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Journal articles on the topic 'Curatorial and Related Studies'

Author: Grafiati
Published: 10 January 2023

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1

Simon, Roger I. "Idolatry and the Civil Covenant of Photography: On the Practice of Exhibiting Images of Suffering, Degradation, and Death." IMAGES 4, no. 1 (2010): 46–56. http://dx.doi.org/10.1163/187180010x547639.

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AbstractExhibiting perpetrator photographs of suffering and death presents a series of curatorial problems for museums and galleries. Unlike photojournalist images taken to inform a social conscience, the initial creation and circulation of such photographs have historically been implicated in the violence they depict. Beyond skepticism as to photography’s capacity to arouse a moral impulse, exhibitions of perpetrator photographs have been criticized for promoting voyeurism and extending suffering through the reiteration of images of human degradation. I consider how a problem central to Jewis
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2

Iuga, Anamaria. "“Coming into the World: From Spirits to the Spirit”. The First Childhood Museum in Romania." Folklore: Electronic Journal of Folklore 80 (December 2020): 215–30. http://dx.doi.org/10.7592/fejf2020.80.iuga.

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The present paper follows the National Museum of the Romanian Peasant (Romania) in its endeavour to display the Virtual Museum of Childhood. The context prior to exhibiting material and intangible heritage related to childhood is analysed, and the curatorial challenges of this project are mentioned. This article also refers to the museum’s activities dedicated to childbirth (exhibitions, cultural activities), from 1990 to the present day, but it especially focuses on the first exhibition of the Museum of Childhood, “Coming into the world: From spirits to the Spirit”, dedicated to birth.
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3

Kannike, Anu, and Ester Bardone. "Kitchen as a material and lived space." Ethnologia Fennica 44 (December 31, 2017): 5–22. http://dx.doi.org/10.23991/ef.v44i0.59702.

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Kitchen has been one of the most intensively lived spaces at home, yet, its furnishings have often vanished, especially in the 20th-21st centuries. Cooking tools and utensils have been part of museum displays dedicated to historical food culture but the complex materiality of the kitchen related to multiple practices going beyond food production and consumption has rarely attracted curatorial interest. This article examines comparatively how Estonian museums represent and interpret the materiality of kitchens and kitchen culture. Relying on ethnographic sources the analysis considers the aspec
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4

Opp, James. "Exhibiting the sacred: Material objects, religious history, and the Canadian Museum of Civilization." Studies in Religion/Sciences Religieuses 30, no. 3-4 (2001): 339–52. http://dx.doi.org/10.1177/000842980103000306.

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To commemorate the Christian bimillennium, the Canadian Museum of Civilization opened an exhibit entitled Under the Sign of the Cross: Creative Expressions of Christianity in Canada. Although one of the goals of the display was to illustrate the "impact" of Christianity on Canada, the exhibit was noticeably lacking historical context. This article explores the curatorial principles that guided the planning and execution of the exhibit. It argues that the lack of attention to an historical narrative was directly related to assumptions underlying the collection of material objects of religion an
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Aldrich, Elizabeth, Norton Owen, and Libby Smigel. "Using “Fair Use” to Free Archival Resources: Dance Heritage Coalition's Project to Increase Access to Dance Collections." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 8–14. http://dx.doi.org/10.1017/s2049125500000443.

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This interactive roundtable presented the findings of the Dance Heritage Coalition's (DHC) “fair use” project, whose outcomes will make dance-related materials at libraries, museums, and archives more readily accessible to researchers, students, and the public. Strict copyright observance affects the breadth of materials available for scholarly study, public programming, and classroom use. Thus, copyrights adversely skew the dialogue in historical and cultural studies of dance. The panelists from the archival and scholarly fields will illustrate the copyright problem and the “fair use” solutio
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Gerschultz, Jessica. "Mutable Form and Materiality: Toward a Critical History of New Tapestry Networks." ARTMargins 5, no. 1 (2016): 3–29. http://dx.doi.org/10.1162/artm_a_00130.

