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Journal articles on the topic 'Curatorial strategies'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

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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3

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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Popescu, Diana I. "The ‘Defamiliarising’ Aspect of Art about the Holocaust: New Curatorial Strategies of Display." Holocaust Studies 18, no. 1 (2012): 102–18. http://dx.doi.org/10.1080/17504902.2012.11087297.

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Rodriguez, Yelaine. "Strategies for Combating Erasure and Silencing." Latin American and Latinx Visual Culture 3, no. 2 (2021): 79–88. http://dx.doi.org/10.1525/lavc.2021.3.2.79.

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Curated by Yelaine Rodriguez and edited by Tatiana Flores, this Dialogues stages a series of conversations around Afro-Latinx art through interventions by Afro-Latina cultural producers. Black Latinxs often feel excluded both from the framework of latinidad as well as from the designation “African American.” The essays address blackness in a US Latinx context, through discussion of curatorial approaches, biographical reflections, art historical inquiry, artistic projects, and museum-based activism. Recent conversations around Latinxs and Black Lives Matter reveal that in the popular imaginary,

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Bayre, Francesca. "Morton, Christopher, and Darren Newbury (eds.): The African Photographic Archive - Research and Curatorial Strategies." Anthropos 112, no. 1 (2017): 342–43. http://dx.doi.org/10.5771/0257-9774-2017-1-342.

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Fenlon, Katrina Simone. "Sustaining Digital Humanities Collections: Challenges and Community-Centred Strategies." International Journal of Digital Curation 15, no. 1 (2020): 13. http://dx.doi.org/10.2218/ijdc.v15i1.725.

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 Since the advent of digital scholarship in the humanities, decades of extensive, distributed scholarly efforts have produced a digital scholarly record that is increasingly scattered, heterogeneous, and independent of curatorial institutions. Digital scholarship produces collections with unique scholarly and cultural value—collections that serve as hubs for collaboration and communication, engage broad audiences, and support new research. Yet, lacking systematic support for digital scholarship in libraries, digital humanities collections are facing a widespread crisis of sustainability.

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JACOBSON, LISA. "Editor's Introduction." Public Historian 28, no. 2 (2006): 45–50. http://dx.doi.org/10.1525/tph.2006.28.2.45.

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In this review roundtable, the essayists offer complementary and divergent assessments of the National Museum of the American Indian's presentation strategies and its efforts to revise and shape popular understandings of Native American history and culture. They also consider the risks and benefits of strong stakeholder participation in the NMAI's curatorial decisions, raising profound questions about who holds, and should hold, the power to reconstruct the past.

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Kirshenblatt-Gimblett, Barbara. "A Theatre of History: 12 Principles." TDR/The Drama Review 59, no. 3 (2015): 49–59. http://dx.doi.org/10.1162/dram_a_00471.

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Opened in Warsaw in April 2013, POLIN Museum of the History of Polish Jews tells the story of the thousand years of continuous Jewish presence in this part of the world, a history largely overshadowed, understandably, by the Holocaust. While the exhibition avoids a master narrative, it enacts a theatre of history founded on 12 metahistorical principles outlining POLIN’s curatorial, pedagogic, and performative storytelling strategies.

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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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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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Kenigsberg, E. Ya. "Curatorial strategies in contemporary fine arts (on the example of the project «High Hopes Museum»)." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 64, no. 3 (2019): 346–53. http://dx.doi.org/10.29235/2524-2369-2019-64-3-346-353.

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Buckley, Liam. "The African photographic archive: Research and curatorial strategies edited by Christopher Morton and Darren Newbury." Visual Studies 32, no. 2 (2017): 195–97. http://dx.doi.org/10.1080/1472586x.2017.1320067.

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Heckner, Elke. "Fascism and its Afterlife in Architecture." Museum and Society 14, no. 3 (2017): 363–81. http://dx.doi.org/10.29311/mas.v14i3.651.

