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.
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
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.
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.
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.
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 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.
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...
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…