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This article raises two concerns underpinning the need for a critical history of fiber art in the 20th century. The first is a critique of aesthetic formalism predominant in the Lausanne Biennale during the 1960s and 70s, which overlooks artistic, ideological, and political milieus that drew together textile artists from localities formerly treated as peripheral in art history. The second holds to account Euro-American institutions and related historiographies for their curatorial exclusion of Arab and African fiber artists. Such inclusion, I argue, would have conjured tapestry's deeper incong
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Harvey, Lawrence. "Improving models for urban soundscape systems." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 3, no. 3 (2013): 113–37. http://dx.doi.org/10.7146/se.v3i3.18444.

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Large-scale urban soundscape systems offer novel environments for electroacoustic composers, sound artists and sound designers to extend their practice beyond concert halls, art galleries and screen-based digital media. One such system with 156 loudspeakers was installed in 1991 on the Southgate Arts and Leisure Precinct in central Melbourne. Over the next 15 years another three large multichannel soundscape systems were installed on other sites close to the first. A fifth system was established for a single work of art in 2006. Despite this private and public investment in sound art estimated
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8

Message, Kylie. "Museums and the Citizenship of Hate." Museum Worlds 10, no. 1 (2022): 1–13. http://dx.doi.org/10.3167/armw.2022.100102.

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This article asks if and how national museums today, which have in recent decades adopted a remit for social rights activism, have an obligation to engage with a broad spectrum of political participation and expression, including contemporary forms of far-right extremism and white grievance politics. How can museums engage with and respond meaningfully to the upsurge in acts of violence perpetrated in the name of structural, collective, and personal ideologies based on hate, xenophobia, and racism? Responding to these questions requires museums to move beyond acts of symbolic national commemor
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Kruglikova, E. V., E. A. Chanchaeva, and R. I. Aizman. "The structure of nutrition of Russian students as a risk factor for the development of nutritional diseases." Acta Biomedica Scientifica 6, no. 5 (2021): 68–80. http://dx.doi.org/10.29413/abs.2021-6.5.7.

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The paper analyzes the literature data on the peculiarities of nutrition of students studying in higher educational institutions of various regions of Russia, and the risks of developing food-related diseases. They are largely associated with the adaptation of students to study at a university, the lack of self-organization skills and a lack of knowledge in matters of rational nutrition. The actual nutrition of students, on the one hand, is characterized by a lack of macronutrients and micronutrients intake, on the other hand, by excessive consumption of substances that contribute to the devel
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10

Thomka, J. R. "Plant or animal, terrestrial or marine? Thoughts on specimen curation in university palaeontological teaching collections based on an example from Ohio, USA." Geological Curator 10, no. 9 (2018): 517–21. http://dx.doi.org/10.55468/gc304.

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Palaeontological teaching collections at universities are critical to accurately con- veying aspects of palaeobiology and palaeoecology to students who, in turn, may eventually disseminate that information to the general public via a variety of museum-related pathways. Unfortunately, curatorial rigor is often less strongly rein- forced in university teaching collections than in museum collections, leading to unlabeled or mislabeled specimens, or specimens grouped into collections with an excessive amount of missing data. Herein I describe one illustrative example of confounding specimen labeli
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11

Lisa Moran. "Curatorial Statement." Frontiers: A Journal of Women Studies 32, no. 1 (2011): 9. http://dx.doi.org/10.5250/fronjwomestud.32.1.0009.

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12

Fisher, Jennifer, and Jim Drobnick. "Paradigms and Pedagogy in Curatorial Studies." Journal of Curatorial Studies 6, no. 2 (2017): 167–69. http://dx.doi.org/10.1386/jcs.6.2.167_2.

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13

Cranston, Meg. "The curatorial view." Material Religion 3, no. 1 (2007): 123–26. http://dx.doi.org/10.2752/174322007780095807.

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14

Bluestone, Daniel. "Conservation's Curatorial Conundrum." Change Over Time 7, no. 2 (2017): 234–51. http://dx.doi.org/10.1353/cot.2017.0013.

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15

Johns, Elizabeth, John K. Howat, Oswaldo Rodriguez Roque, et al. "Art, History, and Curatorial Responsibility." American Quarterly 41, no. 1 (1989): 143. http://dx.doi.org/10.2307/2713201.

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16

Jeffery, Celina. "From the Shore to the Coast: Curating the Front Line of Climate Change." Journal of Curatorial Studies 9, no. 2 (2020): 230–47. http://dx.doi.org/10.1386/jcs_00022_1.

