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Letteratura scientifica selezionata sul tema "Curatories"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 2 febbraio 2022

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Articoli di riviste sul tema "Curatories"

Kamińska, Renata. "ORGANIZACJA ‘CURA URBIS’ W RZYMIE W POCZĄTKACH PRYNCYPATU". Zeszyty Prawnicze 13, n. 1 (14 dicembre 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, n. 1 (17 febbraio 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, n. 3 (25 giugno 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, n. 2 (1 dicembre 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, n. 4 (30 ottobre 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, n. 3 (1 settembre 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 e Christiana Galanopoulou. "The eMobiLArt Project from a Curatorial Perspective". Leonardo 43, n. 5 (ottobre 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, n. 3 (2 settembre 2017): 435–53. http://dx.doi.org/10.1080/20507828.2017.1371947.

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Lu, Xiaoxuan. "Imaged and Imagined Infrastructure". Transfers 9, n. 1 (1 giugno 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, n. 9 (18 settembre 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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Più fonti

Tesi sul tema "Curatories"

Leitzke, Maria Cristina Padilha. "Curadorias compartilhadas : um estudo sobre as exposições realizadas no Museu da Universidade Federal do Rio Grande do Sul (2002 a 2009)". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/40485.

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Esta dissertação tem como foco de estudo as curadorias compartilhadas no Museu da UFRGS, no período de 2002 a 2009. Trata-se de um estudo de caso, constituído pela análise das curadorias referentes a quatro exposições: Artistas Professores (2002), Total Presença: Gravura (2005), Homem-Natureza: cultura, biodiversidade e sustentabilidade (2006) e Em casa, no universo (2009). Para a realização do estudo proposto foram utilizados três tipos de fontes: escritas, orais e visuais (imagens, constituídas por fotografias). O referencial teórico abarca autores da história da educação e da história cultural, da historicidade e dinâmica dos museus, bem como estudos recentes sobre curadorias em museus. O objeto de pesquisa constituiu-se, inicialmente, numa primeira aproximação com os catálogos e demais materiais impressos, disponíveis no arquivo do museu, resultado das exposições realizadas. Logo, em seguida, foram feitas as entrevistas com os agentes internos e externos ao museu, envolvidos na concepção, produção e realização destas exposições. Por meio da análise destas narrativas buscou-se identificar as experiências dos professores-pesquisadores com curadorias, bem como evidenciar alguns elementos que corroboram ou negam a assertiva de que as curadorias no museu da UFRGS podem ser consideradas curadorias compartilhadas. Além disso, procurou-se saber acerca da atuação dos professores-pesquisadores da Universidade como curadores de exposições, bem como sobre as representações destes docentes, com relação ao museu da UFRGS. Os resultados apontam no sentido de que as exposições realizadas no Museu da UFRGS podem ser caracterizadas como casos de curadorias compartilhadas, principalmente, com relação às curadorias das exposições de ciências.
This dissertation focuses on the study of the shared curatories at the UFRGS Museum, from 2002 to 2009. This is a case study, constituted by the analysis of the curatories related to four exhibitions: Artists Professors (2002), Total Presence: Picture (2005), Human-Nature: culture, biodiversity and sustainability (2006) and At home, in the universe (2009). To conduct the proposed study it was used three types of sources of information: written, oral and visual (images, consisting of photographs). The theoretical framework includes authors of the history of education and cultural history, history and dynamics of museums, as well as recent studies of museum curators. The object of research was, initially, an approach to the catalogs and other printed materials available in the archives of the museum, produced on the exhibitions. After, interviews were conducted, with internal and external agents, which were involved in the design, production and implementation of these exposures. By analyzing these narratives it was searched the experience of research-professors as curators. Furthermore, by analyzing these stories it was possible to evidence some elements that corroborate or deny the assertion that the curatories of the UFRGS Museum can be considered as shared. In addition, this work tried to know about the performance of research-professors of the University as curators of exhibitions. The results point that the curatories at the UFRGS Museum can be characterized as shared, especially those related to science exhibitions.

