Dissertations / Theses: 'Art curator'

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González, Vásquez Angélica. "Les écrits des curateurs : analyse depuis la théorie curatoriale et l'histoire des expositions." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080091.

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Cette thèse interroge le champ de pratiques et de positions discursives appelées récemment « curating ». L’approche que nous avons choisie est celle de l’analyse des écrits des curateurs d’art contemporain. De nature très variée, ils nous permettent de percevoir leurs conceptions à partir de leurs pratiques d’organisation d’expositions et des diverses activités de présentation publique de l’art. Il s’agit de traiter la proximité, ainsi que la distance, entre la construction d’une théorie curatoriale et la pratique à travers un ensemble de règles et d’opérations de normalisation décidées par une communauté disciplinaire et professionnelle. La notion de champ de curating est abordée à partir des diverses conceptions sociologiques et philosophiques qui nous conduisent à approfondir la question de l’écriture des curateurs sur un terrain concret au sein des expositions. À travers des cas historiques, nous abordons la question des traces écrites laissées par une exposition ; nous examinons également certains problèmes associés à la construction de l’histoire des événements artistiques d’art contemporain. La dernière partie de cette recherche est consacrée à la question des stratégies discursives de positionnement des curateurs à partir des publications parues depuis les années 1990. Ces formes discursives constituent entre autres la base de l’enseignement des formations curatoriales récentes
This thesis questions the practice field and discursive positions recently called curating. The perspective we have selected is the analysis of writings by contemporary art curators. Of varied nature, these texts allow us to discern their understanding of their practice of organizing exhibitions and diverse activities for the public display of art. With the purpose of tackling the proximity and the distance between the construction of curatorial theory on one hand, and on the other, curatorial practice as determined by a set of rules and processes decided by a disciplinary and professional community. The notion of the curatorial field is approached through various sociological and philosophical concepts that lead us to deepen our inquiry about writing to a concrete field of exhibitions. Selected historical cases allow us to address the issue of written traces left by an exhibition; equally important, we examine certain problems related to the construction of the history of art events in contemporary art. The last part of this research is devoted to the question of discursive strategies of positioning by curators, starting with publications that first appear in the 1990s. These discursive forms, among others, constitute the foundation of teaching in recent curatorial training

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Larsson, Camilla. "Curatorns ordning : En diskursanalys av curatorns yrkesroll utifrån 15 curatorutbildningar." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-18473.

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This study departs from the observation that since the late 1980´s educational programmes for curators have been established and since then expanded greatly. The programmes are part of a process of institutionalization and professionalization of the role of the curator within the international contemporary art field where the role as such has gained much power. Even though many statements have been made about this relatively new phenomenon of curatorial studies, there is a lack of sufficient research. The intention of this study is therefore to examine the educational programmes as such. The selection of 15 programmes has been made with the purpose to include early as well as newly established and to cover a wide geographic area. The starting point has been to ask what kind of knowledge and role of the curator the programmes are given prominence to. Using Michel Foucault´s and Norman Fairclough´s theory and methods on discourses I examine the programmes as a discursive practice. The analysis shows that there is a strong coherence within the field of the programmes and certain ideals, conventions and procedures are shared among them. The programmes are highly dependent on the professional field of curators – individuals as well as institutions are frequently being invited to lecture and support the students. The application procedures make sure that students who are willing to adopt to given ideals and norms, are being accepted. Furthermore the ideal role of the curator has been defined with the following concepts – new institutionalism, an expanded working field and discursive curating. The curator is highlighted as creative, critical and independent. These concepts have been singled out and made explicitly unique for the role of the curator by the programmes although aspects have clearly been taken from the role of the artist and the critics. The result has been a stronger competition between these positions. The programmes are institutions that promote the curator as an important and irreplaceable agent and to claim even a stronger position new assets have been singled out in the form of a theoretical and academic capital. Educational programmes included in the study: École du Magasin, Grenoble, Whitney Independent Study Program, New York, Curating Contemporary Art, Art Royal College of Art, London, De Appel Curatorial Programme, Amsterdam, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York, MFA Curating, Goldsmiths, London, CuratorLab - Curatorial Program for Professionals in Arts, Crafts and Design, Konstfack, Stockholm, Curating Art - International Master Programme in Curating Art, including Management and Law, Stockholm university, Curatorial practice, California College of the Arts, San Francisco, Post-graduate Programme in Curating, Zürich University of the Arts, PhD-programme Curatorial/Knowledge, Goldsmiths, London, Cultures of the Curatorial, Academy of Visual Arts Leipzig, CuMMA - Curating, Managing and Mediating Art, Aalto University, Helsinki, PhD-programme Curating, Zürich University of the Arts in collaboration with the university of Reading, Praxis Master’s Programme, Finnish Art Academy, Helsinki.

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Warholm, Sara Christine. "Critic, negotiator and gatekeeper. : An analasis of the role and influence of the curator within the contemporary art field." Thesis, Linköping University, Culture, Society and Media Production, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-19423.

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The study examines the role of the art-curator with the focus on how it have influencedand may influence the art-scene and the concept of art. The study is based onmaterial extracted from texts involving the art-debates around the role of the curator,published in media and in literature. The study looks at the subject throughthe perspective of authorship and risk-theories in social sciences, and with a crossdisciplinarypoint of view, which takes into consideration how the debate regardingthe art-curator relates to the contemporary media landscape and the overall field ofcultural production. The study shows examples on how the role of the curator havebeen and currently is debated and defined. Through examples it shows that thecurators role have been compared to other characters within and without the fieldof cultural production. The comparisons include, among other things, the role ofthe critic and the music-DJ, but also the role of the guard-keeper and the diplomat.The most problematic comparison is where it is compared to the contemporary conceptualartist. The study shows that the role of the curator is becoming graduallycloser to the role of other producers in the cultural and medial field. This alsomeans that art is increasingly considered to be a cultural and medial product, incontrast to the classical romantic perception of art.

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Roma, Serrano Valentín. "Crosswords, problems and expectations of the curator of contemporary art exhibitions : a personal experience from the project Economy : Picasso." Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/384638/.

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The present investigation project is an attempt to try to deepen in the vicissitudes, in the curatorial decisions and in the ways to dialogue in an exhibition carried out by Valentín Roma, with the purpose to explore critically which are the roles, the working lines and the responsibilities of a curator of contemporary art. Because its complexity and its longitude in the time, the show chosen as a study case, that was entitled Economy: Picasso and which different phases were held in the Museu Picasso of Barcelona between May 2011 and February 2013, offers an authentic panoptic of each and every one of the problems (design, managing, production, and mediation) that affect the curatorship, for what it constitutes, as well, a perfect example where we can observe the dynamics of the cultural policies and its difficulties to fit in from of the institutional frameworks until the ideological usages of the artists, audiences and curators. In order to contextualize this study we have elaborated a short chronological assay about the recent history of the curatorial practices since the seventies to our days. From another hand, and to help defining Economy: Picasso, we performed four interviews with the different agents involved in the project. Besides realising a very exhaustive analysis, this investigation work aspires to establish a certain pattern of analysis about the contemporary art exhibitions that could be extensible to other exhibition cases and to other curators.

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Fay, Kellie Marie. "Curating the Abandoned School: Voices of Youth in an Alternative High School Art Class." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5510.

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An art teacher at an alternative high school examines how self-study and narrative influence art making in the classroom. This teacher-researcher-artist uses a/r/tography to study more deeply her role in creating curriculum that deals with students' stories as a meaning-making device. The a/r/tographer identifies herself as a type of teacher-curator of student narratives and explores the nuances of her particular research site. As the researcher more closely examined her own identity as artist, teacher, and researcher, she came to understand that this research was largely a study of self. Specifically, she more closely scrutinized her struggle with the role of artist through art production that aligned with the studies she was engaging with in the classroom. Even as student understandings shifted as a result of the curricular focus on narrative, so did that of the researcher.

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Motta, Gustavo de Moura Valença. "Discursos de Contrainformação - coletivos de artistas e curadores-autores no Brasil (2000-2015)." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-13092018-150702/.

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Este trabalhou tomou como ponto de partida a presença, no meio artístico brasileiro, entre 2000 e 2015, dos assim chamados coletivos de artistas. Ele procurou circunscrever histórica e conceitualmente as \"práticas artísticas colaborativas\" e as \"estratégias de visibilidade\" desenvolvidas por esses agrupamentos de artistas \"emergentes\" - no contexto de seu envolvimento, entre 1999 e 2001, com os movimentos altermundialistas e antiglobalização, e, a partir de 2003, com movimentos sociais de luta por moradia - alinhando-se, ao menos discursivamente, com a perspectiva dos \"de baixo\". De outro lado, o trabalho também identificou o desenvolvimento simultâneo, \"pelo alto\", de um complexo de procedimentos curatoriais pautados por novos modos de apresentação (displays) de objetos artísticos em exposições de \"arte contemporânea\". Por meio dos novos procedimentos curatoriais, tanto a 27ª Bienal de São Paulo (2006) quanto as mostras de \"arte contemporânea\" do Museu de Arte do Rio (2013-2015) foram capazes de absorver e canalizar, em seus discursos, parte das demandas \"subalternas\" associadas à produção dos coletivos. Para refletir criticamente sobre esse complexo de fenômenos do campo artístico, a pesquisa procurou articular uma discussão atualizada em torno dos conceitos gramscianos de \"hegemonia\" e de \"revolução passiva\". Tais conceitos, formulados originalmente pelo pensador italiano Antonio Gramsci (1891-1937), têm sido reprocessados teoricamente, no debate da sociologia brasileira de extração marxista, para pensar o ciclo dito \"lulista\" do Brasil contemporâneo. Em síntese, uma vez verificada a absorção das práticas \"emergentes\" e \"colaborativas\" pelo circuito artístico local, este trabalho procurou estabelecer e questionar historicamente as contradições e possíveis confluências das \"estratégias de visibilidade\", associadas às demandas dos \"de baixo\", com o desenvolvimento combinado dos novos procedimentos curatoriais, operados \"pelo alto\".
This research was motivated by the raising of the so-called artist collectives in Brazilian art field, particularly between the years 2000 and 2015. The thesis aims to delineate conceptually and historically the \"collaborative artistic practices\" and the \"strategies of visibility\" carried out seemingly \"from below\" by these \"emerging\" groups of artists - engaged mainly with the alter-mundialization and anti-globalization movements between 1999 and 2001, and, since 2003, with social struggles for housing. Furthermore, this survey also realized the simultaneous development of a complex of curatorial proceedings \"from the top\", based on new modes of display artistic objects in \"contemporary art\" exhibitions. Through these new curatorial practices, both the 27th Sao Paulo Bienal (2006) and the \"contemporary art\" exhibitions held by the Art Museum of Rio (2013-2015) managed to absorb and convey, in its discourses, part of the \"subaltern\" demands brought forward in the work produced by the artist collectives. In order to critically reflect about this complex of phenomena in the art field, the research articulates a debate operating the Gramscian concepts of \"hegemony\" and \"passive revolution\". These concepts, originally formulated by the Italian thinker Antonio Gramsci (1891-1937), had been theoretically reenacted in the Brazilian sociological debate derived from a Marxist background, to think the so-called \"lulist\" cycle in contemporary Brazil. Finally, after verifying the absorption of the \"emergent\" and \"collaborative\" practices by the local art circuit, this research aims to delineate and problematize the contradictions, and possible confluences, between the \"visibility strategies\" coming \"from below\" and the combined development of the new curatorial proceedings \"from the top\".

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Spaid, Susan Elizabeth. "Work and World: On the Philosophy of Curatorial Practice." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/219943.