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Ephemeral Coast (2015‐present; ephemeralcoast.com) is a curatorial research initiative by the author that identifies the coastline as a site and indicator of the radical shifts in geography that are literally taking place in the ocean as a result of the Anthropocene. This article discusses how exhibitions and events associated with the project have considered ephemerality as a poignant curatorial concept within and through which to consider the vanishing of healthy coastal regions. In creating a comparison with other exhibitions that address the climate crisis and related environmental devasta
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17

Riafrecha, Florencia, and Renée Zgainer. "El proceso curatorial para danza en el museo." Boletín de Arte, no. 23 (April 20, 2022): e040. http://dx.doi.org/10.24215/23142502e040.

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El ciclo Danza en el Museo, que tiene lugar desde el año 2016 en el Museo Provincial de Bellas Artes Emilio Pettoruti (MPBA) ubicado en la ciudad de La Plata, presenta un valioso trabajo de curaduría que habilita el diálogo entre la danza y las artes visuales, generando una nueva obra interdisciplinaria en cada función. En este artículo se analizan las características y el alcance de este ciclo, a la vez que se reflexiona sobre el carácter legitimador de la institución frente a la danza, y el papel del museo en la visibilización y jerarquización de la danza regional, a través del trabajo curat
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18

Bereta, Andrej, and Srđan Tunić. "Academic course: About and around curating: The technology of an exhibition process: The realization of project "Real World"." SAJ - Serbian Architectural Journal 5, no. 3 (2013): 330–43. http://dx.doi.org/10.5937/saj1303330b.

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As an extended part of independent curatorial project About and Around Curating/Kustosiranje, art historians and freelance curators Bereta and Tunić developed a special academic course for the University of Belgrade, Faculties of Architecture and Fine Arts during the autumn semester 2012/13. Rooted in experience based methodology and inspired by contemporary curatorial studies in Europe, the official course curriculum gathered undergraduate students of Architecture, Fine Arts (Department of Sculpture) and Art Historians. The aim of the course was to encourage team working of students of differ
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19

Szubielska, Magdalena, and Kamil Imbir. "The aesthetic experience of critical art: The effects of the context of an art gallery and the way of providing curatorial information." PLOS ONE 16, no. 5 (2021): e0250924. http://dx.doi.org/10.1371/journal.pone.0250924.

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The aim of our research was to investigate the influence of the situational context of presenting contemporary critical artworks (in an art gallery vs in a laboratory setting) and the way in which one is acquainted with contextual information, i.e. a curatorial description (reading it on one’s own vs listening to it vs a lack of curatorial information), on the reception of critical art. All experimental stimuli were exemplars of contemporary art which raise current controversial social and political issues. Non-experts in the field of art were asked to rate their emotional reactions on non-ver
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20

Peters, Erin A. "Curator—Curatorial Studies Towards Co-creation and Multiple Agencies." Contemporaneity: Historical Presence in Visual Culture 5 (November 30, 2016): 122–28. http://dx.doi.org/10.5195/contemp.2016.182.

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21

Germana, Gabriela, and Amy Bowman-McElhone. "Asserting the Vernacular: Contested Musealities and Contemporary Art in Lima, Peru." Arts 9, no. 1 (2020): 17. http://dx.doi.org/10.3390/arts9010017.

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This essay examines three museums of contemporary art in Lima, Peru: MAC (Museum of Contemporary Art), MALI (Lima Art Museum), and MASM (San Marcos Art Museum). As framed through curatorial studies and cultural politics, we argue that the curatorial practices of these institutions are embedded with tensions linked to the negotiation of regional, national, and international identities, coloniality, and alternate modernities between Western paradigms of contemporary art and contemporary vernacular art in Peru. Peruvian national institutions have not engaged in the collection of contemporary art,
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22

Sharp, Camille-Mary. "Winner of the 2020 Journal of Curatorial Studies Emerging Writer Award." Journal of Curatorial Studies 9, no. 1 (2020): 135–38. http://dx.doi.org/10.1386/jcs_00014_5.