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

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

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Yee, Poyan. "Healing through curatorial dialogue". Thesis, Northumbria University, 2011. http://nrl.northumbria.ac.uk/1123/.

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Allain, Bonilla Marie-Laure. "Visualiser la théorie : usages des théories postcoloniales dans les pratiques curatoriales de l’art contemporain depuis les années 1980". Thesis, Rennes 2, 2014. http://www.theses.fr/2014REN20028.

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Cette thèse se veut une réflexion sur l’articulation entre les théories postcoloniales et les pratiques curatoriales de l’art contemporain ; elle cherche en effet à souligner les perméabilités et la relation dialogique qui se sont instaurées entre celles-Ci. Il ne s’agit pas d’expliquer les théories postcoloniales appliquées aux pratiques curatoriales et d’en donner une sorte de mode d’emploi, mais plutôt de les visualiser. Par visualiser nous n’entendons pas illustrer, ou fournir une translittération de la théorie, mais bien donner à voir les différents développements et incarnations de celle-Ci. Les contextes britannique et américain des années 1980 et du début des années 1990 font l’objet de la première partie de la thèse dans la mesure où tous deux sont à la fois les lieux d’émergence des théories postcoloniales et des sociétés clés de l’histoire coloniale. La deuxième partie s’attache à la seconde moitié des années 1990 et au début des années 2000, un moment où les théories postcoloniales deviennent des outils indissociables de l’analyse de la globalisation. Enfin, la troisième partie propose d’envisager un monde post-Occidental au XXIe siècle, post-Occidental dans le sens où l’éclatement de la notion de centre/périphérie nécessite des déplacements et des réajustements épistémologiques dont les expositions d’art contemporain sont d’actifs vecteurs, particulièrement celles cherchant à articuler un propos postcolonial
This thesis is a reflection on the relationship between postcolonial theory and curatorial practices in contemporary art, with an emphasis on the permeabilities and dialogic relationship that has developed between them. It does not seek to explain postcolonial theory as applied to curatorial practices or to provide a so-Called user manual, but rather to visualize them. By “visualize” we do not mean to illustrate or present a transliteration of the theory, butinstead to note various developments and embodiments thereof. The United Kingdom and America during the 1980s and early 1990s are the subject of the first part of the thesis to the extent that they are both places of emergence of postcolonial theory and also key societies in the context of colonial history. The second part focuses on the second half of the 1990s and early 2000s, a time when postcolonial theory as a tool become inseparable from the analysis of globalization. Finally, the third part proposes to consider a post-Western world in the 21stcentury, post-Western in the sense that the dissolution of the concept of center/periphery requires certain shifts and epistemological adjustments for which contemporary art exhibitions are active vectors, particularly those seeking to articulate a postcolonial discourse

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Molina, Posadas Carlos AndreÌs. "Curatorial practice in Mexico, (1822-1964)". Thesis, University of Essex, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.446019.

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Baglietto, Francesca. "Curating across interfaces : an account of a (hybrid) expanding exhibition". Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12029/.

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The practical aspect of this research has been the curation of a series of hybrid exhibitionary spaces. These exhibitionary forms have resulted from creating a series of interfaces under the umbrella of 'that’s contemporary',a non-profit organization that I co-founded and have run since 2011. In this thesis, the practice of curating is taken to be the operation of 'inscribing' a program of actions (i.e.a script) into the design of interfaces; 'prescribing' these actions to the users of these interfaces; and 'describing' how users actually use the interface. My research argues that interfaces, by being used, unfold hybrid exhibitionary spaces. They are hybrid because the interfaces through which the exhibition is used and produced fluctuate between digital and physical space, in a hybrid zone. In this sense, physical exhibitions are curated along with the organization of their multiple replications on digital and non-digital interfaces. My concept of hybrid exhibitionary space is shaped by theory (Lefebvre, 1991; Massey, 2005; Kennedy, 2012)that understands space to be produced by social relations meaning that users create the exhibitionary spaces they inhabit. From this point of view, the exhibition does not pre-exist its users, rather it takes place in an unremitting process of use, opening up the possibility for its multiple descriptions to be made. This idea of use as a form of exhibition production is applied to the concept of 'network curation', which refers to a type of collective curatorial process that is engendered by users, reiterating and re-contextualizing the exhibition along digital networks. Inspired by Actor Network Theory, the written component of this research has been interlaced together into an exhibitionary description. This method acts to document while, at the same time, it re-performs the‘curating’ and ‘curatorial’ processes that originally gave form to these exhibitionary interfaces. In this way, the thesis turns into an interface that mediates between its exhibited objects – my practice – and its users – the readers – while, simultaneously 'enacting' the research along this process of mediation.

