Relevant bibliographies by topics / Curatorial strategies

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Curatorial strategies'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Curatorial strategies"

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Godby, Michael. "The African photographic archive: Research and curatorial strategies." de arte 51, no. 1 (2016): 130–32. http://dx.doi.org/10.1080/00043389.2016.1176383.

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Ershov, Gleb Yu. "Curatorial Strategies in Saint-Petersburg Contemporary Art. Some Examples." Vestnik of Saint Petersburg University. Arts 10, no. 3 (2020): 419–34. http://dx.doi.org/10.21638/spbu15.2020.303.

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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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Buggenhagen, Beth A. "The African Photographic Archive: Research and Curatorial Strategies (Morton and Newbury, eds)." Museum Anthropology Review 10, no. 2 (2016): 134–35. http://dx.doi.org/10.14434/mar.v10i2.23045.

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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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Yaralova, Marta S. "CURATORIAL EDUCATION AS A SOCIOCULTURAL PRACTICE: TWO CONCEPTUAL FRAMEWORKS." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 8 (2020): 23–34. http://dx.doi.org/10.28995/2686-7249-2020-8-24-34.

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The article raises the question of redefining curating in the field of artistic processes and defining it as a sociocultural practice. As a starting point for curatorial activity, we understand curatorial education, which currently exists in Russia in two forms: within the frameworks of schools of contemporary art and in the mode of academic programs. The focus of the research is the schools of contemporary art as new educational institutions that form both curators and artists capable of carrying out, in addition to artistic, curatorial activities. The article examines two conceptual framewor
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Vella, Raphael. "Curating as a dialogue-based strategy in art education." International Journal of Education Through Art 14, no. 3 (2018): 293–303. http://dx.doi.org/10.1386/eta.14.3.293_1.

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Contemporary artists are increasingly engaging in curatorial work and strategies while curators interpret the exhibition as an artistic medium in its own right. The teaching of art in schools and art education programmes in universities, however, does not often integrate curating as an activity or field of study within more conventional studio classes or methodologies for teaching and learning art. After briefly outlining a history of key artist-curators, this article suggests that curating – particularly its collaborative, social qualities – can enrich art pedagogies and curricula, and propos
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Garbayo-Maeztu, Maite. "Tergiversar, citar, tropezar: el comisariado como práctica feminista = Shifting, citing, stumbling: curating as a feminist practice." Espacio Tiempo y Forma. Serie VII, Historia del Arte, no. 8 (November 17, 2020): 47. http://dx.doi.org/10.5944/etfvii.8.2020.27478.

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Este artículo explora las características de la intervención curatorial feminista a partir del análisis de un caso de estudio: la exposición Yo, la peor de todas, comisariada por su autora. Se articula en torno a una reflexión crítica sobre las distintas estrategias que se pusieron en marcha en este proyecto. Primero, tergiversar un encargo inicial de la institución, que pedía una exposición de mujeres artistas para cumplir con la cuota de lo políticamente correcto. Segundo, profundizar en la cita, entendida como encuentro afectivo y como práctica de reconocimiento, pero también como estrategi
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Vranken, Ingrid. "Rooted Hauntology Lab: Attempts at vegetal curation." Performance Philosophy 5, no. 2 (2020): 236–51. http://dx.doi.org/10.21476/pp.2020.52289.

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In this paper I share my personal attempt of co-working with plants as ghosts and how this has started to shape a curatorial practice that tries to resist extractivism. I wanted to rethink my own practice as a curatorand investigate how to shape relations and ethics differently. For this work I turned towards plants and ghosts as my teachers and allies. They pointed me towards strategies of being-with, generosity and sympoiesis, which I am trying totranspose into a (life-)practice. Rooted Hauntology Lab as an artistic-curatorial project is both the result and ongoing practical playground for t
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van Niekerk, Leoné. "Towards a threshold aesthetic of the trickster: Reconsidering curatorial strategies from Documenta 11." de arte 42, no. 76 (2007): 4–20. http://dx.doi.org/10.1080/00043389.2007.11877075.