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The recent opening to the public of large-scale National Socialist installations in Germany – like the Denkort Bunker “Valentin” in Bremen-Farge – has prompted questions on how to address the legacy of Nazi advances in science and technology in musealized spaces, and, more generally, how to curate inconvenient military history. To tackle these questions, the issue of affect is crucial. Curation must be able to confront articulations of right-wing extremist “reactionary” affect in and beyond the museum setting. This has been a challenge for Dresden’s newly redesigned Militärhistorisches Museum

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Jelesijević, Nenad. "The concreteness of the truth of artivism: Steirischer Herbst, Florian Malzacher et al., Truth Is Concrete – A Handbook for Artistic Strategies in Real Politics." Maska 30, no. 175 (2015): 138–45. http://dx.doi.org/10.1386/maska.30.175-176.138_5.

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“A Marathon Camp for Artistic Strategies in Politics and Political Strategies”, which was part of the 2012 Steirischer Herbst festival, is a symptomatic example of subverting the horizontal modes of self-organisation to the benefit of the cultural industry of the existent or an aestheticisation of resistance. Despite its superfluous curatorial packaging, Truth Is Concrete (Sternberg Press, 2014), a collection of contributions by the project participants, can be a source of potential new reflections on artivism and (its) “nonviolence”. The key question that the event and the publication raise i

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Karimi, Pamela. "Of Cultural Diplomacy, Culture Games, and Curation of Non-Western Art." ARTMargins 3, no. 3 (2014): 98–110. http://dx.doi.org/10.1162/artm_r_00096.

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This essay is a review of the Iran Modern Exhibition, which took place at the Asia Society in New York from September 6, 2013, to January 5, 2014. The show was the first major international retrospective of Iranian art of the 1960s and 1970s. While shedding light on the featured art from a period that is lesser known outside of Iran, this essay mainly elaborates on the curatorial strategies at work in the exhibit.

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Akcan, Esra. "Is a Global History of Architecture Displayable? A Historiographical Perspective on the 14th Venice Architecture Biennale and Louvre Abu Dhabi." ARTMargins 4, no. 1 (2015): 79–101. http://dx.doi.org/10.1162/artm_r_00105.

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This article comparatively discusses the 14th International Architecture Biennale of Venice, directed by Rem Koolhaas, and the pilot exhibit and architectural design of Louvre Abu Dhabi undertaken by Jean Nouvel, in the context of recent big art events and world museums. Curatorial, historiographical, and installation strategies in these venues are differentiated in order to think through the question of displaying a global history of architecture. I make a distinction between the curatorial practices carried out in the Fundamentals and Absorbing Modernity sections of Venice's Central and Nati

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Smits, Alice. "Othering Time: Strategies of attunement to non-human temporalities." APRIA Journal 3, no. 2 (2021): 75–83. http://dx.doi.org/10.37198/apria.03.02.a10.

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In her article 'Othering Time: Strategies of Attunement to Non-Human Temporalities,' art curator and researcher in the field of art and ecology Alice Smits delves into artistic practices that tune into deep time and non-human time zones. Starting from the viewpoint that our current ecological crisis is in need of developing an ethics of care towards generations far into the future and life forms extremely different to ours, she discusses art and aesthetic knowledge as particularly well suited for experimentation with new stories and sensibilities about our place in time. Making use of geologis

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Vedel, Karen. "Theatricalization in the Cultural History Museum." Nordic Theatre Studies 31, no. 2 (2020): 23–36. http://dx.doi.org/10.7146/nts.v31i2.120118.

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The article examines theatricalization and visitor participation as curatorial strategies in new museological practices. It asks: How are theatrical and participatory elements put into use and what is their effect on the visitor experience in terms of meaning-making. Based on a first-person phenomenological description, the analysis centres on the exhibition An Army of Concrete in The Tirpitz Museum on the west coast of Denmark. Looking at the processes of theatricality in the exhibition, it is argued that meaning-making ultimately relies on visitor participation and is produced self-reflexive

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Løvlie, Anders Sundnes, Karin Ryding, Jocelyn Spence, et al. "Playing Games with Tito." Journal on Computing and Cultural Heritage 14, no. 2 (2021): 1–26. http://dx.doi.org/10.1145/3446620.

