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Journal articles on the topic 'Curatories'
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1
Kamińska, Renata. "ORGANIZACJA ‘CURA URBIS’ W RZYMIE W POCZĄTKACH PRYNCYPATU." Zeszyty Prawnicze 13, no. 1 (December 14, 2016): 73. http://dx.doi.org/10.21697/zp.2013.13.1.03.
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THE ORGANISATION OF THE ‘CURA URBIS’ IN ROME AT THE BEGINNING OF THE PRINCIPATESummaryWhen Augustus assumed power changes started to be implemented in the Roman public administration. Some of them affected the administration of the city. The cura urbis, which under the Republic had been one of the duties of the aedils and censors, now passed to the powers of the curators, who were liable for most of the business relating to the proper functioning of the City, its order and security. The curatores worked as a collegial body; they were appointed by the princeps and were accountable to him. The most important and characteristic curatorial colleges at the beginning of the principate were the curatores aquarum, the curatores riparum et alvei Tiberis, the curatores aedium sacrarum et operum locorumque publicorum and the curatores viarum.
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Schuppert, Mirjami. "Learning to Say No, the Ethics of Artist-Curator Relationships." Philosophies 6, no. 1 (February 17, 2021): 16. http://dx.doi.org/10.3390/philosophies6010016.
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The article suggests that the perceived ethics of curatorial practice are not often in balance with operative ethics, and analyses the problem by focusing on the curator-artist relationship. Contemporary art curators constantly find themselves in a situation where they have to choose between the needs of the few and the many. Counter-hegemony theory is used to examine the curator’s duty toward the many, while the reading of Jacque Derrida’s concept of responsibility toward an individual and Alain Badiou’s ‘singularity of situations’ suggest that the few are to be considered first. In this article, I suggests that curators could learn to say no in order to be able to balance these different demands.
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Bizeleva, Anna A. "The Role of the Curator in the Professional Self-Determination of First-Year Students of the University in the Humanitarian Areas of Training." Economic Strategies 144, no. 3 (June 25, 2021): 130–33. http://dx.doi.org/10.33917/es-3.177.2021.130-133.
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The article reveals the role of university curators in the professional self-determination of first-year students in humanitarian areas of training. The concept of “professional self determination” is being clarified. Possible directions of professional orientation work with students are indicated. The relevance of the topic of obtaining a humanitarian education in society is substantiated, the reasons for the emergence in society of the need for professions of a social and humanitarian orientation are indicated. The works of research scientists studying the areas of professional self-determination are analyzed. The dynamics of personal changes that occur with firstyear students as a result of their professional orientation are analyzed. The meaning and tasks of curatorial work are presented, as well as problems that university curators may face today: possible mistakes of the curator in working with first-year students, namely lack of experience, lack of conscientiousness, incompetence. The main directions of the curator's work with first-year students are revealed. The directions of activity of the university curators in conjunction with the psychological and pedagogical service are proposed. The conditions for the successful implementation of the curator's activities with students in the direction of professional self-determination, such as planning, organization, control, motivation, are noted.
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Reidla, Jana. "Curators With and Without Collections : A Comparative Study of Changes in the Curator’s Work at National Museums in Finland and in the Baltic States." Journal of Ethnology and Folkloristics 12, no. 2 (December 1, 2018): 115–38. http://dx.doi.org/10.2478/jef-2018-0014.
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Abstract Traditionally, the curator’s work has been in close connection with the main functions of the museum - preservation, research, and communication. The changes that have occurred at museums over the past few decades have also influenced the profession of curator. Specialisation has taken place inside the museum, and so the curator’s functions have also changed. This article focuses on the curator’s field of work at national museums in Finland and in the Baltic states. The analysis is mainly based on interviews conducted with curators and other museum professionals at the Estonian National Museum, the Estonian History Museum, the National History Museum of Latvia, the National Museum of Lithuania, and the National Museum of Finland. Emanating from the PRC model provided by the Reinwardt Academy as well as the global changes induced by the new museology, the focus is on the curator’s connection with museum collections. The analysis shows that the curator’s role is not similar in all the museums under discussion; there are regional differences in structure, curatorial duties, and priorities. While at some museums the curator is regarded as a collection keeper who can also do some research, at others they are rather researchers and have only infrequent contact with collections.
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Reidla, Jana. "Who Is Leading the Project? A Comparative Study of Exhibition Production Practices at National Museums in Finland and the Baltic States." Museum and Society 18, no. 4 (October 30, 2020): 368–85. http://dx.doi.org/10.29311/mas.v18i4.3456.
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This paper presents research into exhibition-production practices at five national museums of four Baltic Sea region countries. The focus is the changes wrought by the expansion of exhibition teams, and how researchers in the curatorial role perceive their position, especially in relation to designers and project leaders. The analysis of semi-structured interviews with museum professionals showed exhibition production at museums comprise two models: A) curator-driven, and B) manager-driven. In Model A, the curator’s knowledge of museum collections is dominant. The curator creates the concept, and subsequently leads the exhibition project. The curator is the decision maker. In Model B, the field of communication is dominant. Managers are in charge of the design concept and fulfilling the exhibition. Managers are the decision makers. Curators feel their credibility as experts suffers and their competencies are underexploited, as they no longer have either authorship or leadership responsibilities.
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Vella, Raphael. "Curating as a dialogue-based strategy in art education." International Journal of Education Through Art 14, no. 3 (September 1, 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 proposes four curatorial processes that could positively expand the remit of art education. These processes are understood as integral aspects of art-making and focus on the development of a pedagogy of dialogue, creating dialogues between different artworks and objects, dialogues between curatorial positions, dialogues between works of art and various publics, and finally, facilitating the etymological notion of ‘care’ within the art class.