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Philosophy
Ph.D.
Even though viewers typically experience multiple artworks at a time, philosophers have tended to parse visual art experiences into individuated experiences with singular objects, rather than incorporate the role exhibitions play in contextualizing objects over time. Since visual art experiences typically occur in the context of exhibitions featuring multiple artworks, whether in a museum, commercial gallery, or artist's studio, there are numerous problems associated with considering visual art experiences individuated experiences with single objects. I aim to show how this approach not only produces problems for the philosophy of art, but also perpetuates misunderstandings regarding the visual artist's practice, as well as its reception. My focus on reception poses problems for curators who relish curatorial authority. I prefer practices to products, since it establishes a relationship between each contributor's actions and his/her outcomes, which gain meaning over time, unlike products that arrive ready upon delivery, independent of directed consciousness. Rather than convey an activity particular to sight, the term "visual art experience" distinguishes this type of art experience from types such as theater, film, or musical performances. Such multi-sensorial perceptual experiences, whether indoors or outdoors, accompany one's experiencing artworks, monuments and buildings alike. The philosophical convention of treating artworks as singular objects has led philosophers to exaggerate: 1) the artist's intention (Arthur Danto), 2) artworks' atemporal features (Nelson Goodman), and 3) artworks' expressive/symbolic capacities (Robin Collingwood, Danto, Goodman, and Roger Scruton) inviting aestheticians to treat artworks like texts, penned by a lone author. One consequence of the "lone-author" view is that book reading is the prevailing analogy for visual art experiences, eschewing obviously coauthored analogies such as walking in the park, attending a sporting event, or dining with friends. Books whose advance readers and editor(s) influence their contents before being published are no less coauthored than typical nonart experiences. That exhibitions are coauthored has multiple implications for aesthetics, since it acknowledges the way visual art experiences involve multiple inputs: some combination of curator, spectators, exhibition, milieu, environment, and the facility. The curator typically works with other producer(s), whether artists or exhibition staff, to create some environment, a temporal surrounding comprised of thematically arranged artworks, specifically designed for spectators inhabiting a particular milieu, housed in some facility, which includes the physical surroundings, such as the gallery's conditions, its wall colors, lighting, and scale. This text explores all aspects of curatorial practice from exploration to reception. In differentiating curated exhibitions from non-curated exhibitions, I aim to explain how curators generate frames that visibilize each artwork's nonexhibited features, which seems so obvious in hindsight that particular frames later appear embodied from the onset.
Temple University--Theses

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Cohen, Miriam Aby. "O desenho da cena como experiência: intersecções na prática artística contemporânea entre cenografia instalação expografia." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-24112015-104914/.

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Apresenta uma abordagem do cenógrafo como artista autônomo capaz de elaborar e materializar narrativas próprias, além de acercar-se daquelas já existentes. Um artista que transita por diversas áreas de linguagem, cuja produção coloca a cenografia como protagonista no contexto das Artes Visuais, das Artes Performáticas e da Museografia. Identifica e analisa as intersecções, o ENTRE, das linguagens distintas, nas quais o cenógrafo expressa-se artisticamente: cenografia, instalação e expografia, definindo o termo \'desenho da cena\' para referir-se à produção nas distintas áreas e em suas intersecções. Adota o conceito de \'desenho da cena como experiência\' para tratar da relação e impacto entre o desenho de cena e o indivíduo. Destaca a produção da autora dessa tese, seus \'desenhos de cena\', como objetos de análise, produções realizadas durante o período vigente dessa pesquisa, de 2011 a 2015; complementando, pontualmente, com produções de relevância de outros autores, que elucidam as intersecções e colaboram para análise do tema. Projetos curatoriais recentes que apresentam relevância e influência nas práticas artísticas contemporâneas no campo do desenho da cena são também selecionados para análise, destacando aqueles que aproximam a teatralidade da prática da performance no âmbito da galeria e do museu, estabelecendo distintas possibilidades de percepção e participação do público. Através da abordagem sobre o papel do curador, discute-se o valor potencial na validação dos processos artísticos, consequentemente, do reconhecimento do trabalho de designers de cena como \'obra\'. Essa tese, busca subsidiar a reflexão sobre o processo criativo alinhado com as linguagem e ferramentas da produção artística do cenógrafo na atualidade, na intenção de motivar o artista a deflagrar processos transformadores, inspiradores e que combatam à estagnação e à repetição do mesmo fazer, que provoquem a reflexão sobre a prática e seus processos continuamente, e que possivelmente apontem para aspectos relevantes de sua formação.
Brings up the performance designer\'s attitude, as an independent artist able to develop and materialize own narratives. An artist who moves through various languages areas, whose production places the design for Performance as the protagonist in the context of visual arts, performing arts and exhibition design. This research project aims to Identify and analyze the intersections, the practice In-between of distinct languages, in which the designer expresses artistically through the theatre design, art installation and exhibition design. Adopts the term \'performance design\' to redefining and to refer to the practice in different areas and the intersections, assigning forward the concept of \'performance design as experience\' to address the relationship and impact between performance design and the human being. Highlights the author\'s production of this thesis, her \'performance designs\' as objects of analysis, developed during the current period of this research project - from 2011 to 2015; complementing, punctually, with relevant productions from other authors, which collaborate for analysis of the topic. Recent curatorial projects that demonstrate relevance and influence on contemporary artistic practices in the field of performance design are also analysed, emphasising those approaching the theatricality of the practice of Performance within the gallery and the Museum, establishing distinct possibilities of perception and interactivity. Through the approach of the today curator\'s role, discusses his influence on the validation of artistic processes, therefore, the recognition of the work by performance designers as \'art\'. This thesis seeks to support thinking on how to bearing creative processes lined up with the aesthetic demands, language and tools of artistic production of the performance designers today. Especially on how to motivate the artist to trigger inspiring processes that can combat stagnation and repetition, transforming their practices and provoking a continuous development; also possibly pointing to relevant aspects of their training.

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D'ambrosio, Oscar Alejandro Fabian. "Um mergulho no Brasil Naif: a Bienal Naifs do Brasil do SESC Piracicaba: 1992 a 2010." Universidade Presbiteriana Mackenzie, 2013. http://tede.mackenzie.br/jspui/handle/tede/2068.

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This study investigates what Naïf Art is, which are its variations and main artists. The most important question is the definition of the object of the study. This research offers a view of some international and Brazilians art critics that studied the subject. Some of the articles about the subject are not academic papers but art catalogues focused in selling art works or catalogues from private museums or collections. All these information is joined to establish quotations and qualified reflections about visual works that are categorizes as Naïf Art. The most important event in this art area the Bienal Naifs do Brasil, that takes place in Piracicaba, in São Paulo State, Brazil, since 1992. This study offers an analysis of art researchers, jury members and art curators that have taken part in the last ten editions of the event (1992-2010). The idea is to seek and discuss this kind of information to understand what Naïf Art is. The idea also This study investigates what Naïf Art is, which are its variations and main artists. The most important question is the definition of the object of the study. This research offers a view of some international and Brazilians art critics that studied the subject. Some of the articles about the subject are not academic papers but art catalogues focused in selling art works or catalogues from private museums or collections. All these information is joined to establish quotations and qualified reflections about visual works that are categorizes as Naïf Art. The most important event in this art area the Bienal Naïfs do Brasil, that takes place in Piracicaba, in São Paulo State, Brazil, since 1992. This study offers an analysis of art researchers, jury members and art curators that have taken part in the last ten editions of the event (1992-2010). The idea is to seek and discuss this kind of information to understand what Naïf Art is. The idea also is to analyze art works that are called Naïf. The study also offers comments about the main artists that have taken part in the Piracicaba Bienal editions since 1992.
A presente pesquisa consiste na discussão sobre o que é Arte Naif, quais são as suas variações e principais artistas. O problema maior é a própria definição do objeto de estudo. Para isso, temos como base os textos dos poucos autores nacionais e estrangeiros que se debruçaram sobre o tema. Alguns deles, inclusive, não são trabalhos acadêmicos, mas catálogos de luxo voltados para a venda de obras ou a divulgação de museus ou coleções particulares. Busca-se estabelecer parâmetros para o debate das manifestações plásticas que são chamadas pela crítica especializada como Arte Naif. O maior evento desse gênero de pintura no Brasil, a Bienal Naifs do Brasil, é realizado em Piracicaba, SP, e teve a sua décima edição em 2010. A pesquisa realiza uma análise dos textos de curadores, curadores-adjuntos e integrantes dos júris de seleção das dez edições do evento (1992-2010) e suas referências para instituir uma discussão sobre o conceito de Arte Naif. Esse diálogo inclui a discussão plástica de obras categorizadas no gênero. Traz ainda comentários sobre os principais artistas que expuseram nas diversas edições da Bienal.

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Silva, Elaine Mathias da. "Arte contemporânea em espaço multidisciplinar." Universidade Presbiteriana Mackenzie, 2012. http://tede.mackenzie.br/jspui/handle/tede/1868.

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This research project is aimed at delivering the outcomes of a study on the presence of contemporary works of art in multidisciplinary art exhibition spaces, and the dimensions assumed by them there. These places are unrelated to the neutrality of the white cube a term used to name spaces which are specifically set to host art exhibitions. In order to attain this goal, the development of this research paper is supported by the procedures and initiatives taken to make art exhibitions possible in the spaces previously mentioned, attempting to clarify the relational aspects that have grounded the curatorial actions as well as the artistic poetics which turned out to be part of the institutional collection. In this sense, the function that an institution can fulfill as a mediator space for art is investigated, and the circumstances where the curatorial critical position and bias adopted to select the works of art are made relevant, permeating the instances which articulate the art system: production, communication, reception. The research project is presented as a reflection on the curatorial activity that has involved artistic poetics entirely formulated in relation to multidisciplinary spaces belonging to three SESC s branches in São Paulo city, which started operating between 2010 and 2011 and have been inserting Brazilian contemporary works of art in several places which house its social cultural actions. Its purpose is to assess the art object as a factor of interaction and knowledge, as well as the institution s role in educating the audience on contemporary art.
Esta pesquisa destina-se a apresentar um estudo relativo à presença de obras de arte contemporânea e as dimensões que estas assumem em espaços expositivos de característica multidisciplinar, espaços portanto desvinculados da neutralidade do cubo branco termo que denomina o espaço específico para exposições de arte. Para tanto, a pesquisa tem como subsídio de seu desenvolvimento, os procedimentos e iniciativas realizados para exposição de obras em tais espaços, procurando esclarecer os aspectos relacionais que fundamentaram a ação curatorial bem como as poéticas artísticas que passaram a integrar um acervo institucional.Neste sentido, é investigada a função que uma instituição pode exercer como espaço mediador da arte bem como as circunstâncias que relevam o posicionamento e o viés curatorial e crítico na seleção de obras, permeando as instâncias que articulam o sistema de arte: produção/comunicação/recepção. Apresenta-se como reflexão da atividade em curadoria que envolveu poéticas artísticas formuladas com relação imediata aos espaços multidisciplinares de três unidades operacionais do SESC na capital de São Paulo, as quais iniciaram suas atividades entre 2010 e 2011, inserindo obras de arte brasileira nos múltiplos ambientes que abrigam suas ações socioculturais. Tem como proposição acentuar o objeto artístico como fator de interação, de conhecimento e o papel institucional na formação de público para a arte contemporânea.

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Vier, Riley Todd. "Machines of curation." Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6322.