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This article brings together two distinct, but related perspectives on playful museum experiences: Critical play and hybrid design. The article explores the challenges involved in combining these two perspectives, through the design of two hybrid museum experiences that aimed to facilitate critical play with/in the collections of the Museum of Yugoslavia and the highly contested heritage they represent. Based on reflections from the design process as well as feedback from test users, we describe a series of challenges: Challenging the norms of visitor behaviour, challenging the role of the art

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Harkness, Geoff, and Peggy Levitt. "Professional Dissonance." Sociology of Development 3, no. 3 (2017): 232–51. http://dx.doi.org/10.1525/sod.2017.3.3.232.

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This article examines the working lives of creative-class professionals in the Global South using two case studies: university educators and museum professionals employed in Qatar. A small country on the Arabian Peninsula, Qatar is an ideal site for the study of professionals in a developing yet authoritarian nation. We argue that the cultural attributes of the professorial and curatorial communities, including creativity, autonomy, and intellectual freedom, are in conflict with the authoritarian political context, giving rise to professional dissonance. Professional dissonance occurs when the

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Tali, Margaret. "The Son’s Coming Home: Narrative Economies of Joseph Beuys’ Art." Culture Unbound 10, no. 2 (2018): 281–300. http://dx.doi.org/10.3384/cu.2000.1525.20180815.

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This article deals with the narration of Joseph Beuys’ art in Germany. My focus is set on the ways that particular curatorial strategies have been applied to Beuys’ artistic practice in the Hamburger Bahnhof in Berlin. I contextualize the readings in the interests of different stakeholders involved in the rescaling of the artist’s heritage. Beuys’ framing in the two recent retrospective exhibitions in Berlin and Düsseldorf and the regular display of his works in the Hamburger Bahnhof leads me to argue that private collectors have become closely involved in the process of curating in novel ways

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Davidson, Jane Chin. "Restaging Feminism: The Activist Retrospective." Journal of Curatorial Studies 8, no. 2 (2019): 162–82. http://dx.doi.org/10.1386/jcs_00002_1.

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Abstract In the context of retrospective exhibitions, feminist restaging signifies a performative 'redoing' in a circuit of repetition that re-envisions, reinvents and remakes the discriminatory absences in history. In this article, the activism of restaging will be explored through the curatorial methods employed to memorialize Ana Mendieta's artistic legacy. Feminist strategies differ from the norms of canonical practices used in traditional career retrospectives, such as those for Mendieta's husband, Carl Andre. In another example of restaging, the 2011 re-presentation of Judy Chicago's wor

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Barranha, Helena, João Vieira Caldas, and Rita Nobre Neto da Silva. "Translating heritage into museums: two architectural strategies inside Lisbon Castle." Journal of Cultural Heritage Management and Sustainable Development 7, no. 1 (2017): 33–47. http://dx.doi.org/10.1108/jchmsd-05-2016-0033.

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Purpose The purpose of this paper is to discuss the role of contemporary architecture in heritage protection, reinterpretation and reuse, an issue that has become increasingly relevant due to the recognition of architectural heritage as a key factor for cultural and economic development. Design/methodology/approach In Portugal, as elsewhere in Europe, cultural heritage management has often been associated with the creation of new museum spaces, namely, within national monuments and archaeological sites. Drawing on restoration theories and international charters, this paper analyses and compare

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Wilke, Sabine. "Endstation Meer oder Die unendliche Fahrt zum Müllstrudel." Rhetorik 38, no. 1 (2019): 137–52. http://dx.doi.org/10.1515/rhetorik-2019-0011.

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Abstract Images of the North Pacific Vortex have been circulating all over the world since the 1980 s and are meanwhile a central part of the project of ecological historiography. They visualize what cannot be seen with the naked eye, i. e., the enormous pollution of our oceans that can take on the form of bizarre shapes that can have horrendous consequences for the non-human environment. On the example of two art projects and an exhibit about waste production this essay examines artistic strategies of critique of acceleration processes. All three examples focus on the image of the ocean as th

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Canelas, Patrícia, and Mike Raco. "The work that place does: The London Landed Estates and a curatorial approach to estate management." European Urban and Regional Studies 28, no. 3 (2021): 263–81. http://dx.doi.org/10.1177/0969776421999764.