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Bureaud, Annick, Nina Czegledy, and Christiana Galanopoulou. "The eMobiLArt Project from a Curatorial Perspective." Leonardo 43, no. 5 (October 2010): 478–79. http://dx.doi.org/10.1162/leon_a_00041.
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The three curators of the eMobiLArt project developed collaboration within the curatorial group and with other people involved including participating artists and organizers. This article is focused on how the various tasks evolved during the project process. A reflection on the outcomes (artworks and exhibitions) and the role of curators in such a collaborative experimental project is also included.
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Krasny, Elke. "Suzanne Lacy’s International Dinner Party in Feminist Curatorial Thought: A Curator’s Talk." Architecture and Culture 5, no. 3 (September 2, 2017): 435–53. http://dx.doi.org/10.1080/20507828.2017.1371947.
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Lu, Xiaoxuan. "Imaged and Imagined Infrastructure." Transfers 9, no. 1 (June 1, 2019): 103–7. http://dx.doi.org/10.3167/trans.2019.090109.
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Infrastructure Imagination: Hong Kong City Futures, 1972–1988 City Gallery, Central, Hong Kong, 24 March 2018 to 16 May 2018 Lead Curators: Cecilia Chu, Dorothy Tang Curatorial Team: Maxime Decaudin, Sben Korsh, Calvin Liang, Christina Lo, Lillian Tam, Olive Wong https://infrastructureimagination.splashthat.com
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Yeo, Caroline, Laurie Hare-Duke, Stefan Rennick-Egglestone, Simon Bradstreet, Felicity Callard, Ada Hui, Joy Llewellyn-Beardsley, et al. "The VOICES Typology of Curatorial Decisions in Narrative Collections of the Lived Experiences of Mental Health Service Use, Recovery, or Madness: Qualitative Study." JMIR Mental Health 7, no. 9 (September 18, 2020): e16290. http://dx.doi.org/10.2196/16290.
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Background Collections of lived experience narratives are increasingly used in health research and medical practice. However, there is limited research with respect to the decision-making processes involved in curating narrative collections and the work that curators do as they build and publish collections. Objective This study aims to develop a typology of curatorial decisions involved in curating narrative collections presenting lived experiences of mental health service use, recovery, or madness and to document approaches selected by curators in relation to identified curatorial decisions. Methods A preliminary typology was developed by synthesizing the results of a systematic review with insights gained through an iterative consultation with an experienced curator of multiple recovery narrative collections. The preliminary typology informed the topic guide for semistructured interviews with a maximum variation sample of 30 curators from 7 different countries. All participants had the experience of curating narrative collections of the lived experiences of mental health service use, recovery, or madness. A multidisciplinary team conducted thematic analysis through constant comparison. Results The final typology identified 6 themes, collectively referred to as VOICES, which stands for values and motivations, organization, inclusion and exclusion, control and collaboration, ethics and legal, and safety and well-being. A total of 26 subthemes related to curation decisions were identified. Conclusions The VOICES typology identifies the key decisions to consider when curating narrative collections about the lived experiences of mental health service use, recovery, or madness. It might be used as a theoretical basis for a good practice resource to support curators in their efforts to balance the challenges and sometimes conflicting imperatives involved in collecting, organizing, and sharing narratives. Future research might seek to document the use of such a tool by curators and hence examine how best to use VOICES to support decision making.
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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 (February 3, 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 (February 6, 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 factors influencing curatorial perceptions of authenticity; and how (or, if) HHMs help visitors negotiating the inauthenticity of replicas and period objects displayed onsite. While most studies have examined constructions of authenticity at tourism sites and in terms of their impact on consumers’ behavior, this work aims to shed light on how museum professionals conceive of authenticity within the under-researched context of HHMs, by discussing the outcomes of interviews with curators at the Robert Burns Birthplace Museum and Cottage (Alloway), Broughton House (Kirkcudbright), and Ellisland Farm (Auldgirth).
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Schefer, Raquel, and Catarina Boieiro. "Entrevista a Nataša Petrešin-Bachelez, curadora interdependente." Aniki: Revista Portuguesa da Imagem em Movimento 8, no. 1 (January 23, 2021): 273–89. http://dx.doi.org/10.14591/aniki.v8n1.753.
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Em junho de 2020, em pleno contexto pandémico, entrevistámos por videoconferência a curadora independente e interdependente Nataša Petrešin-Bachelez. A entrevista debruça-se sobre a atividade curatorial de Petrešin-Bachelez e as questões que a atravessam, abordando problemas como as práticas curatoriais situadas, o feminismo transnacional, os desafios de uma curadoria sustentável, a não-neutralidade do white cube e a necessidade de descolonizar as instituições museológicas.
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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 different backgrounds in order to create newly produced artworks, as part of a group exhibition. The course itself was intended to be a reaction and constructive critique towards the lack of cooperation between art faculties, low rate of practical activities during studies and seeing curatorial studies solely as a world of ideas.
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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 frameworks that make it possible to problematize the basic points associated with the model of curatorial education in the form of schools of contemporary art. The first framework is associated with the theory of critical pedagogy and its development in the works of Henry Giroux, primarily in relation to the issue of the relationship between cultural and educational practices. The second framework is designated by Boris Groys’s concept of the new. It allows problematizing the position of schools of contemporary art in relation to previous educational strategies in the artistic space. In the context of two conceptual frameworks, curatorial education is seen as a form of cultural production.