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Machines of Curation is an attempt to confront the ever-growing landscape of technology I observe and live inside of daily. This work is specifically concerned with my interest in how we interact with and alter our surrounding environments through technology. The constant tether we have to our devices is becoming more reminiscent of a parasite and host, rather than of a device and user. It informs how we are to look at things, speak with those we love, pay for things, and receive news; just to name a few. I seek to co-opt these methods to urge the viewer to ask their own questions and make their own decisions on how they feel technology is shaping them in ways they may be unaware of. Graphic design holds a unique vernacular to our digital universe as one of the primary mediums that helps organize and create it. The overall goal of this work is that a consistent irony can be established through the work that helps the viewer experiencing it question their views of technology.

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Healeyclough, Faye. "The art of the psychologist : a symbolic self curation." Thesis, University of the West of England, Bristol, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.557599.

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In this inquiry I have explored the reasons why I am a teacher of psychology. The focus of my story highlights the concepts of parentification and psychological mindedness. I have explored the following statements of uncertainty using an art based methodology: Detail my journey into psychological mindedness Explore the role of parentification and my study of psychology Curate my reflexivity on the interplay of self and education To record the uncertainty of art based research I have documented my path using an adaptation of a new method of art based inquiry: symbolic self curation, first explored in the work of Cherry (2008). I wanted to experience and share my reflexivity on self. The process has created thirteen art pieces whose curation has shown the power of art: both to heal and to gain insight into Self and professional practice. I have used this new method to give voice to my story and to inform my teaching of psychology. The key contribution of this thesis is in documenting a clear and accessible pathway into art based inquiry. I want my journey to inspire others to use this method to empower their own journey into Self and professional practice.

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Ross, Alexandra C. M. "Continuous curatorial conversations : an exploration of the role of conversation within the writing of a supplementary history of the curatorial." Thesis, University of Dundee, 2014. https://discovery.dundee.ac.uk/en/studentTheses/af610c50-f15e-43f0-8801-2b07defff126.

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Continuous Curatorial Conversations is a practice-led exploration of conversation, both as a medium and as a tool for capturing supplementary histories of the curatorial. The primary question of this research project is how the medium of conversation can be explored to write supplementary histories of the curatorial which thus far have been omitted from extant publications on the subject. Three important sub questions guide this exploration. First, what is and has been the role of conversation within the curatorial? What are the possibilities and limitations within the medium of conversation? What roles do conviviality and hospitality play within the process of conversation? This thesis reflects upon a series of curated projects that explore the sp/pl/ace for curatorial conversation and also reviews a collection of one-to-one recorded conversations conducted by the author, including conversations with Alfredo Cramerotti, Hedwig Fijen, Mel Gooding, William Furlong and Sarah Lowndes. Sites of fieldwork include: the 54th Venice Biennale; Manifesta 8, The European Biennial of Contemporary Art; and Glasgow International Festival of Visual Art 2012. Through these projects and related recordings it unpicks the norms and possibilities of what and when one can record on the subject of the curatorial. The hypothesis of this study is that a great deal of curatorial activity is locked up in conversation, yet a disproportion makes it to the pages of the history of the field. Furthermore, in its clean transcribed form it misrepresents the fragility and nuance of the original exchange. The theoretical context of this research looks at Nicolas Bourriaud’s notion of Relational Aesthetics, the writing of Maria Lind and Paul O’Neill, with a focus on Audio Arts. A new methodology relating to curatorial conversation and its recording has therefore been identified as ‘critical conviviality’. The writing relating to Continuous Curatorial Conversations research takes the form of four books. The book ‘An Introduction’ comprises the PhD thesis and sits next to a bespoke online platform www.continuous-curatorial-conversations.org which hosts a selection of audio recordings collated during the research process. The books ‘Continuous’, ‘Curatorial’, and ‘Conversations’ unpack the lineage and context of Alexandra C.M. Ross’s practice and projects conducted during her research and are to be read in no strict order. The new knowledge resulting from this thesis and relating practice is the attention to the subtleties of conversation and its capture as it relates to the instigation, recording and presentation of semi-private matters in semi-public contexts.

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Burrows, James. "Rhizo-Memetic art : the production & curation of transdisciplinary performance." Thesis, Edge Hill University, 2017. http://repository.edgehill.ac.uk/10044/.

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Contemporary discourse in the field of Memetics offers potential new insights upon the ways and means of producing and curating contemporary Performance beyond the limits of discipline specific Performance taxonomies. Alongside the rise of Internet Culture and the rapid adoption of social media, it is argued that contemporary artistic practice is becoming ‘more fluid, elastic, and dispersed’ (Cornell, 2014: online). Given this circumstance, the researcher acknowledges that notions of disciplinarity, performative agency and materiality remain in a state of flux and in need of reconsideration. Utilising a Practice-as-Research (PaR) framework, and based upon the above context, the researcher initiated an innovative three-phase methodological approach focused on the application of insights drawn from the concept of the ‘Meme’ (Dawkins, 1974) alongside a primarily Deleuze & Guattarian philosophy upon methods of artistic production, and the curation of transdisciplinary performance. The resulting praxis: ‘Rhizo-Memetic Art’ produced three major artworks including the hypertextual assemblage - Corpus 1 (2012-13), produced collaboratively online with users of Twitter and Facebook; the Florilegium: Exhibition (3rd -24th November, 2014): produced and curated alongside an invited group of contributing artists; and Florilegium: Remix (24th April 2015): an intermedial Live Art lecture. Each of these elements plugs into the following exegetic writing, and alongside the documentation of its artefacts (available on the project website), these elements produce the thesis. The outcomes of this PaR are twofold. The first outcome is a new theoretical understanding of the mechanisms of interdisciplinary creative practice emerging out of the synthesis of meme and rhizome. This outcome can be further developed to reveal insights relevant to the production of transdisciplinary performance and archival/curatorial discourses. The second outcome can be identified as the Rhizo-Memetic Artwork itself, or, rather the multiple creative artefacts and actions that combine to produce its assemblage. The implications of this research suggest that the functioning of Rhizo-Memetic Art raises permanent questions about the status of Performance in terms of its materiality and efficacy outside of the limitations of disciplinarity.

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Ljubec, Ziva. "Polyphibianism : evolving transdisciplinarity into an imaginary organism of living knowledge." Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/3510.

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Transdisciplinarity emerged from the urge to grasp the elusive knowledge in the most fertile zone in between and beyond disciplines that escapes even the most elaborate interdisciplinary operations. While interdisciplinary protocol enables experts to operate within foreign disciplines, in the extreme case as diverse as art and science (by inviting artists into scientific departments and vice versa), the production of knowledge remains confined to particular domains. To transcend these confinements and access the knowledge that evades institutionalisation Basarab Nicolescu’s Manifesto of Transdisciplinarity sets up conditions for an open structure to be grown outside the current compartmentalisation into a living knowledge. This thesis imagines a possible evolution of transdisciplinarity into knowledge to be lived internally rather than learnt externally in order to overcome the anxiety in transcending the established culture of disciplinary research. By entering the transdisciplinary zone, the identity of experts-specialists dissolves, even the crudest separation into artists and scientists becomes obsolete. From the illusion of losing control over knowledge arises the fear of a return to archaic, mystic or even shamanic ways of knowing. Far from proposing a return to shamanism in its ancient forms this thesis imagines the way of polyphibianism – an imaginary solution to navigate efficiently the protoplasmic state of knowledge that would be indigenous to culture of disciplinary researchers. With every significant discovery the disciplinary researchers already intuitively trespass into the very zone that the Manifesto of Transdisciplinarity invites them to enter intentionally. From examination of documented introspective inquiries into their act of discovery the thesis infers the necessary sensibilities and adaptabilities of the individuals to cross the borders of their disciplines. Their seemingly lost identity is temporarily restored with the term polyphibian (analogous to amphibian) designating their ability to survive and explore multiple environments. With each change of circumstances in research a polyphibian adapts by swiftly reinventing its instinctive instruments, mutating its organs of knowing, indifferently to conventional habits of thought. Through their introspective writings this thesis investigates the polyphibic aptitude of Henri Poincaré, Henri Bergson and Marcel Duchamp to scout at the periphery of physics, metaphysics and ‘pataphysics, to intuitively anticipate the role of chance, chaos and complexity in both arts and sciences. A threshold of complexity has to be surpassed in order to bring the current apparatus of knowledge to life. Bergson’s insight on laughter and dreams suggests how intellect could transcend itself. The thesis proposes to consider laughter as faculty that could induce self-awareness in the intellectual apparatus while dreams are considered to facilitate self-organisation of intellect on higher orders of awareness. In Deleuzian manner of mutating Bergson’s work into Bergsonism, polyphibianism is a mutation in transcribing the code of Creative Evolution where Bergson insisted on interdependency between the theory of knowledge and the theory of evolution. The scholarly dispute on Bergsonian and anti-Bergsonian tendencies present in Marcel Duchamp’s work is revisited in the thesis by interpreting the higher dimensional Bride as a polyphibic organism of living knowledge with access to higher orders of awareness, able to guide the Bachelor’s apparatus of mechanical production and preservation of knowledge out of its predicament. Informed by peculiar Duchampian experiments that challenged both the domain of art and science the research projects in this thesis consist of an intervention at CERN that tested the impenetrability of institutionalised art-science collaborations and installation of the Interval of Suspended Judgement with high mathematical precision at the threshold between physics and ‘pataphysics. With these projects the problems of categorising researchers into artists and scientists are revealed. As Deleuze suggested, to effectively formulate the problem, to realize it in multiplicity of contexts, a new concept must be invented, a new organism must be conceived. This thesis gave birth to an imaginary organism of living knowledge in order to relieve the unnecessary anxieties and to fully engage in transdisciplinary research.

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Hamalainen, Bonnie. "Stories in Stone: Interpreting history in the context of a museum exhibition." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/10.

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This project examines opportunities for history exhibition design practices. Research into museum studies and creative work in typography, photography, graphic design and architecture result in curation and design of a prototypical exhibit about the granite quarrying industry of Stonington, Maine.

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Pegno, Marianna. "Narratives of Elsewhere and In-Between| Refugee Audiences, Edu-Curators, and the Boundary Event in Art Museums." Thesis, The University of Arizona, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10681309.

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This dissertation explores narratives that emerge from a community-museum collaboration while working with refugees in relation to Trinh T. Minh-ha’s (2011) concept of the boundary event. Within this study the boundary event is explored as moments of overlap where identity, experiences, knowledge, and processes are continuously being negotiated; by embracing or leaning into these moments, community-museum programs can develop multivocal narratives—where no single voice is heard as distinctly clear or separate. These co-created museum narratives stand in contrast to educational and engagement strategies that aim to instill knowledge and elevate community with the museum as the expert. In this dissertation 16 participant voices– of 15 refugees and one museum educator– mingle, coalesce, and complicate museum narratives. These narratives are participant-created (data presentation) as well as researcher-constructed (analysis and interpretation). Using the methodological lens of narrative inquiry and decolonization I investigated data collected from over a two-year period (summer 2013-summer 2015) including: content and wall labels collected from two exhibitions, one marks the beginning of the study in 2013 and the second in 2015 concludes the study; gallery activities collected over the course of the two-year study; and educator field notes from the 28 individual sessions. Ultimately, I argue that multivocal narratives, and embracing moments defined as the boundary event, complicate traditional hierarchy and expected stories of refugees and new migrants illustrating how difference can positively disrupt linear, static, and authoritative institutional narratives.

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Kontopoulou, Anna Alkistis. "Curation of autonomy : participatory art's potential to enunciate alternative social forms." Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/38121/.