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Review of: Winner of the 2020 Journal of Curatorial Studies Emerging Writer Award Tear Gas Epiphanies: Protest, Culture, Museums, Kirsty Robertson Toronto/Montreal: McGill-Queen’s University Press (2019), 432 pp., ISBN 978-0-77355-701-7, p/bk, CAD $39.95
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23

Brasó, Emma. "Exhibiting Parafictional Artists: Curatorial Approaches to Fiction and Authorship." Journal of Curatorial Studies 10, no. 1 (2021): 50–71. http://dx.doi.org/10.1386/jcs_00031_1.

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This article identifies and analyses parafictional strategies in artistic and curatorial practice. By examining exhibitions that have included artists working under fictitious identities from the mid-1990s to the present, I argue that they emerged in response to the conflictual demands of the art world. These case studies have been organized into three categories according to their main curatorial approach: projects in which artists remained anonymous or were asked to produce work under a purposely invented personality; exhibitions that turned the intersection of fiction and authorship into a
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24

Green, Christopher T. "Anishinaabe Artists, of the Great Lakes? Problematizing the Exhibition of Place in Native American Art." ARTMargins 4, no. 2 (2015): 80–96. http://dx.doi.org/10.1162/artm_a_00113.

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This article discusses the relationship between Native American art and place as a curatorial strategy in the recent exhibition Before and After the Horizon: Anishinaabe Artists of the Great Lakes. It is argued that while the Anishinaabe connection to the Great Lakes region as a spiritual, cultural, and epistemological center is essential to the art of the exhibition, the curators present this place as timeless and unchanging. The result is an interpretation of the Native American relationship to place that is idealized, ahistorical, and inaccurate to the tumultuous legacy of colonialism. Rath
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Hensley. "Curatorial Reading and Endless War." Victorian Studies 56, no. 1 (2013): 59. http://dx.doi.org/10.2979/victorianstudies.56.1.59.

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Hepp, Andreas. "The fragility of curating a pioneer community: Deep mediatization and the spread of the Quantified Self and Maker movements." International Journal of Cultural Studies 23, no. 6 (2020): 932–50. http://dx.doi.org/10.1177/1367877920922867.

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The aim of this article is to reconstruct the ways in which the organizational elites of the Quantified Self and Maker movements curate their respective pioneer communities. Based on a media ethnography carried out in Germany, the UK, and the USA it is demonstrated that the two movements adopt different curatorial models: curation through the use of an ‘unenforced trademark’ in the case of the Quantified Self movement and curation through ‘franchising’ in the case of the Maker movement. The fragility of both models is not necessarily a disadvantage to either and it has contributed to the rapid
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Lai, Mankit. "Winner of the 2021 Journal of Curatorial Studies Emerging Writer Award and My Body Holds Its Shape." Journal of Curatorial Studies 10, no. 1 (2021): 117–22. http://dx.doi.org/10.1386/jcs_00034_7.

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28

Waller, Laurie. "Curating actor-network theory: testing object-oriented sociology in the Science Museum." Museum and Society 14, no. 1 (2017): 193–206. http://dx.doi.org/10.29311/mas.v14i1.634.

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Across different traditions of social research, the study of science exhibitions has often taken the form of an ‘object-oriented’ inquiry. In this tradition, actor-network theory (ANT) has focused on how the processes of exhibiting objects mediate relations between science and society. Although ANT has not developed as a theory of curating, it nonetheless contributes to revaluing the work performed by curators in relation to the practice of science. This article describes an ethnographic engagement with a curatorial experiment in a science museum which staged a ‘multi-viewpoint’ exhibition of
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Wilmink, Melanie. "Surface and light." Alphaville: Journal of Film and Screen Media, no. 17 (July 1, 2019): 169–78. http://dx.doi.org/10.33178/alpha.17.11.

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Utilising case studies from my curatorial practice, this paper discusses the balance between research and creation, and elaborates on exhibition projects that centre the spectator within an embodied experience of the moving image. While some of my curatorial practice includes installation art that literalises the space of the image, including Urbanity on Film (2009), and The Situated Cinema Project; in camera (2015), other programs have achieved this same effect within a single-channel screening format, including Radiant Bodies (2015) and Dirt City Rock Fantasy: The Short Films of Trevor Ander
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Langué, Yvon. "Giving contours to invisible figures: Post-reflections on Migrations. Narratives. Movements. exhibition at Villa des Arts, Rabat." Crossings: Journal of Migration & Culture 10, no. 1 (2019): 43–54. http://dx.doi.org/10.1386/cjmc.10.1.43_1.