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Green, Christopher T. "Anishinaabe Artists, of the Great Lakes? Problematizing the Exhibition of Place in Native American Art." ARTMargins 4, no. 2 (June 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. Rather, as the art on display makes clear despite the curatorial context, the relationship to place is dynamic and changing. Other recent exhibitions of indigenous art show that these curatorial decisions were not unavoidable and that Native American art can be exhibited to show that its relationship to place has adapted and changed while still being maintained.
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Shtromberg, Elena, and C. Ondine Chavoya. "Lessons from Pacific Standard Time: LA/LA." Latin American and Latinx Visual Culture 1, no. 2 (April 2019): 74–93. http://dx.doi.org/10.1525/lavc.2019.120006.
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This interview features seven academic curators involved in organizing exhibitions and catalogues associated with the recent Pacific Standard Time: LA/LA initiative, which took place in fall 2017 throughout Southern California. Roberto Conduru, Tatiana Flores, Andrea Giunta, Colin Gunckel, Bill Kelley Jr., Aleca Le Blanc, and Chon Noriega describe their approaches to research and exhibitions on Latin American and Latinx art and recall how they became involved in PST: LA/LA. Several explain how teaching informed the exhibitions they organized and their approaches to the catalogue and related texts. Their responses provide insight into the role of curatorial work in art historical research and in forging new directions in scholarship, drawing attention to the intellectual labor involved in curatorial projects. Curators’ scholarly contributions as exhibition catalogue authors and editors exert lasting impacts in the fields of Latin American and Latinx art. RESUMEN Una entrevista con siete conservadores académicos que participaron en la organización de exposiciones y catálogos asociados con la reciente iniciativa Pacific Standard Time: LA/LA (PST: LA/LA), que se realizó en el otoño de 2017 a lo largo del sur de California. Los conservadores Roberto Conduru, Tatiana Flores, Andrea Giunta, Colin Gunckel, Bill Kelley Jr., Aleca Le Blanc y Chon Noriega hablan de su aproximación a la investigación y las exposiciones sobre el arte latinoamericano y latinx y de cómo llegaron a participar en PST: LA/LA. Varios conservadores explican cómo el trabajo docente dio forma a las exposiciones que organizaron e influyó en sus aproximaciones al catálogo y los textos relacionados. Las respuestas dan información sobre el papel del trabajo de los conservadores en la investigación de la historia del arte y en la creación de nuevos caminos en materia académica para llamar la atención sobre el trabajo intelectual involucrado en los proyectos llevados a cabo por los conservadores. Las contribuciones académicas que hacen los conservadores en calidad de autores y editores de catálogos de exposiciones permiten anticipar un impacto duradero en los campos del arte latinoamericano y latinx. RESUMO Uma entrevista com sete curadores acadêmicos envolvidos em organizar exposições e catálogos associados à recente iniciativa Pacific Standard Time: LA/LA (PST: LA/LA), que ocorreu no outono de 2017 no sul da Califórnia. Os curadores Roberto Conduru, Tatiana Flores, Andrea Giunta, Colin Gunckel, Bill Kelley Jr., Aleca Le Blanc e Chon Noriega descrevem sua abordagem à pesquisa e a exibições sobre arte latino-americana e latinx e discutem como se envolveram no PST: LA/LA. Diversos curadores explicam como a prática do ensino informou as exposições que organizaram e influenciou suas abordagens ao catálogo e a textos relacionados. As respostas provêm uma visão sobre o papel do trabalho curatorial na pesquisa histórica da arte e no sentido de forjar novos rumos no campo acadêmico, chamando a atenção para o trabalho intelectual envolvido nos projetos curatoriais. As contribuições acadêmicas de curadores como autores e editores de catálogos de exposições sinalizam impactos duradouros para os campos da arte latino-americana e latinx.
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Phillips, Caleb D., Jonathan L. Dunnum, Robert C. Dowler, Lisa C. Bradley, Heath J. Garner, Kathryn A. MacDonald, Burton K. Lim, et al. "Curatorial guidelines and standards of the American Society of Mammalogists for collections of genetic resources." Journal of Mammalogy 100, no. 5 (July 11, 2019): 1690–94. http://dx.doi.org/10.1093/jmammal/gyz111.
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Abstract The Systematic Collections Committee of the American Society of Mammalogists advises curators and other personnel affiliated with natural history collections in matters relating to administration, curation, and accreditation of mammal specimens and their associated data. The Systematic Collections Committee also maintains a list of curatorial standards for managing a collection-accreditation program under the auspices of the American Society of Mammalogists. To date, the Systematic Collections Committee has provided guidance for the more traditional specimen collections (skin, skeletal, fluid, etc.) and specimen data management. Given the rapidly expanding role of genetic resources in biological research, the Systematic Collections Committee herein presents a series of formal guidelines and standards designed to assist collections professionals in the current best practices for curation and maintenance of collections of genetic resources, to ensure long-term integrity of the archived material, and to address personnel safety and guidelines for researchers and curatorial staff. These guidelines and standards are intended to provide constructive guidance and a mechanism of accreditation for collections that vary in scale and infrastructure. El Comité de Colecciones Sistemáticas de la Sociedad Americana de Mastozoólogos asesora a curadores y demás personal afiliado a colecciones de historia natural en asuntos relacionados a la administración, curación y acreditación de especímenes de mamíferos y su información pertinente. El Comité de Colecciones Sistemáticas mantiene también una lista de normas curatoriales para la gestión de un programa de acreditación de colecciones auspiciados por la Sociedad Americana de Mastozoólogos. A la fecha, el Comité de Colecciones Sistemáticas ha proporcionado una guía para las colecciones de muestras tradicionales (piel, esqueleto, líquido, etc.) y el manejo de datos asociados a estos especímenes. Dado el rápido crecimiento del papel que desempeñan los recursos genéticos en investigaciones biológicas, el Comité de Colecciones Sistemáticas presenta en esta publicación una serie de pautas y estándares formales diseñados para ayudar a los profesionales de colecciones científicas en las mejores prácticas actuales para la conservación y mantenimiento de colecciones de recursos genéticos, a modo de garantizar la integridad a largo plazo del material archivado, y tratar sobre la seguridad del personal y directrices para investigadores y personal curatorial. Estas pautas y estándares tienen como objetivo proporcionar una orientación constructiva y un mecanismo de acreditación para colecciones que varían en escala e infraestructura.