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This thesis provides a dialectical conception of relational aesthetics, the state of art given definition by Nicolas Bourriaud’s text Relational Aesthetics (2002), by focusing on the ‘value form of participation’ and the ways in which this gets subsumed into capitalist circuits, to fit its purpose within ‘culture’. One of the original contributions of this research project within the field of political art, or art that aims to be political, is its in-depth critique of relational art’s political economy from the perspective of an engaged practice. The thesis also provides insights into the role of the curator as the interlocutor of this exchange. As part of this analysis I examine the changes in the formal character of this relation of domination, by analysing the ways in which the classic opposition between autonomous art and the culture industry has mutated today. The thesis supplements its Marxist analysis with Jacques Lacan’s theories of discourse to examine the particularities of how art practices are subsumed into University discourse, and in order to further analyse how artistsstudents’ struggle with subjection to the value form is determined by the capitalist economy. By combining the Marxist and Lacanian perspectives I conceptualise the artist-student as the subject or social embodiment of surplus value and surplus jouissance. My research interest is guided by my own position as a ‘transversal’ practitioner and by my desire to ‘curate’ a relative kind of autonomy that manages to de-link the symbolic from value and re-distribute the surplus of participation back to social movements and the communities that support them. The thesis thus is also informed by my commitment to organising educational and curatorial initiatives that imagine a dialogue between organising and art, as guided by practices of political or militant listening processes exemplified, for example, by the political aesthetic collaboration Ultra-Red, found in the fields of grassroots organising and specific forms of political education, as discussed by Paulo Freire. Hence another contribution to the field of social practice art is my concern as a researcher-practitioner to press current discourse on relational art further, from a critique of contradictory social processes to an embodying of critical agencies.

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Norton-Westbrook, Halona. "Between the 'collection museum' and the university : the rise of the connoisseur-scholar and the evolution of art museum curatorial practice 1900-1940." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/between-the-collection-museum-and-the-universitythe-rise-of-the-connoisseurscholar-and-the-evolution-of-art-museum-curatorial-practice-19001940(b1c01103-496f-44f6-a1a1-24c556c8a04c).html.

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This thesis investigates the evolution of curatorial practice in Britain and the United States in the first four decades of the twentieth century through an analysis of the formative years of two museums, the Wallace and Frick Collections, and of two academic programmes, the Fogg Art Museum Course at Harvard University and the Courtauld Institute of Art at the University of London. Through these case studies, this study charts the emergence and development of a specialised curatorial knowledge base that was influenced by traditions of connoisseurship and criticism and shaped by discussions surrounding art history’s disciplinary parameters taking place in the museum, the press, the art market and the university. This investigation makes visible the processes through which art museum curators, keepers and directors collaborated in the creation and standardisation of their own expertise and contends that this quest was fundamentally intertwined with struggles for authority, agency and professional recognition. The manifestation of this expertise resulted in a renegotiation of institutional power dynamics and gave rise to a new type of art museum leader: the connoisseur-scholar, who performed an important function in the art museum’s transition from a space dominated by gentlemanly amateurs to one in which academically trained art historians increasingly assumed positions of authority. Asserting that the formation of this knowledge base cannot be separated from the academic institutionalisation of art history and curatorial training, this study demonstrates that individuals operating in the spheres of the art museum and the university were engaged in a dialogue through which the core values of these respective endeavours were realised. Detailing these processes and relationships and locating them within the context of a shift towards aesthetic idealism, this thesis provides insight into the historical origins of modern-day curatorial practice in Britain and the United States.

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McCartney, Laura Lee. "Unpacking Self in Clutter and Cloth: Curator as Artist/Researcher/Teacher." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849713/.

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This a/r/tographic dissertation offers opportunities to interrogate curator identity and curator ways of being in both public and private spaces. Instead of an authoritative or prescriptive look at the curatorial, this dissertation as catalogue allows for uncertainty, for messiness, for vulnerable spaces where readers are invited into an exhibition of disorderly living. Stitched throughout the study are stories of mothering and the difficulties that accompanied the extremely early birth of my daughter. Becoming a mother provoked my curating in unexpected ways and allowed me to reconsider the reasons I collect, display, and perform as a curator. It was through the actual curating of familial material artifacts in the exhibition Dress Stories, I was able to map the journey of my curatorial turns. My engagement with clothing in the inquiry was informed by the work of Sandra Weber and Claudia Mitchell, where dress as a methodology allows for spaces to consider autobiography, identity, and practice. It was not until the exhibition was over, I was able to discover new ways to thread caring, collecting, and cataloging ourselves as curators, artists, researchers, teachers, and mothers. It prompts curators and teachers to consider possibilities for failure, releasing excess, and uncaring as a way to care for self, objects, and others.

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Pegno, Marianna, and Marianna Pegno. "Narratives of Elsewhere and In-Between: Refugee Audiences, Edu-Curators, and the Boundary Event in Art Museums." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/626323.

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This dissertation explores narratives that emerge from a community-museum collaboration while working with refugees in relation to Trinh T. Minh-ha’s (2011) concept of the boundary event. Within this study the boundary event is explored as moments of overlap where identity, experiences, knowledge, and processes are continuously being negotiated; by embracing or leaning into these moments, community-museum programs can develop multivocal narratives—where no single voice is heard as distinctly clear or separate. These co-created museum narratives stand in contrast to educational and engagement strategies that aim to instill knowledge and elevate community with the museum as the expert. In this dissertation 16 participant voices– of 15 refugees and one museum educator– mingle, coalesce, and complicate museum narratives. These narratives are participant-created (data presentation) as well as researcher-constructed (analysis and interpretation). Using the methodological lens of narrative inquiry and decolonization I investigated data collected from over a two-year period (summer 2013-summer 2015) including: content and wall labels collected from two exhibitions, one marks the beginning of the study in 2013 and the second in 2015 concludes the study; gallery activities collected over the course of the two-year study; and educator field notes from the 28 individual sessions. Ultimately, I argue that multivocal narratives, and embracing moments defined as the boundary event, complicate traditional hierarchy and expected stories of refugees and new migrants illustrating how difference can positively disrupt linear, static, and authoritative institutional narratives.

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McCartney, Gregory. "The curation of archives as tools for regional art regeneration in North West Ireland." Thesis, University of Ulster, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.535135.

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Whitley, Zoe. "Against a sharp white background : dialogic and exhibitionary practices of Black contemporary artists and curators in art museums." Thesis, University of Central Lancashire, 2018. http://clok.uclan.ac.uk/23580/.

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This research seeks to better understand how Black artists experience the mainstream art museum. The thesis makes an original contribution to scholarship on curating contemporary art through qualitative analysis of subjective approaches to art museum space. It makes evident responses to institutionalised systems of address. Foundational in establishing this action research methodology (Lewin 1946; Carr & Kemmis 1986) are the dialogic frameworks provided by the theories of Mikhail Bahktin (1975), Edouard Glissant (1997), and chiefly the writing of Zora Neale Hurston (1929). It concludes that art museums can become sites of dialogic exchange (Bennett, 2006) for those who have been traditionally excluded from such spaces, though the means may be other than those formally sanctioned by the institution. Examining racial difference in museological and curatorial spheres potentially allows for multiple dialogues, referred to by Bakhtin as ‘polyphony.’ Interviews with fourteen international artists and curators suggest that critical debate around the racialisation of museum space has progressed relatively little since the 1990s, with identity politics and institutional critique having fallen out of favour in contemporary museum discourse (Bishop 2012, Haq 2014). Indeed, recent academic research into race and the art museum tends to focus on the past (Cooks 2011, Cahan 2016) or artists’ continued lack of visibility (Chambers 2015). While museum-centred research interrogates the relationship between audience and museum space (McClellan 2003; Karp et al. 2006; Bourriaud 1998; Kester 2011), little consideration has been dedicated to Black contemporary artists’ physical presence in art museums. As a critical paratext to curatorial projectsThe Shadows Took Shape and In Black and White which I co-authored, this study examines Black artists’ roles as uniquely informed generators of address (speakers) and respondents within the art museum. Given the insular and highly specialised body of curatorial writing (Hoffmann 2013; Lind 2010; Obrist 2008; Martinon & Rogoff 2015), it is therefore proposed that studying modes of Black curatorial and artistic address can ultimately yield new translations for contemporary museum-going publics.

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Snape, Julia. "Medieval art on display, 1750-2010." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/medieval-art-on-display-17502010(9e0b3b30-1d52-412d-862a-b655757307b1).html.

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This thesis asks how the curatorial framing of medieval objects - the processes of selection, classification, display and interpretation - affect how medieval objects are made legible within the museum. It investigates how different collectors and curators have deployed medieval objects over a period of two hundred and fifty years of museological practice. Throughout this history, medieval objects have been appropriated within a range of museological narratives that have positioned them variously as objects of curiosity, utility, scientific analysis, nationalistic interest and as sites of scholarly and popular attention. My purpose is to inquire how the epistemological re-positioning of objects is articulated through their presentation within the framework of the collection, museum or temporary exhibition and to question how the mechanics of display facilitate particular readings of medieval objects. I then consider how certain curatorial approaches may produce unintended effects that render the medieval object illegible or problematic in unexpected ways. I also acknowledge that unforeseen exhibitionary outcomes may not be solely due to the effects of curatorial intervention but may be wrought by the agency of objects themselves. This thesis therefore examines medieval objects as active participants that play a crucial role in influencing the communication of curatorial objectives and in affecting how they may be apprehended through exhibitionary practice. The thesis examines sixteen chronologically presented case studies, beginning in the mid eighteenth century and concluding in the early twenty-first century, that represent important or influential episodes in the history of the display of medieval art. It traces a selective history of the various ways medieval objects have been culturally positioned at particular points in time to reveal how curatorial techniques have worked to reinforce or undermine the perception of medieval objects as carriers of specific meanings. Through the examination of historical approaches to the display of medieval objects I reveal how familiar tropes of display, such as the use of specific lighting techniques and stained glass have characterized the museological staging of medieval objects and how these have endured into the twenty-first century. Drawing on performance theory, material culture theory and sensory theory I identify how the biographical histories, material characteristics and sensory properties of medieval objects have been re-activated or suppressed by curators to encourage audiences to engage with them in specific ways. This theoretical approach reveals a previously unacknowledged sensory cultural history of engagement with the medieval object and highlights how historical approaches that have privileged embodied engagement with objects continue to inform contemporary museological practice. I also draw on Actor-Network theory to illuminate how medieval objects may be understood as active agents within the chain of correspondences that links people, objects and exhibitions at particular points throughout this history. In this way I delineate an exhibitionary landscape through which we can understand medieval objects as multi-authored and polysemic entities but principally as the products of exhibitionary practice.

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Pryde-Jarman, D. "Curating the artist-run space : exploring strategies for a critical curatorial practice." Thesis, Coventry University, 2013. http://curve.coventry.ac.uk/open/items/ec4c19c4-55de-475d-a95f-0a310c037ced/1.