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Noticing the growing precariousness of migrants in Morocco, ‘Giving contours to invisible figures’ is a commentary on the lessons learned from my collaboration with ‘Arts for Advocacy’ on Migrations. Narratives. Movements., an exhibition held at Villa des Arts, Rabat. The article engages with migration in the broad sense, and how it is addressed by curatorial practice. It discusses the display’s theoretical apparatus in the light of bold uncertainties due to the invisibility of the figure of the migrant, and the apparent disjuncture of my expectations with regard to the Moroccan context. I arg
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Brower, Matthew. "Photography, Curation, Affect." Journal of Visual Culture 17, no. 2 (2018): 177–97. http://dx.doi.org/10.1177/1470412918782354.

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This article explores the implications of photographic affect for curatorial practice by examining the exhibition Through The Body: Lens-Based Work by Contemporary Chinese Women Artists (Art Museum at University of Toronto, 2014). The author focuses on the curatorial task of situating the work of three of the artists, Chen Zhe, Fan Xi and Chun Hua Catherine Dong that employs affect in related but potentially incompatible ways. Chen’s visceral series The Bearable documents her practices of cutting as an attempt to overcome shame and begin healing. Fan’s portraits of topless Chinese lesbians use
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Butler, Shelley Ruth. "The Practice of Critical Heritage: Curatorial Dreaming as Methodology." Journal of Canadian Studies 52, no. 1 (2018): 280–305. http://dx.doi.org/10.3138/jcs.2017-0058.r1.

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Lloyd, Keith. "A Rhetorical Tradition Lost in Translation: Implications for Rhetoric in the Ancient Indian Nyāya Sūtras." Journal for the History of Rhetoric 10, no. 1 (2007): 19–42. http://dx.doi.org/10.5325/jhistrhetoric.10.1.0019.

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Abstract Ancient India formalized rhetorical debate in the Sanskrit Nyāya Sūtras. Still influential, they remain relatively unknown because India is thought more mystical than logical, because Nyāya has been misinterpreted through Greek logic and terminologies, and because of its epistemology and soteriology. Perrett's four Western “approaches” to India—“magisterial,” “exoticist,” “curatorial,” and “interlocutory”—provide perspective. Magisterial blindness and exoticist assumptions prohibit understanding of Nyāya and delay its inclusion in rhetorical studies. A curatorial/interlocutory approac
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Farber, Leora, and Renée Mussai. "Ecologies of Care: Speculative Photographies, Curatorial Re-Positionings." Critical Arts 33, no. 6 (2019): 1–7. http://dx.doi.org/10.1080/02560046.2019.1704811.

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McClendon, Emma. "The Body: Fashion and Physique—A Curatorial Discussion." Fashion Theory 23, no. 2 (2019): 147–65. http://dx.doi.org/10.1080/1362704x.2019.1567057.

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Thomer, Andrea K., Dharma Akmon, Jeremy J. York, et al. "The Craft and Coordination of Data Curation: Complicating Workflow Views of Data Science." Proceedings of the ACM on Human-Computer Interaction 6, CSCW2 (2022): 1–29. http://dx.doi.org/10.1145/3555139.

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Data curation is the process of making a dataset fit-for-use and archivable. It is critical to data-intensive science because it makes complex data pipelines possible, studies reproducible, and data reusable. Yet the complexities of the hands-on, technical, and intellectual work of data curation is frequently overlooked or downplayed. Obscuring the work of data curation not only renders the labor and contributions of data curators invisible but also hides the impact that curators' work has on the later usability, reliability, and reproducibility of data. To better understand the work and impac
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Ballard, Linda-May. "Curating Intangible Cultural Heritage." Anthropological Journal of European Cultures 17, no. 1 (2008): 74–95. http://dx.doi.org/10.3167/ajec.2008.01701005.