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Isaac, Jaimie Lyn. "Decolonizing curatorial practice : acknowledging Indigenous curatorial praxis, mapping its agency, recognizing it's aesthetic within contemporary Canadian art". Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/58182.

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For decades, Indigenous art, artifacts and objects have had a contested history within galleries and museums. This is because Indigenous material culture was collected, interpreted, displayed and described through a Western colonial ideology, without Indigenous consent, intellectual or cultural contributions. The history represented in galleries and museums was deficient and perpetuated harmful myths and systemic racism. In order to substantiate change and demand for Indigenous leadership, it is necessary to understand the reality of the Indian as a dehumanized population, whose voice and knowledge in historical narratives has been systematically undermined, undergrounded and dismissed. More than 150 years of ‘education’ in the residential school systems, and forcible separation from Indigenous cultural traditions in ceremony, life ways and language, has affected more than seven generations. In the late 60s and early 70s Indigenous peoples en masse united to confront the disconnection from their cultural knowledge and language, and became a time of cultural resurgence and Indigenous renaissance. Indigenous Curatorial Praxis developed to assert, advance and frame Indigenous art as contemporary and relevant. By providing an historical context for its development, my main thesis seeks to identify and acknowledge the agency and aesthetic of Indigenous curatorial praxis and methodology. Indigenous curatorial practice is a stream of contemporary curatorial practice and this research seeks to recognize Indigenous methods embodied within the larger practice. This thesis inquires what it means to decolonize and Indigenize museum, gallery, and exhibition spaces and demonstrate how Indigenous curatorial contributions have affected the Canadian artistic landscape. The contextual genesis of my philosophy is rooted in a framework of Indigenous knowledge, decolonizing methods and my Anishnaabe-Indigenous familial, curatorial and artistic knowledge.
Graduate Studies, College of (Okanagan)
Graduate

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Silver, Sean R. "The curatorial imagination in England, 1660-1752". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1720866751&sid=20&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Urrutia, Barriga Camila. "Estética relacional : la acción curatorial como obra". Tesis, Universidad de Chile, 2014. http://repositorio.uchile.cl/handle/2250/139343.

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Magíster en artes, con mención en teoría e historia del arte
Tesis no autorizada por su autora para ser publicada a texto completo en repositorio institucional.
Este documento revisa el texto Estética Relacional de Nicolas Bourriaud, considerado como una curaduría: una selección y exposición de obras, examinando, por una parte, las afirmaciones que propone esa selección para referirse al arte contemporáneo; y, por otra parte, la posibilidad de la acción curatorial para ser definida como obra. Este ejercicio es realizado por medio de la relación de los textos de Bourriaud: Estética Relacional, Formas de vida. El arte moderno y la invención de sí, y Postproducción; así como por medio del diálogo de esos textos con distintos autores que sirven como referencia y contrapunto para realizar este ejercicio. Desde esta relación de textos, se propone a la acción del dandy en convergencia con la acción

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Haidet, Roza. "Socially Engaged Art: Managing Nontraditional Curatorial Practice". University of Akron / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=akron1374491330.

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Più fonti

Libri sul tema "Curatories"

Museo de Arte de Puerto Rico (2000- ), a cura di. Interconexiones: Lecturas curatoriales de la Colección del MAPR = Interconnections : curatorial readings of the MAPR collection. San Juan: Museo de Arte de Puerto Rico, 2012.

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Brown, Susan L. Young curators. A cura di Council for Visual Education. Toronto, Ont: Council for Visual Education, 1989.