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The once distinct roles of artist and curator have blurred dramatically in recent decades owing to a blending process in both directions, which has led to a turn towards the concept of the curator as producer and author, and the development of the hybridised figure of the ‘artist-curator’. Within my practice-based curatorial research at Meter Room and Grey Area, the 'artist-run space', as both form and content of space, is used as a critical framework for artist-curatorship. Artist-run spaces play a significant role in the cultural ecology of the UK, and this project explores the power relations involved in the production, distribution, and consumption of work within the field, in terms of both a cause and effect of a contested relationship with institutions and commercial galleries. Artist-run spaces are initiated for a number of reasons, but this project specifically focuses upon those spaces that identify with terms such as ‘independent’, 'alternative', ‘not-for-profit’, ‘DIY’, ‘self-organised’, and ‘critically engaged’. Using strategies for the development of a critical practice, such as Chantal Mouffe’s theories on ‘counter-hegemony’ and ‘agonistic space’ (2007), and Gerald Raunig's concept of 'instituent practice' (2009), this project explores how curatorial practices within artist-curator-run spaces might offer different ways of working, and be used to contest hegemonic structures within the field. I explore the role of critique within curatorial practice, specifically in relation to the struggle for autonomy, the production of subjectivity, and strategies for negating or resisting cooption by the New Institutions of post-Fordist neoliberalism. Three curatorial strategies were developed from experimental projects at both spaces, and then explored at Meter Room over a 2-year period. These strategies sought to occupy institutional structures in new ways: through the re-functioning of 'void' space, blending studio and gallery functions within a Curatorial Studio, developing a paracuratorial practice referred to as Caretaking, and re-approaching the concept of a collection-based institution through processes of layering works and their vestiges within an Artist-run Collection. The practice-based research culminated in a 5-month durational project in collaboration with five other artist-run spaces based in the West Midlands region, which explored a strategy for the creation of a new speculative artist-run institution as a dialogical process of instituting values through a critical curatorial practice.

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Van, Niekerk Leoné Anette. "Documenta 11 as exemplar for transcultural curating a critical analysis /." Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-08112008-190627.

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Rupp, Bettina. "Curadorias na arte contemporânea : considerações sobre precursores, conceitos críticos e campo de arte." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/24761.

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A pesquisa definiu o processo de transição da curadoria ‘tradicional’, voltada para as atividades de conservação, organização, pesquisa e exposição das obras de arte, para a curadoria ‘contemporânea’, caracterizada pela organização da exposição através da elaboração de conceitos críticos formulados pelo curador, que desenvolve de forma autoral o tema da exposição e seleciona quais artistas irão participar da mostra. O período em que ocorreu esta transição foi na segunda metade do século XX, em sincronia com a arte contemporânea e o aumento do número de exposições, fato, este, decorrente da ampliação de espaços expositivos, visível em diversos países. A pesquisa buscou as origens da curadoria para perceber como a atividade foi se constituindo ao longo do tempo até chegar às características concernentes da curadoria ‘contemporânea’. Feito o levantamento sobre quais exposições se tornaram referenciais na arte contemporânea, foi elaborada uma análise para precisar as mudanças ocorridas no âmbito da curadoria, através da atuação de diferentes curadores. Entre eles, Harald Szeemann, Walter Zanini, Achille Bonito Oliva, Sheila Leirner, Jean-Hubert Martin e Paulo Herkenhoff. Concluídas as análises, foram apresentadas conside-rações sobre o curador enquanto autor de exposições, as relações entre a curadoria e os outros agentes do campo artístico e a curadoria como parte do processo de construção da história da arte.
The research has defined the transition process from the ‘traditional’ curatorship involved in conservation and organization activities, research and display of the art pieces to a ‘contemporary’ curatorship, characterized by the organization of the exhibition through the elaboration of critical concepts formulated by curator who develops in authorial way the theme of the exhibition and selects which artists will take part in it. This transition happened in the second half of the twentieth century, in synchronicity with the contemporary art and the increasing number of exhibitions, which derived from the increase of exhibition spaces, noticeable in many countries. The research searched the origins of the curatorship to perceive how the activity built up throughout the time until the concerning characteristics of contemporary curatorship were settled. After the assessment about which exhibitions became a reference was made, an analysis was elaborated to precise the changes in the scope of curatorship through the work of various curators. We can highlight among them: Harald Szeemann, Walter Zanini, Achille Bonito Oliva, Sheila Leirner, Jean- Hubert Martin and Paulo Herkenhoff. After the conclusion of the analysis, considerations about the curator as an author of the exhibitions were presented; the relationship between the curatorship and other agents of the artistic field and the curatorship as a part of the construction of Art history.

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Graham, C. E. Beryl. "A study of audience relationships with interactive computer-based visual artworks in gallery settings, through observation, art practice, and curation." Thesis, University of Sunderland, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362218.

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Contemporary interactive computer-based artworks are examined, with particular reference to the problems and opportunities presented by their relationship to their audience in conventional gallery settings. From an anecdotal starting point, the research uses a series of observational case studies of exhibited works, the production of an interactive artwork, and the curation of an exhibition of interactive artworks, to explore pragmatic questions of the artwork/audience relationship in real-world situations. A range of existing taxonomies for kinds and levels of interactivity within art 'are examined, and a `common-language' taxonomy based on the metaphor of `conversation' is developed and applied. -The case studies reveal patterns of use of interactive artworks including the relation of use-time to gender, aspects of intimidation, and social interaction. In particular, a high frequency of collective use of artworks, even when the artworks are designed to be used by one person, is discovered. This aspect of collective versus individual use, and interaction between audience members is further explored by several strands of research: The development of an interactive artwork specifically intended to be enhanced by collective usage and interaction between users; the application of a metaphor of 'conversation/host' to the making of the artwork; further, more specific, case studies of such artworks; and the further development of the taxonomy into a graphic form to illustrate differences in artwork-audience, and audience-audience relationships. The strands of research work together to uncover data which would be of use to artists and curators working with computer-basedin teractive artworks, and explores and develops tools which may be useful for the analysis of a wide range of artworks and art production

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De, Wild Karin. "Internet art and agency : the social lives of online artworks." Thesis, University of Dundee, 2019. https://discovery.dundee.ac.uk/en/studentTheses/a6a64a92-2edc-44a8-b371-de4a61bdc289.

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During the 1990s, artists started to explore the possibilities of the World Wide Web. This thesis investigates online artworks by studying their agency. Why do people interact with them, as if they are alive? How do they mobilise people, or make them share visions and ideas? Based on research in largely untapped archives, it presents an in-depth examination of several case studies, exploring the artwork's ability to have the power to act in a variety of social settings. Through studying the life trajectory of the artwork, it also offers insights in how these dynamic entities undergo changes over time and across cultures. Grounded in theoretical literature on the agency of art, this research offers an innovative way of understanding Internet art and it contributes to wider conversations about the agency of art and artefacts. Case studies include: Mouchette (Martine Neddam), 'Mouchette' (1996-present). Web project (www.mouchette.org). Collection of Stedelijk Museum (Amsterdam). Shu Lea Cheang, 'Brandon' (1998-1999). Web project (brandon.guggenheim.org). Collection of Solomon R. Guggenheim Museum (New York). Lynn Hershman Leeson, 'Agent Ruby' (1998-2002). Web project (agentruby.sfmoma.org). Collection of SFMOMA (San Francisco).

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Genshaft, Carole Miller. "Symphonic poem a case study in museum education /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1196175987.

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Matos, Diego Moreira. "Curador e arquiteto em diálogo: os casos das Bienais Internacionais de Arte de São Paulo de 1981 e 1985." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-26032010-145150/.

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Esta dissertação tem como foco analisar, através de um viés crítico, o diálogo entre curadoria e arquitetura presenciado nas exposições de Arte Contemporânea, tomando como estudo de caso a Bienal Internacional de Arte de São Paulo, à luz de suas expografias. Dentro do amplo contexto das Bienais é estabelecido um recorte que compreende as primeiras edições da década de 1980, decorrente de um contexto sócio-cultural mais amplo, amparado por uma conjuntura econômica local e internacional. O recorte incide sobre a XVI e a XVIII Bienais, edições realizadas, respectivamente, nos anos de 1981 e 1985. Este período, correspondente ao da redemocratização do Brasil, configura-se como peculiar dentro da história deste evento e representa um ponto de inflexão, quando foram reunidas as condições para saída de uma crise institucional verificada ao final dos anos de 1970. Esta escolha está intimamente vinculada a um novo contexto sócio-cultural que configurado na pós-modernidade. Esta nova lógica é conseqüência do capitalismo avançado, no qual os eventos culturais encontram-se inseridos na ótica de mercado e sujeitos a uma indústria. Sob estas condições é estabelecido um novo palco para as ações no campo das instituições que, através dos seus espaços expositivos, exercem o papel de enquadrar historicamente e legitimar as produções artísticas, contemplando assim a complexa pluralidade da Arte Contemporânea. Nos casos estudados, o espaço será compreendido pelo pensamento dos arquitetos e curadores envolvidos, submetidos a um dado momento histórico, o que os condicionou a revelar uma conjuntura cultural através da arte que propuseram a expor. Desta forma, a partir da análise proposta, será possível compreender as exposições como lugar de encontro entre o artista, sua arte e o espectador, encontro este mediado pela figura do curador e do arquiteto. Complementarmente, também foram investigadas as transformações no campo das artes plásticas a partir da segunda metade do século XX, os quais culminaram com as formas processuais e desamaterializantes das décadas de 1960 e 1970. Estas novas formas artísticas trouxeram conseqüências para o campo das exposições, que passaram a se readequar aos novos trabalhos de arte. As Bienais da década de 1980 são, de antemão, resultantes desta readequação, incorporando a arte a um discurso por elas estabelecido.
The focus of this dissertation is to analyze, through a critical bias, the dialogue between curatorship and architecture witnessed in the contemporary art exhibitions, taking as case study the Bienal Internacional de Arte de São Paulo, at the light of its expography. Within the wide context of these Bienais, clippings are established, which include the editions from the first half of the eighties, decurrent of a social and cultural wider context, supported by a local and an international economic conjuncture. The clipping concerns to the XVI and XVIII Bienais, editions accomplished, respectively, in 1981 and 1985. This period, corresponding to Brazils process of redemocratization, is configured as peculiar within the history of this event. Represents a point of inflection, where it was verified the meeting of exceptional conditions for exit of an institutional crisis in the end of the seventies. This choice is closely linked to a new social and cultural context configured in the post-modernity. This new logic is a consequence of the advanced capitalism, in which the cultural events are inserted in the optics of market and submitted to an industry. Under these conditions a new stage is established for the actions of the institutions that, through its exhibition spaces, assume the role to fit historically and to legitimize the artistic productions, thus contemplating the complex plurality of the contemporary art. In the studied cases, the space is understood through the architects and involved curators thought, submitted to a specific historical moment, which conditioned them to disclose a cultural conjuncture through the art that they propose to exhibit. In such way, from the analysis proposal, it will be possible to understand the exhibitions as place of meeting between the artist, its art and the spectator, mediated by the curator and the architect. Complementarily, it was also investigated the transformations in the field of arts from the second half of the twenty century, which had culminated with the dematerialized and process forms of art in the sixties and seventies. These new artistic forms brought consequences for the field of the exhibitions, which had to be readapted to the new works of art. The Bienais of the eighties are, of beforehand, resultants of these readaptations, incorporating the art to a speech established by them.

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Osborne, Michelle. "The curator's room visceral reflections from within the museum : exegesis [thesis] submitted to Auckland University of Technology in partial fulfillment of the degree of Master of Art and Design, 2004." Full thesis. Abstract, 2004.

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Landis, Tamra R. "How a Successful Collecting Society Can Transform an Art Museum: A History of The Georgia Welles Apollo Society at the Toledo Museum of Art." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522759729069838.

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Ziganshina, Madina. "Art-Map: concept of moving curatorial project and its practical realization in Aveiro." Master's thesis, Universidade de Aveiro, 2015. http://hdl.handle.net/10773/15905.