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Tellez Parra, Jose Manuel, and Joaquín Arteaga. "Tras la cortina, ensayo sobre el género en Hidalgo." MAGOTZI Boletín Científico de Artes del IA 7, no. 14 (July 5, 2019): 42–45. http://dx.doi.org/10.29057/ia.v7i14.3915.
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El presente texto es una reseña de lo sucedido en torno a la exposición colectiva “Tras la cortina, ensayos sobre el género en Hidalgo”, presentada en la Galería del Centro Cultural el Reloj de noviembre de 2018 a enero de 2019. La muestra fue un ejercicio Curatorial realizado por el Despacho de Servicios Curatoriales, que buscaba reflexionar sobre la comunidad LGBT en el estado de Hidalgo por medio de la creación artística y la investigación documental.
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Tyzlik Carver, Magda. "Solar System as it really is and Curating as/in Common/s." A Peer-Reviewed Journal About 2, no. 1 (June 29, 2013): 6–16. http://dx.doi.org/10.7146/aprja.v2i1.121123.
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In this proposition of curating in/as common/s I am interested in a particular relation between curating and commons. I claim that there is a link between curating and ‘commoning’, that is the activity and process that produces the commons, and that this link is based in practice. It lays in the fact that the two employ forms of organisation, a particular kind of arrangement of social and aesthetic relations, space, time, forms of behaviour, customs, and ways in which these are governed and controlled, in other words the way in which they are held in common. When we say that something is curated the understanding is that we are dealing with a collection assembled and displayed accord- ing to a curatorial vision and under curator’s direction. Regardless if we are dealing with an übercurator with total control over exhibition, or if the curator’s role is instrumental in delivering the museum’s mission, or if indeed collaborative forms of curating or co-curating are engaged in process of curatorial production, a curator can be considered an apparatus of power, a dispositif in a Foucauldian sense. A different form of organisation is in- voked, however, when we refer to commons which are understood as a self-organised community shaping, managing and utilising resources through ‘community control’.
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Waller, Laurie. "Curating actor-network theory: testing object-oriented sociology in the Science Museum." Museum and Society 14, no. 1 (June 9, 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 an object. A display of an object ‘in process’, I take the opportunity of this curatorial experiment to explore analogies drawn in ANT studies between museums and laboratories in attending to the ways that curatorial practices mediate science. I ask whether, and to what extent, ANT can account for curating as a material practice that not only participates in domesticating objects for science but also in problematizing, multiplying and redistributing relations between objects and the social.Key words: actor-network theory, sociology, science studies, curating, objects.
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Tedone, Gaia. "Forging Strategic Alliances." Journal of Science and Technology of the Arts 11, no. 2 (December 29, 2019): 41–49. http://dx.doi.org/10.7559/citarj.v11i2.662.
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Under conditions of so-called “Platform Capitalism”, software and algorithms undertake the important task of designing the interaction amongst online users and establishing criteria of relevance for content. As such, they operate as curatorial agents of platforms’ content, establishing what is there to see, know and consume. This state of affairs calls for a revision of the traditional role of the (human) curator who is confronted with an online environment characterised by the unprecedented collision of commercial, aesthetic, cultural and political interests. The question of what kind of relationship the curator shall create with the algorithm then becomes crucial: is this a relationship of antagonism, resistance or alliance? How do these two curatorial agents influence each other? In this article, I analyse a cluster of hybrid artistic and curatorial experiments (including my own curatorial work) that foregrounds online platforms as discrete modes of socio-technical assemblages that curate particular forms of connectivity amongst networks of users, data layers and technical infrastructures. By doing so, I argue for the forging of strategic alliances between human and machinic curators as a strategy to channel new forms of creativity and cooperation under conditions of “Platform Capitalism” and to operationalise human-algorithmic curation as a political and aesthetic practice within the networked culture.
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Gomes de Oliveira, Emerson Dionisio. "Coleção Dulce e João Carlos Figueiredo Ferraz: o espírito da nossa época." Visualidades 15, no. 1 (November 21, 2017): 61. http://dx.doi.org/10.5216/vis.v15i1.40883.
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O presente texto busca compreender de que forma uma coleção pode ser instituída, interpretada e divulgada dentro da cultura curatorial hodierna. Para tanto, investigamos a coleção brasileira de Dulce e João Carlos Figueiredo Ferraz, configurada dentro dos códigos da arte moderna e contemporânea. Pesquisa que nos levou às narrativas sobre sua gênese, circulação e institucionalização por meio de estratégias operadas pelos mercados de arte, pelas táticas de comunicação expositiva e pela consolidação de uma instituição gestora: Instituto Figueiredo Ferraz. Instituição que administra a visibilidade da coleção por meio de projetos curatoriais pontuais.