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Menotti, Gabriel. Movie Circuits. NL Amsterdam: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789089648907.

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Movie Circuits: Curatorial Approaches to Cinema Technology attempts to grasp media in the making. It delves into the underbelly of cinema in order to explore how images circulate and apparatus crystallize across different material formations. The indisciplinary experience of curators and projectionists provides a means to suspend traditional film studies and engage with the medium as it happens, as a continuing, self-differing mess. From contemporary art exhibitions to pirate screenings, research and practice come together in a vibrant form of media scholarship, built from the angle of cinema’s functionaries — a call to reinvent the medium from within.

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Moura, Rodrigo. Politicas institucionais, prácticas curatoriais. Belo Horizonte: Museu de Arte da Pampulha, 2004.

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Cultures of the curatorial. Berlin: Sternberg Press, 2012.

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Carroll, Alison. Independent curators: A guide for the employment of independent curators. Fitzroy, Vic: Art Museums Association of Australia, 1991.

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Hohn, Timothy C. Curatorial practices for botanical gardens. Lanham, MD: AltaMira Press, 2007.

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Hohn, Timothy C. Curatorial practices for botanical gardens. Lanham, MD: AltaMira Press, 2008.

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Map Curators Group Conference (1986 Wien). Map Curators Group conference. Bremen: LIBER, 1990.

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Schlesinger, Philip, Melanie Seife e Ealasaid Munro. Curators of Cultural Enterprise. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137478887.

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Capitoli di libri sul tema "Curatories"

Magazzini, Tina. "In the Eye of the Beholder? Minority Representation and the Politics of Culture". In IMISCOE Research Series, 275–91. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67608-7_15.

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AbstractThe debate(s) on the relationship between art, activism and academia is as old as knowledge-production itself. In keeping with this volume’s focus on reflexivity and representation, this contribution asks what role filmmakers, curators and artists play as knowledge producers and as knowledge-brokers when working on politicized issues such migration and/or ethnicity. This chapter looks at three European experiences that sit on the seam of curatorial practice, testimony and activism and address the (visual) narratives of minority groups. Exploring the emergence of these initiatives and drawing upon interviews with the curators and artists behind them, this chapter takes stock of ongoing debates on the complex relationship between political and artistic representation on minority groups. Adopting Mitchell’s (1995) approach to representation that sees it as always being ‘of someone, by someone, to someone’, particular attention is given to the implications of what kind of stories are told, for whom they are told, and of who does the storytelling.

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Bertrand, Stéphanie. "Curatorial mediation". In Contemporary Curating, Artistic Reference and Public Reception, 91–111. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003082682-5.

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Jolles, Adam. "Artists into Curators". In A Companion to Dada and Surrealism, 211–24. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118476215.ch12.

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Jules-Rosette, Bennetta, e J. R. Osborn. "Museums Speak Out". In African Art Reframed, 123–83. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043277.003.0005.

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Based on extensive interviews with museum curators and directors, this chapter curates the curators. It identifies curatorial networks, strategies, and practices that shape the narratives used in assembling collections and mounting exhibitions. Curatorial networks demonstrate the relevance of a nodal theory of museums and the ways in which curators are able to organize exhibitions. Interviews include representatives of the Smithsonian National Museum of African Art, the Fowler Museum, the Musée de l’Homme, the Schomburg Center for Research in Black Culture, the African Museum Casa del Rey Moro, the Africa and Beyond Gallery, and independent curators. Museum narratives and curatorial networks coalesce to generate the bureaucratic and art worlds shared by museums at all nodes. The interviews demonstrate outcomes from dynamic museum environments in transition.

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Jules-Rosette, Bennetta, e J. R. Osborn. "Remixing the Results and Looking Ahead". In African Art Reframed, 266–78. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043277.003.0008.