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Mestrado em Criação Artística Contemporânea
In this dissertation, I present the results of a project which aim was to find out and try an effective model of independent curatorial project executable in small and medium cities in Portugal. The concept of Moving Curatorial Project ARTMAP is a result of theoretical research and reflection about municipal exhibition spaces and possibility of presentation of the contemporary art in these spaces. To test if this curatorial project is realizable and if there are conditions to continue it, a first trial was implemented in Aveiro. A curated international exhibition, entitled “A Poética do Visual" occupied two municipal and two private gallery spaces and brought together 111 artists from 25 different countries. The art event was carried out in collaboration with the Municipality of Aveiro and the University of Aveiro, and involved several private cultural spaces in the city. This first experience showed that there are all conditions for the presentation of contemporary art in small and medium size locations in Portugal, and for this project to be replicated in other regions of the country.
Nesta dissertação, apresento os resultados de um projecto cujo objectivo era desenvolver e experimentar um modelo eficaz e executável de projecto de curadoria em cidades de pequena e média dimensão em Portugal. O conceito de ART-MAP (Moving Curatorial Project) é resultado de pesquisa teórica e reflexão sobre os espaços municipais de exposição e sobre a possibilidade da apresentação de arte contemporânea nesses lugares. Para testar se esse projecto de curadoria é realizável e se existem condições para continuá-lo, a primeira experiência foi desenvolvida em Aveiro. A exposição internacional, intitulada "A Poética do Visual” ocupou dois espaços municipais e dois espaços culturais privados na cidade, e reuniu 111 artistas de 25 países diferentes. O evento de arte foi realizado em colaboração com a Câmara Municipal de Aveiro e a Universidade de Aveiro. Esta primeira experiência mostrou que existem todas as condições para a apresentação de arte contemporânea nas cidades de Portugal, e que este projecto pode ser replicado em outras regiões do país.

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Checchia, Viviana. "Beyond the exhibition : a vessel for self-reflexive curating in the Mediterranean." Thesis, Loughborough University, 2016. https://dspace.lboro.ac.uk/2134/25048.

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This thesis is the written result of a practice-based PhD. The thesis presents a 'located' model of curatorial practice that aims to actively benefit the cultural landscape of host regions. It challenges existing definitions of 'the curatorial', taking a multidisciplinary understanding of curatorial practice and evaluating curatorial methods in light of recent geo-political developments. Concerned with the effects of changes in European cultural policy, and the geopolitical position of the Mediterranean basin, this thesis evaluates contemporary curatorial practices in the Euro-Mediterranean Partnership context and, through practice-based interventions, suggests ways to develop situated curatorial processes, appropriate to their geographical context. Specifically, I argue that the temporary, large-scale exhibition formats financially supported by EU policies, such as the European Regional Development Fund, are not necessarily the most appropriate or beneficial to the cultural development of their host regions. I therefore propose an alternative set of methods, tools and considerations for a self-reflexive model of curatorial practice. This proposal takes the form of a curatorial initiative 'Vessel'; a long-term practice-based research project that seeks models of practice that effectively enable local engagement in cultural production, allowing culture to flourish independently of larger hegemonies. Several of Vessel's experimental initiatives are presented here, and appraised in order to build a theoretical understanding of 'located' curatorial practices that can inform alternative approaches. This research is developed through case studies of Manifesta, Liminal Spaces, Matadero and Intermediae; all of them testing grounds for 'Vessel', a curatorial initiative based in Puglia, Italy. Puglia has been chosen as a site for this research because of its central role in the current Mediterranean situation. This thesis illustrates the theoretical, geographical and historical context of this investigative project, and documents the evolution and outcomes of the curatorial initiative attempted. This thesis represents the first practice-based study of contemporary curatorial practices in the Euro-Mediterranean Partnership (EUROMED) context, which seeks primarily to develop situated curatorial processes appropriate to their geographical context. The thesis discusses aspects of human geography, cultural studies, social science and European studies, all filtered through practical implementation and reflective examination of the main discipline of interest: curatorial studies. This research acknowledges the role of the curator as a mediator between cultural producers and the political and bureaucratic conditions for cultural production. This role offers the opportunity to develop an awareness of the potential influence of those conditions on the artists, their work and their audiences. In other words, the curator is in a unique position to have an overview of the practices, interests and concerns of cultural producers, as well as those of policy makers and administrative bodies, and any potential conflicts of interest that may arise. Thus, curators are in a privileged position to operate as proactive agents, particularly when they observe that cultural policies are not achieving the aim of fostering cultural development. This thesis, therefore, invites curators to consider their responsibility to critically assess the long-term effects of their practice on cultural and epistemological development in Europe. The thesis is divided into four chapters. Chapter 1 presents the research questions, clarifying their terminology and broadly discussing their rationale, context and theoretical focus. The chapter questions current EU cultural and economic strategies and suggests that they may be misguided. In Chapter 2, the level of analysis shifts from the geo-political context to a more specific situation: the position of art practitioners involved in the above situation, and the outcomes produced. Since the exhibition format is popular and has been envisioned by the EU cultural agenda as one of the most effective instruments for creating a dialogue between different geographical areas, Chapter 2 challenges this understanding of the format and the ways of production embedded in it. Chapter 3 presents a series of alternative curatorial approaches coming from the South and related to the four theoretical pillars of the self-reflexive approach: geography, time, process and epistemology. Starting with the methods used to investigate the case studies, the chapter traces connections between theory and practice. The chapter moves through close readings of the alternative case studies and comparative analysis, to the use of self- reflexive practice. Chapter 4 is at the heart of the thesis: it presents the methodologies underpinning both the approach to case study analysis and the practical research. This involves the curatorial proposal put forward and practised through Vessel. Vessel is therefore presented, in Chapter 4, as a self-reflexive model of located curatorial practice that is appropriate for located curatorial engagement. The conclusion addresses the capacity of curatorial practices to cultivate local epistemologies. I propose the outcome of the Vessel research project, and associated case studies as a set of curatorial methods and considerations for a 'located' model of curatorial practice.

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Allen, Nia J. "THE CURATED ESTATE:A PRACTICE-BASED POP-UP STORE SOLUTION FOR LUXURY FASHION RETAIL INDUSTRY’S ISSUES WITH RACIAL DISCRIMINATION." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1620816314892002.

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Lee, Virginia, and gini lee@unisa edu au. "The intention to notice: the collection, the tour and ordinary landscapes." RMIT University. Architecture and Design, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20070202.153732.

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The Intention to Notice: the collection, the tour and ordinary landscapes is concerned with how ordinary landscapes and places are enabled and conserved through making itineraries that are framed around the ephemera encountered by chance, and the practices that make possible the endurance of these material traces. Through observing and then examining the material and temporal aspects of a variety of sites/places, the museum and the expanded garden are identified as spaces where the expression of contemporary political, ecological and social attitudes to cultural landscapes can be realised through a curatorial approach to design, to effect minimal intervention. Three notions are proposed to encourage investigation into contemporary cultural landscapes: To traverse slowly to allow space for speculations framed by the topographies and artefacts encountered; to [re]make/[re]write cultural landscapes as discursive landscapes that provoke the intention to notice; and to reveal and conserve the fabric of everyday places. A series of walking, recording and making projects undertaken across a variety of cultural landscapes in remote South Australia, Melbourne, Sydney, London, Los Angeles, Chandigarh, Padova and Istanbul, investigate how communities of practice are facilitated through the invitation to notice and intervene in ordinary landscapes, informed by the theory and practice of postproduction and the reticent auteur. This community of practice approach draws upon chance encounters and it seeks to encourage creative investigation into places. The Intention to Notice is a practice of facilitating that also leads to recording traces and events; large and small, material and immaterial, that encourages both conjecture and archive. Most importantly, there is an open-ended invitation to commit and exchange through design interaction.

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Bonet, Torra David. "La Curación como ideología. Una crítica ético-política a la curaduría del arte marginal." Doctoral thesis, Universitat de Barcelona, 2018. http://hdl.handle.net/10803/666311.

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Las tendencias curatoriales de los macro-eventos artísticos recientes (Bienales y exposiciones de ámbito internacional) se han caracterizado, entre otras cosas, por el interés en resucitar y releer los trabajos de algunos artistas provenientes de esferas, en un principio, ajenas al mundo del arte, y que podríamos calificar de personas marginalizadas en la sociedad. A partir de esta observación, decido realizar un análisis crítico de los discursos curatoriales de las exposiciones de estos artistas marginales, desde un punto de vista ético-político. Más específicamente, pretendo reflexionar sobre las relaciones de poder existentes entre curadores y estos supuestos artistas. Sobre todo, cuando los primeros articulan sus discursos sobre las producciones de autores ya fallecidos. Es en estas circunstancias, cuando el curador, juntamente con el dispositivo expositivo, gana suficiente poder para otorgarles la condición de artista a unas personas que a sí mismas no se consideraban como tal. Para poder contextualizar dicho análisis, propongo la construcción de unos relatos histórico- filosóficos fragmentados, que pongan en cuestión la curaduría del arte marginal, desde la crítica ideológica. En ellos, analizaré las teorías de: Cesare Lombroso, Hans Prinzhorn y Karl Jaspers, Alfred Rosenberg y Adolf Ziegler, Jean Dubuffet y Harald Szeemann, entre otros. En el análisis de las exposiciones realizadas recientemente, voy a concentrarme en los discursos generados a partir de las muestras de: Forrest Bess, Arthur Bispo do Rosário y Carol Rama, entre otros; curadas por: Robert Gober, Luis Pérez-Oramas y Paul B. Preciado, entre otros. Con las herramientas obtenidas en estos análisis, intentaré sugerir las bases de una posible teoría política sobre la curaduría como profesión e ideología. Para ello partiré de las ideas agrupadas en llamada teoría crítica, vinculada a la tradición de pensamiento marxista más heterodoxa y frecuentemente vinculada a la escuela de Frankfurt. Además de los métodos adornianos o benjaminianos, también me he impregnado de otras teorías marxistas contemporáneas, como las de Michel Löwy, Alex Callinicos y Terry Eagleton. Por ejemplo, me he basado en las ideas de este último autor para abordar el concepto de ideología. Partiendo de la tradición crítica marxista, he analizado las múltiples teorías, que han sido constitutivas de la mayoría de los discursos dominantes articuladores de los conceptos del arte de los enfermos mentales, del art brut o del outsider art. Por ejemplo, en el primer capítulo sugiero la creación de un sujeto político nuevo a inicios de los años veinte en la república de Weimar, y más específicamente, a raíz de las obras de los médicos analizados, entre los cuales destaca el libro de Prinzhorn que nos habla de las expresiones de la locura y del zeitgeist esquizofrénico. En los capítulos tercero y cuarto he partido de la noción de “utopías artísticas”, para referirme a las distintas corrientes de pensamiento en las que destacaba el hecho de haber depositado en el arte unas esperanzas revolucionarias y de transformación social. Siguiendo la lógica de muchas de estas utopías artísticas he abordado el sentido político del art brut y de la arteterapia. Respecto al quinto capítulo, que aborda el arte outsider posmoderno y el nacimiento de la figura del curador como autor, he intentado confirmar que el mito autoral de Harald Szeemann, donde el comisario independiente se erigía como un genio “decididor” y un experto “savant”, aún permanece con fuerza en la curaduría más actual del arte contemporáneo. En el último capítulo, además de hacer una crítica expositiva, he confrontado algunas nociones de suma actualidad como son la globalización y el surgimiento de las políticas identitarias o identitarismo.
The curatorial tendencies of the recent artistic macro-events (International biennials and traveling exhibitions) have been characterized, among other things, by the interest in rereading and resurrecting works of some marginal artists. From this observation, I decide to make a critical analysis of the curatorial discourses of the exhibitions by these marginal artists, from an ethical-political point of view. More specifically, I intend to reflect on the existing power relations between curators and marginal artists. Particularly since curators articulate their speeches about the productions of already deceased marginal artists. It is in these circumstances, when the curator, together with the exhibition device, gains enough power to grant the status of artist who did not consider themselves as such. In order to contextualize this analysis, I propose the construction of fragmented historical- philosophical accounts that question the curatorship of marginal art, from the ideological critique. In them, I will analyze the theories of: Cesare Lombroso, Hans Prinzhorn and Karl Jaspers, Alfred Rosenberg and Adolf Ziegler, Jean Dubuffet and Harald Szeemann, among others. In the analysis of recent exhibitions, I will concentrate on the speeches generated from the artworks by: Forrest Bess, Arthur Bispo do Rosário and Carol Rama, among others; curated by: Robert Gober, Luis Pérez-Oramas and Paul B. Preciado, among others. With the tools obtained in these analyzes, I will try to suggest the bases of a possible critical theory about curatorship as a profession and as an ideology.