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Writings on urban development and planning in Europe have been dominated by a combination of technical studies of the real estate sector and more structural political economy approaches on land expropriation and financialisation. In this paper we draw on the example of the London Landed Estates, to critically assess how land-owning real estate companies, that we call city-owners, perform their roles and what models and knowledge sources they draw upon in managing and carefully curating urban spaces and places. Data sources include interviews with estate managers, others involved in, or affecte

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Hudon, Véronique. "Le détournement du commissariat : l’exposition chorégraphique chez Boris Charmatz et Xavier Le Roy." RACAR : Revue d'art canadienne 43, no. 2 (2018): 57–72. http://dx.doi.org/10.7202/1054383ar.

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Today, it is not unusual to see performing artists present exhibitions in galleries or museums. The French choreographers Boris Charmatz and Xavier Le Roy each revisit the format of the exhibition as a performative site, rather than a space devoted to artistic objects. At the border between curating and artistic practice, their work questions the museum space as a place for the production of knowledge. Through living practice, choreographers redefine the work of art’s modes of production, mediation, and reception, while also reformulating aesthetic experience through the coexistence of bodies,

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Xianmei, Luo. "One biennale, two systems: On the Shenzhen‐Hong Kong Bi-City Biennale of Urbanism\Architecture." Journal of Contemporary Chinese Art 7, no. 1 (2020): 73–102. http://dx.doi.org/10.1386/jcca_00020_1.

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The Bi-City Biennale of Urbanism\Architecture (UABB) has been hampered in achieving a ‘co-construction’ between Shenzhen and Hong Kong since its debut. The twin exhibitions have distinct organizational structures, funding resources and curatorial strategies. The reasons for the frictions or disconnections within UABB can be roughly divided into three levels: the organizational level, the intercity governmental level and the societal level. Both organizers have made efforts to integrate the two into a real bi-city biennale, but the exhibition has tended to diverge and develop more towards two i

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Nori, Gauri. "The rise of experimental film festivals in India." Studies in South Asian Film & Media 10, no. 1 (2019): 7–22. http://dx.doi.org/10.1386/safm_00002_1.

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Abstract This article will examine the emergence of independent platforms to screen radical and alternative cinema in India by tracing two case-studies: Experimenta, a biannual festival curated by Shai Heredia, and The New Medium section curated by Shaina Anand. While Experimenta has remained largely independent, relying on the support of established artists and cultural organizations, The New Medium section has managed to secure its place within the programme of the MAMI Mumbai Film Festival (MFF). Although their approach may differ, both curators are committed to promoting a culture of movin

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Walby, Kevin, and Haley Pauls. "Representations of Surveillance and Perceptual Technologies at Military Museums." Surveillance & Society 19, no. 1 (2021): 37–52. http://dx.doi.org/10.24908/ss.v19i1.14068.

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Drawing from fieldwork at military museums across Manitoba, Canada, we explore the objects and narratives used to curate museum displays featuring what Bousquet (2018) calls “military perception.” Using Bousquet’s categories of military perception to organize our analysis, we examine how these museums position scopes, sonars, camouflage, and other devices meant to create visibility or invisibility as aesthetic objects rather than as instruments enabling state violence. With a focus on curatorial strategies and the arrangement of objects at these museums, we explore how surveillance and camoufl

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Sternfeld, Nora. "Assembling and disassembling." MODOS: Revista de História da Arte 5, no. 2 (2021): 133–41. http://dx.doi.org/10.20396/modos.v5i2.8665519.

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“Towards the end of the first decade of the twenty-first century”, as Anthony Gardner and Charles Green propose, “biennials became self-conscious.” Increasingly they are reflecting on themselves as "hegemonic machines" (Oliver Marchart), and for this very reason also understand themselves as places of intervention. We have to come to terms with the fact that biennials today are both: "Brands and Sites of Resistance", "Spaces of Capital and Hope" (Panos Kompatsiaris).The article follows withdrawals and protests as well as interventions and strategies of appropriation of biennials in the second

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Hjorth Christensen, Line. "Dansk på stedet - skitse til en omgivelsesforankret læringsmetode." Dansk Universitetspædagogisk Tidsskrift 7, no. 13 (2012): 27–40. http://dx.doi.org/10.7146/dut.v7i13.6129.