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Carvalho, Ananda. "Espacialização de conceitos curatoriais." Revista ARA 6, no. 6 (March 30, 2019): 115–37. http://dx.doi.org/10.11606/issn.2525-8354.v6i6p115-137.
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Este artigo dedica-se a observar os processos de criação dos curadores em relação aos espaços expositivos conhecidos como cubo branco. Observa os procedimentos curatoriais a partir do statement curatorial, considerando como a seleção e a articulação das obras materializam discussões nesses espaços. Para tanto, utiliza como exemplo as mostras que compuseram o projeto Caos e efeito, realizado no Itaú Cultural em São Paulo em 2011. Com o intuito de compreender a curadoria como a elaboração de um pensamento complexo, considera como arcabouço teórico as reflexões de Edgar Morin e Cecilia Almeida Salles.
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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 (May 22, 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 qualitative research conducted for this study is related to art history. This articleutilizes theory related to curation to discuss a number of topics, ranging from the role of the individuals responsible for the collection (i.e. curators), the systems of caring for and selecting works (curation), and the curatorial practices that have occurred until now. Elaborating on a number of archival documents related to this collection, this article examines the work of the collection's curators, from inventorization to opening the collection to the public. Over the course of 70 years, the Presidential Palace's collection has undergone various forms of curation, including acquisition, documentation, preservation, and exhibition. This research concluded that the role of the curator is very important and causes the collection to be preserved and more valuable. As such, this article suggests a special museum related to the paintings within the palace collection.
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Pulford, David. "The Library of the Barber Institute of Fine Arts at the University of Birmingham." Art Libraries Journal 35, no. 4 (2010): 24–28. http://dx.doi.org/10.1017/s0307472200016631.
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The Barber Institute of Fine Arts is acknowledged as one of the finest small art galleries in Europe. It has a richly resourced library which functions both as a curatorial library for the Barber’s curators and as part of the University of Birmingham’s network of site libraries. Students of art history thus benefit from the combined resources of a specialist art gallery library and a major university library. The Barber also houses a visual resources library, music library and coin study room.
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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 (March 29, 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 popular music in museums in a range of geographical locations. Eight concepts are discussed: dominant (and hidden) histories, projected visitor numbers, place, art and material culture, narrative, curator subjectivity, nostalgia and sound. We argue that such a framework acts as a useful tool for comparing institutional practices internationally and to more fully understand the ways in which popular music history is presented to museum visitors.
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Molina, Carlos. "Fernando Gamboa y su particular versión de México." Anales del Instituto de Investigaciones Estéticas 27, no. 87 (August 7, 2012): 117. http://dx.doi.org/10.22201/iie.18703062e.2005.87.2194.
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Este artículo explora los modos en que México, como entidad cultural, fue explicado en la forma de soluciones curatoriales para obras de arte. Dichas exposiciones eran también sumarios ilustrados de la nación y su historia. Fueron llevadas a cabo por Fernando Gamboa y Miguel Covarrubias entre 1940 y 1955 aproximadamente. El artículo es también un esfuerzo por localizar influencias teóricas y formales en la práctica curatorial mexicana. Frederick Kiesler y Gisèle Freund son propuestos como probables responsables de dicho desarrollo. El texto intenta analizar una práctica en que se intersecan narrativa histórica, práctica museográfica, gramática del espacio y preocupaciones tanto estéticas como políticas.
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Ivanova, Rosena. "Groundless, Unsanctioned, and Unviolable Beauty (Christo and Jeanne-Claude at the UniArt Gallery)." Sledva : Journal for University Culture, no. 41 (August 20, 2020): 100–103. http://dx.doi.org/10.33919/sledva.20.41.14.
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Choices that must be made when dealing with artworks defying representation challenge the curators to rethink the exhibition space and seek new ways to tell a story within it. This text is focused on the curatorial approach to an exhibition of posters from various site-specific projects by Christo and Jeanne-Claude. The text is also about the unique character of the works themselves as depicted on the posters, about the social and political background that connects Christo and the Bulgarian audience which was subtly contextualised in the NBU exhibition building.
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Linn, Olga Majcen, and Sunčica Ostoić. "Curatorial perspectives on contemporary art and science dealing with interspecies connections." Technoetic Arts 17, no. 1 (June 1, 2019): 79–94. http://dx.doi.org/10.1386/tear_00008_1.
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Abstract This article addresses a curatorial position on specific bioart projects dealing with the topic of interspecies relationships of humans and other mammals, insects and plants through three works by Slovenian authors Saša Spačal, Špela Petricˇ and Maja Smrekar. All the artworks are based on a posthumanist perspective, strongly advocating possibilities of equality in interspecies relations and coexistence, and yet also bear a potential for monstrosity. The subjects, modes and procedures of the artworks analysed are compatible with a curatorial practice able to contribute to and facilitate the development of the concepts of life and species. Representing provocative projects is a challenge not only for the artists but also for the curators who are in the position of having to find adequate production, presentation and promotion support for fringe artistic experiments that infiltrate meaningful topics. Curating that involves taking on the responsibility of endorsing risk-taking artistic practices and posthumanist ideas, dealing with ethical, legal and conceptual challenges is referred to as intense curating.
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Wang, ShiPu. "The Challenges of Displaying “Asian American”: Curatorial Perspectives and Critical Approaches." AAPI Nexus Journal: Policy, Practice, and Community 5, no. 1 (2007): 12–32. http://dx.doi.org/10.36650/nexus5.1_12-32_wang.