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Dissertations / Theses on the topic "Curatorial strategies"

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Arrigoni, Gabriella. "Artistic prototypes : from laboratory practices to curatorial strategies." Thesis, University of Newcastle upon Tyne, 2017. http://hdl.handle.net/10443/3572.

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My thesis introduces new kinds of understandings of artistic practice taking place in laboratories and engaging with the design, production and critique of technological artefacts. The recent spread of artworks based on physical computing widened and enhanced the role of prototyping in the making of new media art. Indeed prototyping can be now considered as a medium in its own right. My point of departure was an investigation of artists working in academic labs, which led me to question the relationship between research and aesthetic production. My initial argument was that the research proces
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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 relatio
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Davies, Cara Jane. "Activating archives : interrogating the integration of archival theory in creative and curatorial strategies for performance art." Thesis, University of Bristol, 2017. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.738218.

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Miller, Brian J. "The Politics pf Memory in the Jüdisches Museum Berlin, 1999-2004: Curatorial Strategies, Exhibition Spaces, and the German-Jewish Past." Digital Archive @ GSU, 2005. http://digitalarchive.gsu.edu/history_theses/2.

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This thesis explores representations of the Holocaust in the Jewish Museum Berlin and the impact of commercialism on representational choices. Daniel Libeskind’s bold architectural design, which ultimately became the Jewish Museum Berlin, is in many ways a Holocaust memorial. By exploring curatorial strategies in regards to exhibition design and content, this thesis analyzes the debates within the Jewish Museum Berlin over the appropriate manner to represent the Holocaust to the museum-going public in contemporary Germany. This thesis argues that commercialism and the prospects of commercial v
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Kogler-Heimburger, S. B. "Shifting curatorial strategies for art from Latin America and Latino art at the Museum of Fine Arts, Houston 1956-2004." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20126/.

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This thesis explores changing curatorial strategies at the Museum of Fine Arts, Houston. This is preceded by an assessment of the Museum of Modern Art’s earlier role in systematizing and defining this field throughout the 1930s and 1940s. Three exhibitions of art from Latin America and Latino art will illustrate how the MFAH contributed to shifts in this field proposing parallel and expanded readings to those first introduced at MoMA. Firstly, the Gulf-Caribbean Art Exhibition (1956) was a collaboration with the Pan American Union. This exhibition was framed by Cold War modernist approaches an
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Miller, Brian J. "The Politics of Memory in the Jüdisches Museum Berlin, 1999-2004: Curatorial Strategies, Exhibition Spaces, and the German-Jewish Past." 2005. http://scholarworks.gsu.edu/history_theses/2.

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This thesis explores representations of the Holocaust in the Jewish Museum Berlin and the impact of commercialism on representational choices. Daniel Libeskind’s bold architectural design, which ultimately became the Jewish Museum Berlin, is in many ways a Holocaust memorial. By exploring curatorial strategies in regards to exhibition design and content, this thesis analyzes the debates within the Jewish Museum Berlin over the appropriate manner to represent the Holocaust to the museum-going public in contemporary Germany. This thesis argues that commercialism and the prospects of commercial v
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Middernacht, Sari. "From collective curating to sharing curatorial authority: Collaborative practices as strategies of democratisation in exhibition making in Lubumbashi, Democratic Republic of Congo." Thesis, 2018. https://hdl.handle.net/10539/26559.

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Research Report Masters in Heritage Studies<br>Many museums in Africa, such as the National Museum of Lubumbashi, are complex spaces with layers of burdened histories of colonisation and post-independence nation building, of contested objects and displays. This research traces two community-based art and heritage projects conducted in Lubumbashi, Democratic Republic of Congo, and explores how a sharing of curatorial authority can function as a strategy that democratises museum practice. The study will explore how mediation between public, researchers, curators and community participants engag
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Books on the topic "Curatorial strategies"

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L'Abate, Alberto, and Lorenzo Porta, eds. L'Europa e i conflitti armati. Firenze University Press, 2008. http://dx.doi.org/10.36253/978-88-8453-786-7.