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Ud fra en konkret undervisnings- og udstillingscase på Københavns Universitet Amager undersøger artiklen, hvordan det nære fysiske miljø på uddannelsesstedet kan indgå som ressource i en konkret danskfaglig læringssammenhæng. Der tages afsæt i det forhold, at de fysiske omgivelser er et undervurderet aspekt i læringssammenhænge og i en forståelse af, at kunsten bevæger sig frit på tværs af forskellige medier, hvor litteratur og sprog altid er i dialog med andre bevidst formgivne udtryk af ikke-sproglig karakter. Der redegøres for den konkrete case, for kursets og den specifikke øvelses faglige

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Gilchrist, Stephen, and Henry Skerritt. "Awakening Objects and Indigenizing the Museum: Stephen Gilchrist in Conversation with Henry F. Skerritt." Contemporaneity: Historical Presence in Visual Culture 5 (November 30, 2016): 108–21. http://dx.doi.org/10.5195/contemp.2016.183.

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Curated by Stephen Gilchrist, Everywhen: The Eternal Present in Indigenous Art from Australia was held at Harvard Art Museums from February 5, 2016–September 18, 2016. The exhibition was a survey of contemporary Indigenous art from Australia, exploring the ways in which time is embedded within Indigenous artistic, social, historical, and philosophical life. The exhibition included more than seventy works drawn from public and private collections in Australia and the United States, and featured many works that have never been seen outside Australia. Everywhen is Gilchrist’s second major exhibit

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Noy, Chaim. "Voices on display: Handwriting, paper, and authenticity, from museums to social network sites." Convergence: The International Journal of Research into New Media Technologies 26, no. 5-6 (2019): 1315–32. http://dx.doi.org/10.1177/1354856519880141.

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The study examines the communicative functions that handwriting (mode) and paper (medium) have come to serve in increasingly digital and intermedial environments. The study begins in museums, where handwritten documents are profusely on display nowadays, and where the display affordances and communicative functions of handwriting are productively explored. Three curatorial display strategies are outlined. These are arranged chronologically, and range from traditional displays, where paper documents are presented inside glass cases, through artistic installations, where documents and handwritin

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SCHNEIDER, JÜRG. "CHRISTOPHER MORTON and DARREN NEWBURY , editors, The African Photographic Archive: research and curatorial strategies. London: Bloomsbury (hb £65 – 978 1 47259 124 1). 2015, 245 pp." Africa 86, no. 2 (2016): 371–73. http://dx.doi.org/10.1017/s0001972016000231.

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Mercado, Monica L. "The Politics of Women's History: Collecting for the Centennial of Women's Suffrage in New York State." Collections: A Journal for Museum and Archives Professionals 14, no. 3 (2018): 331–50. http://dx.doi.org/10.1177/155019061801400309.

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The 2017 New York State suffrage centennial provided momentum for institutions to review and reimagine their women's history collections. Five of the many museum exhibitions timed to this anniversary— Votes for Women: Celebrating New York's Suffrage Centennial at the New York State Museum, Woman's Protest: Two Sides of the Fight for Suffrage in New York at the Cayuga Museum, Beyond Suffrage: A Century of New York Women in Politics at the Museum of the City of New York, and Hotbed and Collecting the Women's Marches at the New-York Historical Society—offer an opportunity to examine curatorial st

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Reilly, Bernard F. "Toward a rational and sustainable division of labor for the preservation of knowledge." Library Management 37, no. 4/5 (2016): 166–69. http://dx.doi.org/10.1108/lm-05-2016-0040.

