Curatorial Practice (Art) Research Papers (original) (raw)

Der Text analysiert paradoxe Aspekte der Biennalen, die sie sowohl als künstlerisch-gesellschaftliches Medium, als Arena von Repräsentation und als Experimentierfeld für das Zusammenleben ausmachen. Vorkommnisse der 31. Biennale von São Paulo und solche auf früheren Biennalen werden hier mit einbezogen, um Parallelen aufzuzeigen und die nachwirkenden Effekte von Differenzen und Wiederholungen zu untersuchen.
Unterschiedliche Gesichtspunkte bezüglich Publikum, KunstkritikerInnen, KuratorInnen, Künstlerinnen,VermittlerInnen, Institutionen etc. werden dargelegt und einander gegenüber gestellt. Weitere Fragen nach den Bedingungen eines aktiv an der Biennale teilnehmenden Publikums ergeben sich aus diesen unterschiedlichen Blickwinkeln und werden von Begriffen Jacques Rancières untermauert.

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- Education, Curatorial Practice (Art), Biennials
- by Rigolo Pietro
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- Contemporary Art, Modern Art, Curatorial Practice (Art), Theosophy

A critical, comparative analysis of the exhibition project Utopia Station, mounted by Hans-Ulrich Obrist, Molly Nesbit, and Rirkrit Tiravanija at the 2003 Venice Biennale, against Hardt and Negri's 2000 treatise, Empire. This essay was written in 2006 and originally published online in the journal PART (no. 12, 2007), which is now defunct as far as I can tell. I wrote this piece in my first year of grad school, but it has been cited by a number of scholars so I share it here in case it may be of further use to others.

- by Natilee Harren
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- Globalization, Political Theory, Contemporary Art, Utopian Studies
- by Elliott Jenkins
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- Eastern European Studies, Romanian History, Contemporary Art, Romani Studies
- by Claudia Mark
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- Portraits, Renaissance Art, Scenography, Curatorial Practice (Art)

Recent decades have witnessed concerns over representation, inclusion, and social justice move from the margins to the centre of museum practice. While a growing number of institutions seek to reflect the diversity of their communities in exhibition-making, gaps remain in understanding applied approaches and practices. This book presents the inclusion of new voices and perspectives into the museum via “inclusive curating,” a facilitated process empowering a wide demographic of people to become curators. Grounded in a case study, this book offers guidance in putting inclusive curating into action alongside a range of practical resources and key debates. Curating is often considered an exclusive job for a privileged few. But, by breaking it down using methods demonstrated throughout this book, not only does curating become more usable for more people, it also contributes to understanding the process and practices by which our cultural spaces can become democratized.

- by Jade French
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- Participatory Action Research, Museum Studies, Action Research, Disability Studies

Walter Hopps entered the art world during one of the most historic sociopolitical periods in America: President Truman, without the approval of Congress, committed American troops to battle; the Vietnam War was prolonged; Senator Joseph McCarthy began his communist witch hunt; the abstract expressionist movement was in full swing; President Truman ordered the construction of hydrogen bomb; Truman signed a Peace Treaty with Japan, which officially ended WWII; Joseph Stalin died; the Iron curtain went up; segregation was ruled illegal in the U.S., Disneyland opened, Abstract Expressionism faded, Pop-art became huge, civil rights activist, Rosa Parks refused to give up her seat on a Montgomery, Alabama bus and Water Hopps painted the art world with broad strokes--from Los Angeles to Washington and onward to Houston, Texas.
This paper is about Hopps, the artist-curator, whose contributions indispensably elevated the appreciation of modern art in America. With insightful commentary by his widow, Caroline Huber, my objective is to shed light on the legendary Hopps who redefined the way the art world examined art and embraced his genius.

- by Gabriella Arrigoni and +3
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- Curatorial Practice (Art), Prototyping, Maker Culture

This BA thesis defines and differentiates the concepts “feminist artist” and “woman artist” and in this, offers a more comprehensive examination of Francesca Woodman and her oeuvre by resolving whether she was a feminist artist or an... more

- by María Peguero Fontcuberta
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- Gender Studies, Art History, Women's Studies, Contemporary Art

This PhD thesis engenders new approaches to the understanding, appreciation, and experience of modern and contemporary ceramic art. It focusses on two recent outputs. The initial, Scorched Earth: 100 Years of Southern African Potteries (2016), a scholarly publication, and the latter, Post-colonialism? (2016/2017), a socially-engaged international exhibition, held at the Benyamini Contemporary Ceramics Centre in Tel Aviv, Israel. The moral philosophy ubuntu was proposed as a component of self-reflexive methodology for research and curatorial projects. The term cryrator was advanced as constituting an approach to curatorial praxis in conflict zones. These concepts make an original contribution to existing methodologies and research that historicise, de-westernise, and decolonise knowledge.