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Frutto di uno dei più importanti convegni tenutisi in Italia sul ruolo dei Corpi civili di pace europei nella prevenzione dei conflitti armati, il volume raccoglie i contributi di alcuni tra i migliori studiosi italiani e stranieri che si sono occupati di peacekeeping e di peace building, costituendo uno strumento importante per la diffusione di questi temi nelle scuole superiori e all'Università secondo quanto previsto da un progetto ministeriale approvato. Due scritti introduttivi dei curatori, Alberto L'Abate e Lorenzo Porta, lo aggiornano agli avvenimenti più recenti e nel contempo illustr
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African Photographic Archive: Research and Curatorial Strategies. Taylor & Francis Group, 2015.

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The African Photographic Archive: Research and Curatorial Strategies. Bloomsbury Academic, 2016.

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Naming a Practice: Curatorial Strategies for the Future. Banff Centre Press, 1996.

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White, Peter, 1949 Aug. 12- and Banff Centre for the Arts., eds. Naming a practice: Curatorial strategies for the future. Banff Centre Press, 1996.

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Jules-Rosette, Bennetta, and J. R. Osborn. African Art Reframed. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043277.001.0001.

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This book approaches the reframing of African art through dialogues with collectors, curators, and artists on three continents. It explores museum exhibitions, storerooms, artists’ studios, and venues for community outreach. Part One (Chapters 1-3) addresses the history of ethnographic and art museums, ranging from curiosity cabinets to modernist edifices and virtual websites. Museums are considered in terms of five transformational nodes, which contrast ways in which museums are organized and reach out to their audiences. Diverse groups of artists interact with museums at each node. Part Two
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Book chapters on the topic "Curatorial strategies"

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Malzacher, Florian. "How can one employ strategies from theater as curatorial strategies?" In Curating Dramaturgies. Routledge, 2021. http://dx.doi.org/10.4324/9781003042785-13.

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Cadaval, Olivia. "Imagining a Collaborative Curatorial Relationship: A Reordering of Authority over Representation." In Curatorial Conversations. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496805980.003.0010.

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This chapter addresses the involvement of participants in the curatorial process as it plays out—often in contestation among participants, program staff, and partner entities—in Festival–framed time and space. Drawing from programs involving Latino, Latin American, American Indian, and Caribbean communities, it explores different strategies and degrees of curatorial collaborations with the featured cultural groups and the effectiveness of the “re-ordering of power relationships,” if only during the Festival. The author reflects on the complexities that challenge collaboration in cultural production and argues for a shift from a strictly performance framework to a more discursive practice that seeks to engage the featured communities and participants as central players in curatorial decision making.
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Zeitlin, Steve. "How Folklorists Changed the World: The Smithsonian Folklife Festival as a Catalyst for Change." In Curatorial Conversations. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496805980.003.0016.

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This chapter traces the influence of certain programmatic priorities, philosophies, and strategies on shaping the vision of the Smithsonian Folklife Festival and the ways in which certain Festival notions of art and cultural equity have since suffused American culture. Tracing the impact of the Festival from a personal vantage point, the author explores the Festival's history, suggesting the under-acknowledged contribution of folklorists to American culture and the way the Festival has become a model for other nationally acclaimed organizations such as City Lore in New York City and Story Corps, events such as the annual Cowboy Poetry Gathering in Elko, Nevada, and for media productions such as the Moth Radio Hour.
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Hunt, Marjorie. "The Poetics and Power of Presentation at the Smithsonian Folklife Festival." In Curatorial Conversations. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496805980.003.0011.

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In this chapter, the author draws upon three programs to describe the critical relationship between modes of presentation and interpretation of cultural heritage and traditional knowledge and skills at the Smithsonian Folklife Festival. It addresses the complex interplay of many factors and strategies for presenting the skills and experience of participants at the Festival. This includes, among other processes of research and planning, the selection of participants, overall site design, visual presentation and display, the physical set-up of tent interiors, the use of interpretive materials, such as signs, photo murals, banners, and props, and the role of presenters/moderators. The programs described include Masters of the Building Arts, Carriers of Culture: Living Native Basket Traditions, and One World, Many Voices: Endangered Languages and Cultural Heritage.
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Hickey, Gloria. "Curatorial strategies that remain true to the craft object." In Exhibiting Craft and Design. Routledge, 2017. http://dx.doi.org/10.4324/9781315182353-5.