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Theories and ideologies of museum culture are collaboratively created by directors, curators, artists, and their audiences. This book examines these processes through the frameworks of five transformational nodes and dialogues with artists and curators. Based on these materials, nine guideposts emerge: creating transparency in curatorial networks; expanding south-north connections and exchanges; (3) reworking and blending artistic genre classifications; marketing and permeability of artworks; connecting museums with other multicultural institutions and frameworks; linking public and private collections; reconfiguring archives and databases; developing new museum learning strategies; and opening up new avenues of connectivity with diverse communities. By adopting and following these strategies, museums may display new works, showcase changing curatorial directions, and attract broader museum audiences.

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Baron, Robert. "Prologue". In Curatorial Conversations. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496805980.003.0002.

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The prologue reflects on the relationship of conventional museum curatorial practice to Smithsonian Folklife Festival curatorial practices. In particular, it examines the multiple mediations in which Festival curators are involved and the process of “presenting” artists and participants to the public. It raises questions about the perils of objectification of artists within these “living exhibitions” and argues for dialogic approaches to developing Festival programs that incorporate participatory or community curation.

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Schorch, Philipp, Conal McCarthy e Eveline Dürr. "Introduction: conceptualising Curatopia". In Curatopia, 1–16. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526118196.003.0001.

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As museums continue to change in the twenty-first century, the ‘figure of the curator’ is in flux. This introduction explores how curating globally is being (re)conceptualised through engagement with Indigenous people in the Pacific, and collections and exhibitions in Euro-American institutions. It provides an overview of this book, which brings together curators, scholars, and critics from a range of fields in international institutions to engage in debates about curatorial histories, theories, and practices. The introduction ponders the past, present and future of museums and curatorship. It identifies, in the plurality of approaches evident in this collection, an emerging curatorial ‘heterotopia’, a critical but ethical approach to curating. This new vision of curatorial practice, Curatopia, facilitates the reinvention of museums with ethnographic collections from the colonial period, and offers pathways for future development, research and experimentation.

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Gravano, Viviana, e Giulia Grechi. "An Exhibition about Italian Identities: Beyond Borders". In Transcultural Italies, 207–24. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789622553.003.0009.

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The chapter presents Beyond Borders: Transnational Italy/Oltre i Confini: Italia Transnazionale, the exhibition that was the result of a close collaboration between TML’s research team and Routes Agency: Cura of Contemporary Arts, a contemporary art curatorial collective founded by art historian Gravano and visual anthropologist Grechi. Assuming the form of a usable ‘object’, the exhibition sought to represent not only the research material but also the innovative methodology proposed by the TML team. The essay aims to explain the theoretical framework informing the organization of the exhibition from a curatorial perspective and presents the process of sharing and negotiation in which the curators and the TML researchers were engaged.

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Dewhurst, C. Kurt, e Marsha Macdowell. "Preface". In Curatorial Conversations. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496805980.003.0001.

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The preface positions the Smithsonian Folklife Festival curatorial process in context of the changing roles of museums and curators in relation to society as well as to issues of authority and the production of knowledge. The authors suggest the similarities and differences between museum exhibitions and festival programs; and how the Smithsonian Folklife Festival’s approaches to interpretation and presentation have provided models that have been adapted into more traditional museum settings and other places.

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Shelton, Anthony Alan. "Baroque modernity, critique and Indigenous epistemologies in museum representations of the Andes and Amazonia". In Curatopia, 124–42. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526118196.003.0009.

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This chapter examines the politics, aspirations and antagonisms that grew out of the curatorial process underlying the exhibition, The Potosi Principle (Madrid 2010, Berlin 2011, La Paz 2011), and compare them to other Andean exhibitions including Bolivian Worlds (London 1987) and Luminescence: The Silver of Peru (Vancouver 2012, Toronto 2013). The chapter questions the category of contemporary art and examines its avowed potential as radical critique and the claims that it and other exhibition strategies have marginalised indigenous epistemologies and obfuscated historical agency. The implications of this conflict between western and indigenous curators and curatorial collectives on the right of self-expression and the freedom of interpretation and critique; associated ethical conundrums and the viability of epistemological pluralism will be clearly articulated as problems requiring serious museological attention.

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Atti di convegni sul tema "Curatories"

Gulotta, Rebecca, Alex Sciuto, Aisling Kelliher e Jodi Forlizzi. "Curatorial Agents". In CHI '15: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2702123.2702297.