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This essay delineates the issues concerning AAPI art exhibitions from a curator’s perspective, particularly in response to the changing racial demographics and economics of the past decades. A discussion of practical, curatorial problems offers the reader an overview of the obstacles and reasons behind the lack of exhibitions of AAPI works in the United States. It is the author’s hope that by understanding the challenges particular to AAPI exhibitions, community leaders, and patrons will direct future financial support to appropriate museum operations, which in turn will encourage more exhibitions and research of the important artistic contribution of AAPI artists to American art.
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Gonring, Gabriel Menotti. "(O que) pode a curadoria inventar?" Galáxia (São Paulo), no. 29 (June 2015): 276–88. http://dx.doi.org/10.1590/1982-25542015119480.
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<title>Resumo:</title><p>Observando marcas da consolidação da profissão de curador nas últimas décadas, bem como a disseminação de seu modo de atuação para além do campo tradicional da arte, esse artigo busca identificar as causas que nos levam a especular sobre a emergência de uma possível linguagem curatorial, que viria a se consolidar seja por reação às transformações internas do fazer artístico, seja por influência da lógica operacional das novas mídias. Abordando diversos aspectos das práticas curatoriais, o texto pretende apontar elementos que nos permitam refletir de maneira crítica sobre a autonomia simbólica do curador.</p>
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Ehrhardt, Amelia, Jenn Goodwin, and Cathy Gordon. "Is Dearth a Little or a Lot?" Canadian Theatre Review 187 (July 1, 2021): 20–25. http://dx.doi.org/10.3138/ctr.187.007.
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In the format of an interpolated Zoom transcript, former SummerWorks Curators Amelia Ehrhardt, Jenn Goodwin, and Cathy Gordon discuss the disciplining and undisciplining of SummerWorks Performance Festival between 2015 and 2019. The authors came to SummerWorks as specific curators of the dance and live-art streams and watched the festival grow from being a theatre-focused festival known to invite other art forms to a performance festival focused on a multidisciplinary perspective. Ehrhardt, Goodwin, and Gordon discuss the festival’s transition and specific works that exemplified their curatorial lenses-Ehrhardt and Goodwin from dance and Gordon from live art. "Is Dearth a Little or a Lot?" reads conversationally with an editorial voice interrogating the transcript, checking facts, or chiming in with context like a pop-up-video-style literary device. The authors question the function and outcome of creating discipline-specific streams for artists, audiences, and the structure of the festival and discuss hopes for the future of an undisciplined festival.
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Zhussupova, Almagul, Svetlana Shmachilina-Tsibenko, Gulmira Suleimenova, Dinara Shakhmetova, and Ainagul Yermekova. "Supporting the activities of curators who do not have a basic pedagogical education at S. Seifullin Agro Technical University." E3S Web of Conferences 273 (2021): 12009. http://dx.doi.org/10.1051/e3sconf/202127312009.
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At present, the priority goal of the higher education system is the formation of a personality not only professionally competent, but also tolerant, capable of creativity, able to predict his role in a dynamic world, responsible and passionate. Actually, all these characteristics are set by the labor market for the training of qualified and competitive personnel. However, as scientific research and teaching practice show, not all students can independently achieve the necessary results due to their lack of adaptation to higher education. Therefore, we need specialists who can help them in this and show them the right direction. In this regard, there is a growing interest in the study of curatorial activity, its role and place in the higher education system. The article, within the framework of the "School of Curators" created at S. Seifulin Agro Technical University, analyzes the results of diagnostics in order to identify the pedagogical competence of curators, focuses on a number of reasons that impede their activities, as well as a number of tested areas of activity that contribute to their elimination, offers a number of measures aimed to improve the pedagogical culture of curators of student groups who do not have a basic pedagogical education.
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Ordóñez Robayo, Camilo Andrés, and Maria Sol Barón Pino. "Historiografía y curaduría: relatos visuales a partir de imágenes de archivo." Cuadernos de Música, Artes Visuales y Artes Escénicas 13, no. 2 (June 1, 2018): 147–73. http://dx.doi.org/10.11144/javeriana.mavae13-2.hycr.
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El desarrollo de propuestas curatoriales a partir de la elaboración de fondos documentales que se constituyen en archivos resulta común hoy y enlazan campos como la museografía, la curaduría y los procesos artísticos. La práctica curatorial nos ha posibilitado confrontar la elaboración del relato histórico para elaborar pesquisas que conducen a la elaboración y consolidación de fondos documentales de imágenes que redundan en lo visual y que, caracterizados en torno a un archivo, permiten establecer hipertextos de contenido que se vuelcan en la apuesta museográfica como un campo de lectura abierto para el observador. Este artículo busca presentar la articulación creativa de procesos historiográficos y postulados curatoriales alrededor de la elaboración de relatos alternativos a la historia y la historia del arte. A partir de la reflexión sobre el desarrollo de dos proyectos de investigación y curaduría histórica (Múltiples y originales: arte y cultura visual en Colombia: años 70 [2010] y Rojo y más rojo. Taller 4 Rojo: producción gráfica y acción directa [2012]) presentamos cómo hemos procurado asimilar contenidos que son arrojados por repertorios visuales, parcialmente articulados iconográfica o iconológicamente, que buscan confrontar la cultura visual a través de la relectura que implica el contexto expositivo.
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Cacciatore, Mauro. "Events: entre la práctica artística y la práctica curatorial." El Taco en la Brea 1, no. 13 (April 23, 2021): 102–14. http://dx.doi.org/10.14409/tb.v1i13.10226.