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"Craft Hard Die Free: Radical Curatorial Strategies for Craftivism." In Extra/Ordinary. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822392873-015.

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Jules-Rosette, Bennetta, and J. R. Osborn. "Museums Speak Out." In African Art Reframed. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043277.003.0005.

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Based on extensive interviews with museum curators and directors, this chapter curates the curators. It identifies curatorial networks, strategies, and practices that shape the narratives used in assembling collections and mounting exhibitions. Curatorial networks demonstrate the relevance of a nodal theory of museums and the ways in which curators are able to organize exhibitions. Interviews include representatives of the Smithsonian National Museum of African Art, the Fowler Museum, the Musée de l’Homme, the Schomburg Center for Research in Black Culture, the African Museum Casa del Rey Moro, the Africa and Beyond Gallery, and independent curators. Museum narratives and curatorial networks coalesce to generate the bureaucratic and art worlds shared by museums at all nodes. The interviews demonstrate outcomes from dynamic museum environments in transition.
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Jules-Rosette, Bennetta, and J. R. Osborn. "Remixing the Results and Looking Ahead." In African Art Reframed. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043277.003.0008.

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Theories and ideologies of museum culture are collaboratively created by directors, curators, artists, and their audiences. This book examines these processes through the frameworks of five transformational nodes and dialogues with artists and curators. Based on these materials, nine guideposts emerge: creating transparency in curatorial networks; expanding south-north connections and exchanges; (3) reworking and blending artistic genre classifications; marketing and permeability of artworks; connecting museums with other multicultural institutions and frameworks; linking public and private collections; reconfiguring archives and databases; developing new museum learning strategies; and opening up new avenues of connectivity with diverse communities. By adopting and following these strategies, museums may display new works, showcase changing curatorial directions, and attract broader museum audiences.
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Shelton, Anthony Alan. "Baroque modernity, critique and Indigenous epistemologies in museum representations of the Andes and Amazonia." In Curatopia. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526118196.003.0009.

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This chapter examines the politics, aspirations and antagonisms that grew out of the curatorial process underlying the exhibition, The Potosi Principle (Madrid 2010, Berlin 2011, La Paz 2011), and compare them to other Andean exhibitions including Bolivian Worlds (London 1987) and Luminescence: The Silver of Peru (Vancouver 2012, Toronto 2013). The chapter questions the category of contemporary art and examines its avowed potential as radical critique and the claims that it and other exhibition strategies have marginalised indigenous epistemologies and obfuscated historical agency. The implications of this conflict between western and indigenous curators and curatorial collectives on the right of self-expression and the freedom of interpretation and critique; associated ethical conundrums and the viability of epistemological pluralism will be clearly articulated as problems requiring serious museological attention.
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Salkowitz, Rob. "Splashing Ink on Museum Walls: How Comic Art Is Conquering Galleries, Museums, and Public Spaces." In Comic Art in Museums. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0036.

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In this 2018 essay, Forbes cultural journalist Rob Salkowitz explains how exhibitions contribute to the valuation of an artist’s work while recognizing exhibitions of comic art as landmarks on comics’ long march to cultural legitimacy. Salkowitz begins his essay by sharing his memories of the 2016 Seattle Art Museum exhibition Graphic Masters, which was centered around The Bible Illuminated: R. Crumb’s Book of Genesis. This chapter discusses the evolution of exhibitions since 1990, how exhibitions have enhanced the valuation of original comics drawings, challenges for commercial galleries and dealers, and curatorial strategies.
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Conference papers on the topic "Curatorial strategies"

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Gingrich, Oliver Mag, Claudia Fasola-Moore, and Eike Falk Anderson. "Once Upon a Time in Animation: Curatorial strategies for an exhibition on the National Centre for Computer Animation." In Proceedings of EVA London 2020. BCS Learning and Development Ltd, 2020. http://dx.doi.org/10.14236/ewic/eva2020.52.

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