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Smith, Alyssa, Astrid Vidalon Shields, Caren Oberg, Claire Nicholas, Denise Nicole Green, Heather Striebel, Katie Knowles, Kelly L. Reddy Best, Linda Welters e Marilyn Revell Delong. "Elevating and Evaluating Curatorial Scholarship". In Pivoting for the Pandemic. Iowa State University Digital Press, 2020. http://dx.doi.org/10.31274/itaa.12213.

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Lyons, Nina, e Matt Smith. "Augmented Reality - A curatorial tool". In The 5th International Conference on Virtual and Augmented Reality in Education. CAL-TEK srl, 2019. http://dx.doi.org/10.46354/i3m.2019.vare.002.

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"The flood of information in today’s society makes it difficult for undergraduate students to source quality support materials to help in their study, as many are illequipped to distinguish the good from the bad. Because of this, the lecturer’s role as curator of learning resources has developed and become a vital aspect of their job. It is no longer sufficient simply to provide reading lists. As more and more content of various levels of quality has become available online, some lecturers have taken it upon themselves to create personal websites with module content, a reading or resource list and extra materials to support their students’ learning. This paper looks at a simple approach where using AR can successfully bring online and published materials together to create a unique curatorial combination that takes support learning to a new space."

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Dinsmore, Sydney. "Holography - Application To Art: Curatorial Observations". In OE LASE'87 and EO Imaging Symp (January 1987, Los Angeles), a cura di Tung H. Jeong. SPIE, 1987. http://dx.doi.org/10.1117/12.939799.

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Lehmann, Janette, Carlos Castillo, Mounia Lalmas e Ethan Zuckerman. "Finding news curators in twitter". In the 22nd International Conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2487788.2488068.

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Jiang, Angela H., Zachary S. Bischof e Fabian E. Bustamante. "A cliq of content curators". In SIGCOMM'14: ACM SIGCOMM 2014 Conference. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2619239.2631470.

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Prado, Mark, e David Kantymir. "PERMANENT®Conference Mail, WWW Curatorial Site". In Sixth ASCE Specialty Conference and Exposition on Engineering, Construction, and Operations in Space. Reston, VA: American Society of Civil Engineers, 1998. http://dx.doi.org/10.1061/40339(206)84.

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Moran, Stuart, Nadia Pantidi, Tom Rodden, Alan Chamberlain, Chloe Griffiths, Davide Zilli, Geoff Merrett e Alex Rogers. "Listening to the forest and its curators". In CHI '14: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2556288.2557022.

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Bowen, Jonathan P., Tula Giannini, Gareth Polmeer, Rachel Falconer, Arthur I. Miller e Stuart A. Dunn. "Computational Culture and A.I.: Challenging human identity and curatorial practice". In Proceedings of EVA London 2020. BCS Learning and Development Ltd, 2020. http://dx.doi.org/10.14236/ewic/eva2020.1.

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Vamanu, Iulian. "North-American aboriginal curators' understandings of aboriginal cultural heritage". In the 2011 iConference. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/1940761.1940905.

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Rapporti di organizzazioni sul tema "Curatories"

Burri, Margaret, Joshua Everett, Heidi Herr e Jessica Keyes. Library Impact Practice Brief: Freshman Fellows: Implementing and Assessing a First-Year Primary-Source Research Program. Association of Research Libraries, luglio 2021. http://dx.doi.org/10.29242/brief.jhu2021.

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This practice brief describes the assessment project undertaken by the Sheridan Libraries at Johns Hopkins University as part of the library’s participation in ARL’s Research Library Impact Framework initiative to address the question “(How) do the library’s special collections specifically support and promote teaching, learning, and research?” The research team investigated how the Freshman Fellows experience impacted the fellows’ studies and co-curricular activities at the university. Freshmen Fellows, established in 2016, is a signature opportunity to expose students to primary-source collections early in their college career by pairing four fellows with four curators on individual research projects. The program graduated its first cohort of fellows in spring 2020. The brief includes a semi-structured interview guide, program guidelines, and a primary research rubric.

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