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Las colaboraciones de Merce Cunningham con artistas innovadores de todas las disciplinas han redefinido la manera de experimentar las artes visuales y del espectáculo, al proponer una gran cantidad de desvíos respecto de otras prácticas escénicas e incluso desarrollando novedosos dispositivos de presentación de su propio material. Me propongo abordar el formato denominado Event (Evento) cuyo surgimiento se encuentra ligado a una peculiar forma de presentar su trabajo fuera del espacio escénico tradicional. Abordaré los planteos sobre género y estilo realizados por Oscar Steimberg para reflexionar sobre el estatuto de este formato poniendo en paralelo la serie Beacon Events y el Park Avenue Armory Event. La primera propuesta fue realizada por Cunningham y la segunda estuvo a cargo de Robert Swinston, factor que nos permitiría abordar dos posibilidades con relación al mismo formato: sus particularidades como práctica artística y las implicancias de analizarlo como práctica curatorial. A partir de la confrontación de estos casos, desarrollaré los posibles cruces entre los aspectos curatoriales de una práctica artística (en el caso de las creaciones de Cunningham) y los aspectos artísticos de una práctica curatorial (con relación al uso de esta modalidad por parte del Merce Cunningham Trust).
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Montoya, Robert D., and Katherine Morrison. "Document and data continuity at the Glenn A. Black Laboratory of Archaeology." Journal of Documentation 75, no. 5 (September 9, 2019): 1035–55. http://dx.doi.org/10.1108/jd-12-2018-0216.
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Purpose The purpose of this paper is to examine how archaeological document collections are layered entities and, thus, consist of documents that may be in discordance with one another. Implications of this scenario for scientific study are discussed. Tensions arise between archaeological and Information and Library Science practices. Curators become primary agents in reconstructing the appropriate representational continuity of these documents. Design/methodology/approach This paper is an in-depth examination of documentation in the Glenn Black Laboratory of Archaeology. It assesses how representations between documents are maintained as part of the collection management process. A document archaeological analysis of the Angel Mounds Collection shows how discordant data between documents is reconciled. Findings The study shows how documentary institutions are central to maintaining the chain of reference necessary to maintain the veracity of scientific data. Documents are embedded within a professional network of classification control that has implications for the conceptualization of documents. The study can help scholars gain a more nuanced view of the role of documents in scientific knowledge creation. Social implications Curatorial intervention plays a central role in maintaining the veracity of scientific data. In this way, the narrative shows how social and professional scientific discourses are impacted by curatorial intervention and that this process is inextricable from how we understand “knowledge” broadly construed. Originality/value This study examines how documents are embedded within a broader collection context and further studies should acknowledge this. It shows how documents within the domain of archaeology pose specific issues of concern for document curators and scholars, especially in relation to the documentation of spatial data, which is central to this work.
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Biryukova, Marina V. "Modern and Contemporary Art in the Russian Museum Context." Muzeológia a kultúrne dedičstvo 8, no. 3 (September 2020): 63–74. http://dx.doi.org/10.46284/mkd.2020.8.3.3.
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The article considers contemporary and modern art in Russia as reflected in museum curatorial projects. The concepts of large-scale museum exhibitions are based on certain categories that correspond to following qualities: the connection with the centuries-old tradition, myth-making, ludic aspects and internationality – openness to the perception of other cultures. The article analyses exhibition projects in the beginning of the twentieth century, in which contemporary art is demonstrated in the space of tradition, the media context, the everyday context and the context of cultural myths and symbols. The problem of determination of the aesthetic value of contemporary art is stressed in the space of the museum, and represented artworks receive a bigger expressiveness in the neighborhood of works of traditional art. Exhibition curators effectively use aesthetic and formal contrasts; sometimes classical artworks themselves suggest new ways of understanding meanings, hypothetically included in contemporary art – as seen in the projects at the Hermitage, the State Russian Museum and the State Tretyakov Gallery, where curators can unite or contrast tradition and modernity.
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Barris, Roann. "Exhibiting Russia." Experiment 23, no. 1 (October 11, 2017): 142–57. http://dx.doi.org/10.1163/2211730x-12341307.
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Abstract Although we have some first-hand accounts of visits by American drama critics and theater directors to the Soviet Union in the 1920s and 1930s, with one or two exceptions we do not know much about how American visual artists gained first-hand knowledge of the works of the Russian avant-garde at this time. Tracing the surprisingly rich history of American exhibitions of Russian art in the first half of the twentieth century, this paper examines the influence of Berlin and Vienna in shaping American exhibitions and also shows how curatorial decisions often determined which artists were associated with which movements, even when these associations would later be contradicted by historical facts. Indeed, style may be said to have played a subservient role as curators strove to associate the avant-garde with spirituality or to gain public support for starving Russian artists. Nevertheless, these exhibitions did bring significant works to the attention of American artists and the American public, revealing the significance of certain artists as well as collectors and curators in shaping the American understanding of the Russian avant-garde.
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Shah, Chirag. "ContextMiner: Supporting the Mining of Contextual Information for Ephemeral Digital Video Preservation." International Journal of Digital Curation 4, no. 2 (October 15, 2009): 171–83. http://dx.doi.org/10.2218/ijdc.v4i2.106.