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This article discusses a range of pragmatic issues associated with curating intangible cultural heritage, including collection, preservation, interpretation, presentation and representation. It uses as a case study work undertaken with Lough Neagh eel fishermen in preparation for and at the Smithsonian Folklife Festival in 2007, setting this in a much wider curatorial context.
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Federici, Angelica, and Joseph Chandler Williams. "Digital Humanities for Academic and Curatorial Practice." Studies in Digital Heritage 3, no. 2 (2020): 117–21. http://dx.doi.org/10.14434/sdh.v3i2.27718.

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The Digital Humanities have challenged all disciplines of Art History to engage with new interdisciplinary methodologies, learn new tools, and reevaluate their role within academia. In consequence, art historians occupy a new position in relation to the object of study. Museums have been equally transformed. The possibilities of creating virtual realities for lost/inaccessible monuments poses a new relationship between viewer and object in gallery spaces. Digital Humanities interventions in museums even allow us to preserve the memory of endangered global heritage sites that cease to exist or
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Phillips, Laura. "Teaching Decolonizing and Indigenizing Curatorial and Museum Practices." Museum Worlds 10, no. 1 (2022): 112–31. http://dx.doi.org/10.3167/armw.2022.100109.

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Decolonizing and Indigenizing work needs to be done in museums and our day-to-day lives. On Turtle Island or so-called North America, the current settler colonial states add urgency to this work. Many settlers live on stolen land and benefit from colonial structures in ways that Indigenous friends, colleagues, and hosts do not. This article presents a self-reflective account of two museum studies courses I have been part of developing and delivering that incorporate decolonizing and Indigenizing principles. From my white settler perspective, I discuss the need for settlers to educate (or reedu
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Xu, Yueqing. "Research on the Artistic Construction of Luxury Brands from the Perspective of Brand Culture Communication." Highlights in Business, Economics and Management 2 (November 6, 2022): 387–94. http://dx.doi.org/10.54097/hbem.v2i.2392.

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With the rejuvenation and diversification of the luxury market, luxury brands face the challenge of maintaining economic growth while considering the challenges of brand image building and customer loyalty. There is growing evidence that the younger generation of customers will gradually become the protagonists of the luxury market. One of the customer journeys they care most about is matching personal and brand values and the consumption experience. From this perspective, this article uses case studies, comparative studies, and literature research, taking Cartier Beyond Boundaries - Cartier P
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Baker, Sarah, Lauren Istvandity, and Raphaël Nowak. "Curatorial practice in popular music museums: An emerging typology of structuring concepts." European Journal of Cultural Studies 23, no. 3 (2018): 434–53. http://dx.doi.org/10.1177/1367549418761796.

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Museums have been central to the institutionalisation of popular music as heritage; yet, there has been little scholarly focus on the curatorial strategies behind the exhibition of popular music’s past. This article outlines an emerging typological framework of structuring concepts in curatorial practice in popular music museums. The typology brings into conversation concepts previously identified by a number of popular music museum scholars. These concepts are critically assessed and built upon substantively by drawing on the subjective experiences of curators involved in the exhibition of po
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Susanto, Mikke, Lono P. Simatupang, and Timbul Haryono. "Curating the Painting Collection of the Presidential Palace of the Republic of Indonesia." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 1, no. 1 (2018): 19. http://dx.doi.org/10.31091/lekesan.v1i1.342.

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The Presidential Palace of the Republic of Indonesia's collection of art objects was started by Indonesia's first president, Sukarno. Today, this collection includes more than 2,500 paintings, and as such this institution has acted like a museum. Throughout the tenure of Indonesia's seven presidents, this collection has experienced diverse stories related to its curation by various individuals over time. This article will focus on the historical issues of this collection's curation using qualitative research methods, in the hopes of revealing various curatorial issues. More specifically, the q
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Fisher, Laura, and Gay McDonald. "From fluent to Culture Warriors: Curatorial trajectories for Indigenous Australian art overseas." Media International Australia 158, no. 1 (2016): 69–79. http://dx.doi.org/10.1177/1329878x15622080.

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In recent decades, Indigenous artists have been strongly represented in exhibitions of Australian art offshore. This article explores two such exhibitions: fluent, staged at the Venice Biennale in 1997, and Culture Warriors, shown at the Katzen Arts Center at the American University in Washington, DC, in 2009. These exhibitions took place during an era in which issues around Indigenous rights and recognition were frequently the subject of domestic public debate and policy turmoil. They have also been significant staging posts on Indigenous Australian art’s trajectory towards contemporary fine
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Kompatsiaris, Panos. "Curators, words and values: the branding economies of curatorial statements in art biennials." Journal of Cultural Economy 13, no. 6 (2020): 758–71. http://dx.doi.org/10.1080/17530350.2020.1716825.

