop, I Love Books, Public Art

In Seeing Power: Art and Activism in the 21st Century, Nato Thompson, chief curator of the non-profit arts organization Creative Time, chronicles his direct involvement with, and retrospective reflections on, recent artistic initiatives that are increasingly becoming identified under the rubric of “socially engaged art". The book presents a distinct conception of socially engaged art, a conception that concerns practices that “self-consciously operate at the intersection of art and…

Curatorial experts Ryan Wong and Josh MacPhee explore a topic often considered taboo by arts institutions: the challenge of curating material from social movements. The Scene Aesthetic, Printed Matter, Weapons, Projects, Prints, Challenge, Politics, Posters, Explore

Curating Social Movements

Curatorial experts Ryan Wong and Josh MacPhee explore a topic often considered taboo by arts institutions: the challenge of curating material from social movements.