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Almeida, Isadora Maríllia de Moreira. "Mulheres artistas: apontamentos sobre perspectivas e experimentações possíveis." Universidade Federal de Juiz de Fora (UFJF), 2018. https://repositorio.ufjf.br/jspui/handle/ufjf/8086.

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A presente dissertação realiza uma trajetória, que discute tanto a dificuldade ainda existente em vermos obras de arte feita por mulheres, como também o entendimento de que o olhar feminino possibilita outra forma de enxergar o mundo. As mulheres artistas buscaram alternativas para exibir suas obras, sejam elas fotografias, colagens, pinturas, ilustrações e vídeos. Abordando justamente meios alternativos, tais como, a cultura da mail art, dos zines e atualmente as redes sociais, estes nos mostram uma circulação paralela de arte fora dos museus, em que artistas cada vez mais jovens propõem dividir seus olhares com o público. As tecnologias disponibilizadas pela internet, hoje, são em grande parte utilizadas por artistas para conquistarem visibilidade, e podemos entendê-las como ferramentas que contribuem com essa nova forma de exibição e experimentação dos espaços. Reunimos momentos particulares, sem preocupação historiográfica, que compuseram uma narrativa feminista cujas abordagens inspiraram novas artistas a partir dos anos de 2010, e culminaram em uma tentativa de curadoria com temáticas que versam sobre experiências, intimidades e outramentos.
The present dissertation follows a trajectory which discusses both the difficulty in seeing works of art made by women, as well understanding that female gaze allows another way of seeing the world. Women artists looked for alternatives to display their works, being these, photos, collages, paintings, illustrations and videos. Approaching the alternative media such as the culture of mail art, the zines and nowadays social networks, this study show us a parallel circulation of art outside the museums, in which increasingly younger artists propose to share their gaze with the public. The technologies available over the internet today are largely used by artists to gain visibility, and we can understand them as tools that contribute to this new way of exhibiting and experimenting of spaces. We put particular moments together, without historiographical concern, that composed a feminist narrative whose approaches inspired new artists from the years of 2010, and culminated in an attempt of curation with themes that deal with experiences, intimacies and othering ourselves.

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Vigeland, Anne. "Exhibiting Performing Subjects : Curating Outsourced Performance Labour in Museum Settings." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-180926.

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The thesis examines challenges museum curators face when outsourced performers – whose role it is to embody the work of other artists – are included in exhibition projects. The research questions are: What are the practical, juridical and ethical challenges that come with situating outsourced performance labour in the museum setting? What does the inclusion of live performance in exhibition projects mean for the role of the museum curator? Two exhibition cases in Stockholm are studied in the thesis: Marina Abramović – The Cleaner (2017) at Moderna Museet and Dora García, I Always Tell the Truth at Bonniers Konsthall (2018–19). The material consists of digital surveys that were sent out to employed performers from each exhibition case as well as interviews that were conducted with both performers and curatorial staff. The material was examined using theories on affective labour and the theoretical notion of de-skilling and re-skilling of acquired competences. The thesis shows that the practical challenges include the architectural conditions of museum buildings, insufficient prior knowledge on what working with performers entail, short project timespans and limited exhibition budgets. The juridical challenges include a lack of union recommendations for performance in museums and the difficulty of situating reperformances of historical works that in its form and duration may go against national labour regulations. The ethical challenges include commodification of performers’ subjectivity through instances of affective labour and mechanisms of objectification. In turn, both the outsourced performer and the museum curator turned performance curator inhabits a precarious working situation. The role of the performance curator is highly administrational and organisationally tedious in its positioning between curatorship, performing arts production and human resource management. Additionally, it entails a prodigious amount of affective labour in the reproductive mode – of emotional investments, conflict resolution and social liaison.

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Helsel, Sand, and n/a. "A Search For Common Pleasures: CURATING THE CITY." RMIT University. Architecture and Design, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091216.141950.

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The project-based research questions how professionals working in the built environment can engage a broader range of 'others' (students, client, users) in ways of seeing and acting in a meaningful way. It challenges the role of the expert in architecture and urban design and in particular their use of the masterplan, which is often an oversimplified reductive response, laden with generalisations and the ill-considered overlay of inappropriate models. Design methods are designed to enable us to see afresh and respond accordingly. These are demonstrated in three suites of projects that include urban installations such as Five Walks for the Melbourne International Arts Festival, war memorials, lectures, photographs and teaching practice such as Taipei Operations, a student workshop, architectural exhibition, and book. The design research is situated within an expanded field of cross-disciplinary practice that includes art, landscape architecture, urban design, architecture and geography. Tools are developed to enable us to understand the city at many spatial and temporal scales; observations made at a micro scale reveal systems at a macro scale - a bottom-up approach. The application of the methods explored implies that

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Batistin, Fabíola. "Poema tridimensional: proposições a partir da coleção de Theon Spanudis." Universidade Presbiteriana Mackenzie, 2014. http://tede.mackenzie.br/jspui/handle/tede/2079.

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Universidade Presbiteriana Mackenzie
This paper have started from the research collection of the art critic, poet, psychoanalyst, teacher and collector Theon Spanudis and its safeguard upheld on two institutions: Museum of Contemporary Art - MAC/USP and Brazilian Studies Institute - IEB / USP. The collection consisting of 453 frames was partially donated to the MAC / USP in 1979 and concluded only after the death of Spanudis in 1986. The Fund Theon Spanudis of IEB / USP was created with the aim of cataloging the donated literary material (poetry books, manuscripts, texts, exhibition catalogs) for further public consultation. The wealth of material, an unprecedented documentary and little explored in their study resulted in a didactic split into three research areas (the transcendence of art, the artists and brands poetic didactic bias of the collection ) in order to better understand Theon Spanudis collection. The museum education boosted the composition and purpose of a curatorial project uniting the many actions of Theon as a critic, poet and collector. Thus, artists within the collection, poems, excerpts from letters and manuscripts, in order to think of the use of part of the collection as a base material for educational activities inside and outside the art museums were selected: one three-dimensional casts a Poem broad horizon to so many other collections that may incur in the same poetic way.
O presente trabalho partiu da investigação da coleção do crítico de arte, poeta, psicanalista, professor e colecionador Theon Spanudis e de sua salvaguarda acolhida sobre duas instituições: Museu de Arte contemporânea MAC/USP e o Instituto de Estudos Brasileiros IEB/USP. A coleção, composta de 453 quadros, foi doada parcialmente no MAC/USP em 1979 e somente concluída após a morte de Spanudis em 1986. O Fundo de Acervo Theon Spanudis no IEB/USP, foi criado com o intuito de catalogação do material literário doado (livros de poesia, manuscritos, textos, catálogos de exposição) para posterior consulta pública. A riqueza do material, um corpus documental inédito e pouco explorado em seu estudo deram origem a uma separação didática em três eixos de investigação (a transcendência da arte, as marcas poéticas do artistas e o viés didático da coleção) com a finalidade de melhor compreender a Coleção Theon Spanudis. A educação museal impulsionou a composição e a proposta de um projeto curatorial unindo as muitas ações de Theon como crítico, mecenas, poeta, colecionador. Assim, foram selecionados artistas dentro da coleção, poemas, trechos de cartas e de textos manuscritos, com o intuito de pensar o uso de parte da coleção como material de base para ações educativas dentro e fora dos museus de arte: um Poema Tridimensional lança um horizonte amplo a tantas outras coleções que possam incorrer num mesmo caminho poético.

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Ayres, Sara Craig. "Hidden histories and multiple meanings : the Richard Dennett collection at the Royal Albert Memorial Museum, Exeter." Thesis, University of Plymouth, 2012. http://hdl.handle.net/10026.1/1039.

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Ethnographic collections in western museums such as the Royal Albert Memorial Museum (RAMM) carry many meanings, but by definition, they represent an intercultural encounter. This history of this encounter is often lost, overlooked, or obscured, and yet it has bearing on how the objects in the collection have been interpreted and understood. This thesis uncovers the hidden history of one particular collection in the RAMM and examines the multiple meanings that have been attributed to the objects in the collection over time. The Richard Dennett Collection was made in Africa in the years when European powers began to colonise the Congo basin. Richard Edward Dennett (1857-1921) worked as a trader in the Lower Congo between 1879 and 1902. The collection was accessioned by the RAMM in 1889. The research contextualises the collection by making a close analysis of primary source material which was produced by the collector and by his contemporaries, and includes publications, correspondence, photographs and illustrations which have been studied in museums and archives in Europe and North America. Dennett was personally involved with key events in the colonial history of this part of Africa but he also studied the indigenous BaKongo community, recording his observations about their political and material culture. As a result he became involved in the institutions of anthropology and folklore in Britain which were attempting to explain, classify and interpret such cultures. Through examining Dennett’s history this research has been able to explore the Congo context, the indigenous society, and those European institutions which collected and interpreted BaKongo collections. The research has added considerably to the museum’s knowledge about this collection and its collector, and the study responds to the practical imperative implicit in a Collaborative Doctoral Project, by proposing a small temporary exhibition in the RAMM to explore these histories and meanings. In making this proposal the research considers the current curatorial debate concerning responsible approaches to colonial collections, and assesses some of the strategies that are being employed in museums today.

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Vazquez, Julia Maria. "The Artist as Curator: Diego Velázquez, 1623-1660." Thesis, 2020. https://doi.org/10.7916/d8-9bnj-4989.

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“The Artist as Curator: Diego Velázquez, 1623-1660” reconsiders the career of Diego Velázquez at the court of Hapsburg king Philip IV as a major episode in the history of curatorial practice. By this it means to examine the ways Velázquez’s activities as a painter and his activities as curator of the Hapsburg art collection transformed each other. Velázquez’s paintings express ambitions and attitudes towards his predecessors that would motivate Velázquez’s reorganization of parts of the royal collection that included their works. In turn, the collection and display of paintings in royal exhibition sites would cultivate in Velázquez a knowledge of art and its history that would inform the paintings he produced at court. Velázquez was a singularly art-historical painter, many of whose works investigate the nature of art itself. This dissertation seeks to prove that these aspects of Velázquez’s work were cultivated in the early modern museum that was the Alcázar palace, where he was surrounded by a veritable history of art under the Hapsburgs. The dissertation has five chapters; each closely examines a significant project in Velázquez’s trajectory as artist-curator at the Hapsburg court. The first uses the first major installation that Velázquez would witness at the Hapsburg court to set up the problematic of the dissertation as a whole - namely, that meaning was made on the walls of galleries, and that if Velázquez was going to make his name at court, it would be by engaging the royal art collection as it appeared on gallery walls. The second investigates Velázquez’s first curatorial project, the redecoration of the Octagonal Room; it argued that Velázquez’s interest in art itself—an interest characteristic of his painting practice—found a new medium in his work as curator of this gallery. The third chapter reexamines The Rokeby Venus as a function of what Velázquez witnessed over the course of the assembly of the Vaults of Titian, where paintings of nudes were exhibited all together; it thus demonstrates the impact of the royal art collection and its display on his creative imagination as a painter. The fourth chapter considers the culminating curatorial project of Velázquez’s career—the redecoration of the Hall of Mirrors—in tandem with the suite of paintings he made for it—the painting cycle including Mercury and Argus, examining the ways that these two projects mutually informed one another. The final chapter proposes that Las Meninas again evidences Velázquez’s curatorial and painterly imaginations at work simultaneously; then it uses the painting as a point of entry into the reception of both of these aspects of Velázquez’s work at the Hapsburg court, arguing that to make art after Velázquez was to acknowledge both. All together, these chapters tell the story of Velázquez’s increasing engagement with the royal art collection, from the start of his career at the Hapsburg court through his legacy beyond it.