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Venturini, Anna. "Constructions of Authenticity at Scottish Historic House Museums." Collections: A Journal for Museum and Archives Professionals 16, no. 2 (2020): 139–61. http://dx.doi.org/10.1177/1550190620903310.

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This study investigates how authenticity is perceived and negotiated by curators at a selection of Scottish historic house museums (HHMs). Many HHMs are preserved so as to recreate the dwellings of remarkable historical personalities, thus showcasing a unique blend of period artifacts, replicas, and original objects once in the possession of their inhabitants. Focusing on three different case studies, this research investigates how these authentic museum objects are displayed to and interpreted for the public; how relevant their authenticity is from a curatorial perspective; what are the facto
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Garrido Castellano, Carlos. "Caribbean curatorial agencies:A Cultural Object’s unruliness and its affective aftermaths." Cultural Dynamics 28, no. 3 (2016): 249–65. http://dx.doi.org/10.1177/0921374016668544.

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Schwartz, Charlotte Præstegaard. "Kritisk kuratering. Udstillingspraksis udviklet i perspektiv af 1960- og 1970’ernes institutionskritik." Nordisk Museologi, no. 2 (March 30, 2017): 95–104. http://dx.doi.org/10.5617/nm.4409.

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This project description presents a curatorial practice that is part of a post.doc. investigating the contemporary cultural and political focus on participatory agendas. The curatorial practice takes a critical stand towards this focus, and suggests exhibition formats and educational strategies that address participation as critical reflection. The research unfolds in two exhibitions dealing with some of the notable tendencies within contemporary museological and curatorial studies, where museum and exhibition spaces are not considered as spaces of showcasing or conservation of art, but on the
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Shirazi, Sadia. "Slo Curating: Restitution, Archives, Access and Care." Journal of Curatorial Studies 11, no. 2 (2022): 208–33. http://dx.doi.org/10.1386/jcs_00070_1.

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This article elaborates a theory of slo curating as a durational practice and methodology. It interrogates concepts such as provenance, chain of relation, collections and conservation that it establishes are part of a colonial episteme undergirding the museum and its exhibitionary practices. Starting from recent digitization projects of museum collections, I analyse artist-led curatorial projects, legal cases and requests for restitution by colonized and Indigenous peoples across the world that challenge long-standing imperial concepts that inform museum studies. Projects by the Rapa Nui, Iqba
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Lai, Mankit. "Curating pandemic contingencies: Remote collaboration and display reconfiguration in practice." Journal of Contemporary Chinese Art 8, no. 2 (2021): 313–37. http://dx.doi.org/10.1386/jcca_00049_1.

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Amid the restrictions on travelling and gathering imposed during the COVID-19 pandemic, exhibitions with international collaborations in Hong Kong experimented with curating across borders and time. This article examines recent curatorial practices in Hong Kong’s art institutions, particularly relating to site-specific installations and performances that had to cope with the artist’s physical absence and institutional restrictions. Two site-specific art commissions ‐ Shirley Tse’s Negotiated Differences (2020), installed at the M+ Pavilion, and Eisa Jocson’s Zoo (2020), performed at Tai Kwun C
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Eileen Patterson, Monica. "Toward a Critical Children’s Museology: The Anything Goes Exhibition at the National Museum in Warsaw." Museum and Society 19, no. 3 (2021): 330–51. http://dx.doi.org/10.29311/mas.v19i3.3393.

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For decades, Museum Studies scholars have called for a new ‘critical museology’ with greater inclusion of marginalized communities and diversification of exhibition content, but children have been largely ignored in these efforts. This paper explores the possibilities for what I call a new ‘Critical Children’s Museology’ through in-depth analysis of the Anything Goes exhibition at the National Museum in Warsaw, Poland in 2016. Curated by 69 children, this ground-breaking exhibition radically broke from current and traditional museological practice by offering prominent institutional space and
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