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Emerging information media present new challenges to the curators. While archiving objects, and building meaningful collection for long-term preservation and access, have been well-understood practice for centuaries, digital objects present new issues. In the previous article (Shah, 2009) I identified a number of these issues related to digital objects, specifically digital videos of an ephemeral nature. I argued that while preserving such objects, adding contextual information is essential. One of the interesting challenges is to identify what to collect and preserve as contextual information. For ephemeral digital videos, I proposed to harvest four kinds of relevances and five kinds of contexts. In order to implement this proposal, I presented ContextMiner, a framework and a system to support digital video curation. In this article, I will take a closer look at ContextMiner, analyzing it for its functionalities and usability. This is done by usability inspection and content analysis. For the former, we simulated two curatorial tasks, asked our users (curators) to use ContextMiner, and provide us feedback on its usability and functionalities. For the latter, we mined a collection prepared by ContextMiner for its potential usage in preservation. Finally, I have summarized the lessons learned from developing and using our system, providing implications for digital library curators interested in collecting and preserving digital objects of an ephemeral nature.
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Nylund, Niklas. "Constructing Digital Game Exhibitions: Objects, Experiences, and Context." Arts 7, no. 4 (December 18, 2018): 103. http://dx.doi.org/10.3390/arts7040103.
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A large number of exhibitions worldwide deal with digital games, but curators lack a coherent understanding of the different aspects of games that can be exhibited or a clear vocabulary for talking about them. Based on a literature review on game preservation and visitor behavior in exhibitions, the paper makes an argument for understanding digital games on display as made up of object, experience, and context aspects. The study further presents a matrix model for understanding and working with games in exhibitions. The model makes for a more nuanced understanding of the different ways digital games can be exhibited. Additionally, it clarifies the position of games in exhibitions as socioculturally constructed through inherently ideological curatorial choices.
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MacAvock, Desmond, Jane Fenlon, Brian P. Kennedy, Christiaan Vogelaar, and Noel Kissane. "Curatorial Concerns." Books Ireland, no. 120 (1988): 21. http://dx.doi.org/10.2307/20625960.
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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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Bal, Mieke. "Curatorial Acts." Journal of Curatorial Studies 1, no. 2 (June 13, 2012): 179–92. http://dx.doi.org/10.1386/jcs.1.2.179_1.
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Laws, Joanne. "Curatorial Inquiry." Afterimage 38, no. 4 (January 1, 2011): 3–4. http://dx.doi.org/10.1525/aft.2011.38.4.3.
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Blackson, Robert. "Curatorial accountability." Art & the Public Sphere 4, no. 1 (December 1, 2015): 87–88. http://dx.doi.org/10.1386/aps.4.1-2.87_7.
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Penney, David W., Nancy Rivard Shaw, William H. Peck, Suzanne W. Mitchell, J. Patrice Marandel, Alan Phipps Darr, Ellen Sharp, Davira S. Taragin, Linda Downs, and Audley Grossman. "Curatorial Reports." Bulletin of the Detroit Institute of Arts 62, no. 2 (December 1985): 10–19. http://dx.doi.org/10.1086/dia41504729.
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Kan, Michael, Nancy Rivard Shaw, William H. Peck, Suzanne W. Mitchell, J. Patrice Marandel, Alan Phipps Darr, and Ellen Sharp. "Curatorial Departments." Bulletin of the Detroit Institute of Arts 62, no. 3 (July 1986): 15–31. http://dx.doi.org/10.1086/dia41504746.
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Emmons Jr, Robert A., and James J. Brown Jr. "Curatorial Statement." Hyperrhiz: New Media Cultures, no. 13 (November 2015): 1. http://dx.doi.org/10.20415/hyp/013.i02.
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Cadaval, Olivia, Rafael Varón, and Cristina Díaz-Carrera. "Perú: Pachamama." Illapa Mana Tukukuq, no. 12 (February 20, 2019): 78–87. http://dx.doi.org/10.31381/illapa.v0i12.1921.
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El Festival de Tradiciones Populares del Smithsonian, dedicado en 2015 al Perú con el título de Perú Pachamama. Smithsonian Folklife Festival 2015, se organiza todos los años para presentar al público de la capital de los Estados Unidos las tradiciones culturales de una determinada región o país. Este artículo, escrito por los tres curadores del Festival, bosqueja el proceso curatorial, definición de los criterios de selección, identificación de los casos y la experiencia total del festival para participantes y visitantes. La muestra cultural resultante presenta la diversidad cultural del Perú, la adaptabilidad de sus comunidades al cambio y la fuerza y pervivencia de sus saberes, en un entorno de cohesión social a partir de sus prácticas culturales. El Festival exhibe una propuesta que ha contribuido al reconocimiento de su cultura de parte de los participantes y visitantes, fortalecimiento de su autoestima y la apropiación de su cultura.
Palabras clave: Smithsonian, Perú, Tradiciones culturales, Pachamama, Puente Q’eswachaca, Artesanía, Mincetur, Washington, D.C., Alameda Nacional, Proceso curatorial, Diversidad cultural
Abstract
The Smithsonian Folklife Festival is annually organized to present to visitors in the capital of the United States the cultural traditions of a region or country. In 2015, it presented a program on Peru called Perú: Pachamama. This article, written by the three Festival curators, sketches the curatorial process, definition of selection criteria, identification of case studies, and the full experience of the festival for participants and visitors. The outcomeresults in a cultural program that presents the cultural diversity of Peru, the adaptability of its communities to change, and the persistence of their knowledge in an environment of social cohesion grounded in their cultural practices. The Festival has contributed to participants and visitors recognition of their own culture, strengthening of self-esteem, and appropriation of their own culture.
Keywords: Smithsonian, Peru, Folklife, Pachamama, Q’eswachaca bridge, Crafts, Mincetur, Washington, D.C., National Mall, Curatorial process, Cultural diversity