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Purpose – The purpose of this paper is to propose a rational and sustainable division of labor between national libraries and the information industry for the preservation of knowledge. Design/methodology/approach – The paper is a based on remarks presented by the author at the 25th Anniversary Conference of the National Repository Library of Finland, held in Kuopio on May 21-22, 2015. Findings – Crafting a useful new role for libraries will require imagination and curatorial rigor, capabilities that the industry has found in the past, and can summon once again. No templates for such a role ex

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Angelucci, Malcolm, and Stefano Kerschbamer. "One Monument, One Town, Two Ideologies: The Monument to the Victory of Bolzano-Bozen." Public History Review 24 (January 4, 2018): 54–75. http://dx.doi.org/10.5130/phrj.v24i0.5776.

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This article offers a critical reading of the first major attempt to publicly come to terms with the presence of an invasive and ideologically charged fascist monument in the border town of Bolzano-Bozen, in South Tyrol, Italy. The ‘Monument to Victory’, commissioned by Mussolini and inaugurated in 1928 to celebrate the annexation of the province after WWI, is the symbolic centre of a discourse that divides the town along an ethno-linguistic axis. To this day, this creates ongoing political tensions, fostering extreme views in both Italian and German speaking communities. To neutralise this sy

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Gorman, Rachel. "Disablement In and For Itself: Toward a ‘Global’ Idea of Disability." Somatechnics 6, no. 2 (2016): 249–61. http://dx.doi.org/10.3366/soma.2016.0194.

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The turn to ‘the global’ in disability studies has been necessitated by broader developments in social theory, including a thoroughgoing critique of the liberal rights-bearing subject; and sharp internal contradictions within disability movements. This essay raises questions about the ways in which disability subjectivity itself functions ideologically as a cover for other social relations, by functioning as a social-embodied characteristic that provides the self-determining ‘I’ with self-determination through accessing rights. I propose disablement as a theoretical/methodological tool that ex

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Chao, Jenifer, and Panos Kompatsiaris. "Curating climate change: The Taipei Biennial as an environmental problem solver." Journal of Contemporary Chinese Art 7, no. 1 (2020): 7–26. http://dx.doi.org/10.1386/jcca_00017_1.

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This article analyses the curatorial practices behind the 2018 Taipei Biennial by considering its ethos of public engagement that fostered a merging of artistic means and civic aims. Entitled ‘Post-Nature: A Museum as an Ecosystem’, the biennial confronted the timely theme of environmental precarity and positioned itself as a substantive stakeholder in the public debate on climate change. It mobilized the biennial platform to marshal artists, community groups, conservationists and others to spur on new thinking and, perhaps more importantly, to create solutions. By adopting this new role as an

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Kirshenblatt-Gimblett, Barbara. "A Theatre of History. Twelve Principles." Judaic-Slavic Journal, no. 1 (3) (2020): 177–88. http://dx.doi.org/10.31168/2658-3364.2020.1.09.

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Opened in Warsaw in April 2013, POLIN Museum of the History of Polish Jews tells the story of the thousand years of continuous Jewish presence in this part of the world, a history largely overshadowed, understandably, by the Holocaust. While the exhibition avoids a master narrative, it enacts a theatre of history founded on 12 metahistorical principles. This essay sets out the curatorial, pedagogic, and performative storytelling strategies at work in this multimedia narrative exhibition. They include the following. The most important period in the history of Polish Jews is 1,000 years. Jews ar

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Eshun, Ekow. "A Liquid Africa." liquid blackness 5, no. 1 (2021): 75–88. http://dx.doi.org/10.1215/26923874-8932595.

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Abstract This essay coins the term liquid Africa to describe the continent as protean and fluid, a convergence point of diverse ideas and influences, shaped by the tidal wash of local, regional, and international cultural influences. The notion of a liquid Africa opposes long-standing representations of the continent in the Western imaginary as a homogenous landmass sunk in a perpetual past, suspended outside progress, and the antithesis of modernity. Through study of Samuel Bazawule's short film Diasporadical Trilogía (2017) and a number of other recent films primarily by creative practitione

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Williams, Jessica. "The African Photographic Archive: Research and Curatorial Strategies edited by Christopher Morton and Darren Newbury London: Bloomsbury, 2015. 245 pages, 72 b/w ill., bibliography, index. $112, cloth." African Arts 49, no. 1 (2016): 95–96. http://dx.doi.org/10.1162/afar_r_00279.

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