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Cernei, Raluca. "The role of the curator in the context of contemporary art." Master's thesis, 2014. http://hdl.handle.net/10400.1/8379.

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Dissertação de Mestrado, Comunicação, Cultura e Artes, Faculdade de Ciências Humanas e Sociais, Universidade do Algarve, 2014
O mundo da arte sofreu uma série de mudanças e alterações no último século que teve como resultado a atual forma de criar e perceber a arte, uma forma que é única e um tanto desconcertante para alguns. A arte deixou de estar limitada por regras e definições, crescendo e evoluindo para obras de arte como happenings, arte digital, street art e instalações, entre outros. A arte saiu das paredes de museus para as ruas, computadores, objetos e atividades quotidianas. Esta mudança teve uma grande influência sobre todos os participantes do mundo criativo. Eles tiveram que acomodar, evoluir e mudar, tornando-se em entidades flexíveis que deixaram de ter posições bem definidas, passando a envolver se em diferentes esferas da arte, assumindo responsabilidades e atividades que até então não lhes pertenciam. Este foi também o destino do curador que até esta revolução na arte tinha como função gerenciar e exibir objetos de arte nos limites de uma galeria ou um museu. O objetivo do presente estudo é identificar o papel do curador no contexto da arte contemporânea. Particularmente este trabalho irá considerar as mudanças na história da arte recente que têm no centro o curador e a sua função. Este trabalho centra-se nas características do curador, o seu desempenho e o impacto que este tem sobre o mundo da arte. O primeiro capítulo faz uma incursão na história da curadoria, desde os tempos antigos até o presente, oferecendo um contexto para a investigação, bem como uma introdução ao assunto. O segundo capítulo centra-se nos diferentes tipos de curadores, na definição e análise do papel do curador contemporâneo, uma vez que este é o mais antigo tipo de curadoria, é interessante ver as mudanças ocorridas e as inovações que foram introduzidas no trabalho. Também se examina o curador independente, a recente adição às práticas curatoriais, bem como o curador como artista versus o artista como curador, uma novidade trazida pela introdução de criatividade na atividade do curador. Por fim, o capítulo estuda ainda o fenómeno da curadoria na vida diária de todos, uma coisa particularmente popular na internet. O terceiro e último capítulo explora a vida e a atividade de dois grandes curadores, Harald Szeemann e Hans Ulrich Obrist. Este capítulo apresenta um exemplo claro do curador contemporâneo e as mudanças que têm acontecido na profissão nos últimos anos.

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Lamoureux, Loan Marie. "The role of art curators in contemporary art and photography." Master's thesis, 2017. http://hdl.handle.net/10400.14/27022.

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The following dissertation will focus on the social role of art curators within our society along with the evolution of the concept of “Museum” since the beginning of the 20th century. This research paper is based on my experience as an art curator and production assistant for the company Cinq Etoiles Production on exhibitions such as Pernod Ricard’s art campaign MINDSET, Médecins du Monde’s Mise Au Poing exhibition or Vichy Portrait(s). This internship gave me insights into the organization of a cultural and artistic show, its mission and the skills and the resources required to conduct it successfully. Indeed, evolving in the field of exhibitions’ organization and especially photography made me reflect upon the way people “use” museums and exhibitions and to what extend Art is essential for society. More than presenting the work of artists for their aesthetical values, an exhibition can raise awareness about issues, open debates on different subjects and enables us to project ourselves forwards. Besides, museums serve as vectors of knowledge about our history, or culture and other values and identities. Therefore, I began to realize that the most important changes in society were due to artists and intellectuals who promoted open-mindedness, multiculturalism, and alternative thinking. I wanted to understand how museums that were long reserved for a small fraction of our society became able to address larger audience and educate the public opinion. We will see during this research that just like any significant evolution of society, the democratization of art and culture under all its forms had to overcome many obstacles over the decades. We will also reflect upon the concept of “Museums” as art laboratory and places of social interactions, why it should be politically-engaged and how to involve the community in the process to achieve change within our society.

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WU, CHANG-YU, and 吳長諭. "Constructive Analysis and Primary Practice by Curator—Taking Art Changyu as an Example." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/p38t9n.

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碩士
國立臺北教育大學
文化創意產業經營學系
104
This research is divided into two parts, the first is analysis of contemporary art curators’ history and the second one is carrying out art exhibitions and art lectures by means of self-planned projects. From contemporary art exhibitions and lectures, this study finds the ones with abundant information and capable of arousing the interest of the public in arts and. It also analyzes the features of exhibitions and lectures, participants’ characteristics as well as background information, development processes and key factors for success of curators by reviewing the documents and interviews. By the efforts the study provides understandings of the development history of curation in Taiwan. Furthermore, by the interviews, we are getting to know the curators with different development backgrounds or their working concepts for curation as well as their definitions for contents and professional qualities respectively. In addition, the research analyzed independent curators’“independence”, working situationas well as the cultivation resources for them and analyzed project results to determine whether they have reached the set goal, i.e. “Art exhibitions and lectureswith abundant information and capable of arousing the interest of the public in arts ”by the projects planned with their own creation philosophy, professional competence, resources integration as well as practices. And on the basis of this construction operation pattern the long-term operation mode is set. Since 1990s, the curation concept was introduced to Taiwan which developed rapidly till today. The Chinese Culture Society stipulated “Curator Training Plan” in 2008 which indicates the importance cultural policies and social demands attaching to curators. Although the curation concept has brought multiple powers promoting Taiwan’s art environment, the diversified discussions and analyses have appeared in different fieldsas the concept develops. There are wide range of academic exploration over the mutual cooperation between public sectors and non-governmentalcuration organizations discussing over the emergence and positioning of independent curator in Taiwan’s art environment; the researches and practices on curators are however scarce.

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CHEN, HSIU-YUN, and 陳脩韻. "A Study of Development of Art in Taiwan through Phenomenon of Independent Curator." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/285wnc.

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碩士
國立雲林科技大學
創意生活設計系
105
It has been over two decades since the role of independent curators made its first appearance in the early 1990s on the stage of Taiwanese contemporary art. This along with the rising awareness of the importance of developing local arts and culture among local governments has caused many new types of exhibitions to spring up across Taiwan and art curating has thus become an important part of the ecosystem for the development of Taiwanese arts and culture. ‘Exhibition’ as a tool for communicating new perspectives no longer refers to knowledge confined with the walls of art galleries and museums only. It has evolved into a leisure activity that modern people are accustomed to and a means of global communication. Nevertheless, how to bring perspectives to the attention of the outer world so that they can absorbed and reinterpreted and thereby generate social influence is in fact one of the most critical and difficult challenges for curators. The emergence of independent curators is indeed a welcome relief for official institutions troubled by research staff shortages and limitations. However, the intervention of independent curators also symbolizes the deconstruction of the discursive authority over knowledge that has been long held by museum directors. As the development of Taiwanese contemporary art continues to progress, exhibition mechanisms in art galleries and museums and the development of contemporary art as a whole will have crucial influence. The job of curators is putting a concept or discourse into practice. Apart from possessing basic knowledge and literacy, curators have to know how to combine exhibitions in their entirety and works of artists for the optimal looks and results of the exhibitions. The scope of this study focused on the development of contemporary art from the 1990s to the present, the rise of the role of curators and the relationship between the two. The types of curators and exhibitions were divided into four categories for investigating the definitions of a curator in the contexts of Western art and Taiwanese contemporary art and what an ‘independent curator’ meant. According to the analysis of the observations made by today’s independent curators on curating models for contemporary art in this study, the rise of this role was found to have accelerated the dissemination of arts and cultural promotion and started a new trend unique to the development of Taiwanese contemporary art.

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Marsden, Scott Kerwin. "Putting the Public in Public Art Galleries: The Insurgent Curator and Visual Art as Critical Form of Creative Inquiry." Thesis, 2015. http://hdl.handle.net/1828/6965.

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My research explores the concept of visual art as a form of critical inquiry and the gallery as a site for critical dialogue and social change. I argue that art galleries can be spaces of change and can be used to mount a critique of contemporary society’s dominant narrative of neoliberalism that is being incorporated into our public and private lives. Art galleries are public spheres for civil society that offer citizens opportunities to engage in debate on contemporary issues, where we can expose ourselves to new ideas, stimulate our minds, and explore other ways of knowing and becoming agents of change. My investigation takes the form of researching, developing, and presenting an exhibition of selected photographs as part of the exhibition, Open Conversations. This exhibition explored the art practice of Canadian photographers Carole Condé and Karl Beveridge, who have developed an artistic process that involves direct collaboration in the production of art employing a participatory, socially engaged framework. I claim the role of “insurgent curator” (a person who challenges the current state of affairs) through my attempt to locate my inquiry within my current praxis as curator, that is, within a critical form of creative inquiry. As an insurgent curator, I attempt to insert alternative histories and perspectives in a public art gallery as a means of offering different ways of knowing contemporary society. The concept of critical inquiry and the use of dialogical aesthetics underlie my concept of insurgent curatorial practice. I propose that the use of dialogue has important implications in helping to situate art galleries as public spaces that invite participation, dialogue, and community, and thereby have a profound impact on visitors’ meaning making. Through the use of critical creative inquiry, I ask how this research can generate individual transformation and help create progressive forms of social action.
Graduate
scottmarsden@haidagwaii.ca

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"Art Museum Educators and Curators: An Examination of Art Interpretation Priorities and Teacher Identities." Doctoral diss., 2014. http://hdl.handle.net/2286/R.I.25878.

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abstract: The general field of interest of this study was art education in the context of art museums in the United States. The vehicle of a mixed method, descriptive research design was used to investigate whether museum educator and curator participants had tendencies to use personal or communal approaches (Barrett, 2000) to teaching art interpretation to adult visitors. While the personal approach to art interpretation focused on individuals' responses to artworks, the communal approach emphasized the community of art scholars' shared understandings of artworks. Understanding the communities of practice of the participants was integral to the discovery of meaning in the study's findings. Wenger (1998) introduced the theory of community of practice to explain how individuals, who are united in a particular context, shared similar perspectives, learned socially from each other, and gained a sense of identity through their routines and interactions. The study examined how museum educators' and curators' separate communities of practice influenced their members' teaching approaches through the development of distinct teacher personae. Teacher personae reflected the educational values and priorities of museum educators' and curators' communities of practice. And, teacher personae had tendencies to adopt personal or communal approaches to art interpretation.
Dissertation/Thesis
Doctoral Dissertation Curriculum and Instruction 2014

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Dissertations / Theses on the topic 'Art curator'

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