- by Wendy A Gers (PhD)
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- Art History, Peace and Conflict Studies, Contemporary Art, Identity (Culture)

Performance at Tate explores the history of performance art at Tate from the 1960s to 2016. Arising from a two-year AHRC-funded research project, this online publication offers a new appraisal of the place of performance art and performativity in the museum through essays and case studies on individual artworks and events. It also publishes for the first time audio, films and videos, photographs, museum documents and reviews drawn from Tate’s Archive.
**Link to full publication: http://www.tate.org.uk/research/publications/performance-at-tate

- by Jonah Westerman
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- Art History, Museum Studies, Performance Studies, Contemporary Art

Dalla fine del XX secolo, i tentativi di rileggere le collezioni museali sono stati declinati in alcuni casi attraverso narrazioni non lineari che non rispettano le tradizionali categorie della storia dell'arte. L'articolo intende indagare le cause di questa tendenza globale dal punto di vista culturale, sociopolitico e teorico. Queste pratiche si sono avvicinate alle collezioni museali come ad una forma di archivio e sono state sviluppate negli ultimi trent'anni in particolare da diverse istituzioni dedicate all'arte contemporanea, rimodellando gli allestimenti e il loro ruolo istituzionale. Attraverso l'analisi di tre casi studio, il Centre Pompidou di Parigi con la mostra Modernités plurielles (2013-2015), il Van Abbemuseum di Eindhoven con The Making of Modern Art (2017-2021) e il Museo Sztuki di Łódź con Atlas of Modernity (2014-oggi), l'articolo analizza la necessità istituzionale dei musei contemporanei di rileggere e riscrivere la storia della "modernità" e delle loro collezioni nel XXI secolo attraverso l'uso di narrazioni dialettiche. Il rapporto tra l'istituzione, le collezioni e la loro narrazione sarà analizzato come carattere distintivo dell'identità e della missione del museo.

- by Alice Labor
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- Museum Studies, Contemporary Art, Curating, Curatorial Studies and Practice

The questioning of traditional classifications and their implicit hierarchies in museum displays currently leads to what Sharon Macdonald called the “re-centering of the object". Our case studies show that mixing at the level of objects or materials has indeed the effect of leveling out or “flattening” hierarchies that are inherent to prior forms of categorization and allows for new insights, different relations between objects, as well as between objects and viewers. However, we also show that this does not automatically lend objects more agency or “activates” them, as is often implied.

- by Ann-Sophie Lehmann and +1
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- Museum Studies, Curatorial Practice (Art), Curatorial Theory
- by Leah Abir
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- Contemporary Art, Performance Art, Curatorial Practice (Art)
- by mirl redmann
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- Installation Art, Contemporary Art, Torture, Curatorial Practice (Art)
- by silvia forni
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- Museum Studies, Africa, Curatorial Practice (Art)

The Department of Jewish Art at Bar-Ilan University, Department of Art History at The Hebrew University of Jerusalem, The Cummings Center for Russian and East European Studies at Tel Aviv University, and Maria and Michael Zetlin Museum of... more

- by Ilia Rodov
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- History, Modern History, Sociology, Cultural Studies
- by Michele Drascek
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- Art History, Performing Arts, Theatre Studies, Architecture

A resenha percorre os argumentos centrais de Histórias das exposições. Casos exemplares, livro organizado por Fabio Cypriano e Mirtes Marins de Oliveira e aponta algumas articulações entre o emergente campo de estudos da História das... more

Walid Raad was born in Libanon in 1967, in the past years he worked at two big projects, The Atals Group (1999- 2005) a real and digital archive composed by pictures, documents, diary that documenting the Lebanese Civil Wars (1975–1990),... more

- by Valentina Rossi
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- Museum Studies, Contemporary Art, Curatorial Practice (Art), Medio Oriente
- by Helena Mattsson
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- Architecture, Welfare State, Architectural History, Architectural Theory

There are many stories, and histories, of animation film. Yet there are other ways of telling a story of animation that peel back and go below the material, historical and factual surface of this cinematic technique. Because the seven... more

- by Suzanne Buchan
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- Visual Studies, Art History, Art Theory, Animation

A standard comprehension of curatorial practice is conditioned upon the organizing of relations between objects and meaning, between art and its perception and between objects and other objects. A widespread tendency established in a culture of critique in art and curatorial practice responds to this primacy of the organizational by retreating from it by producing 'open frameworks of interaction' in the hope that this naturalism will secure itself away from what it sees to be problematic instrumentalism of the image. This attitude is underscored, moreover, in practices where the horror of a conscious inability to make this retreat is further standardized in ironic forms of production that correlate a theory of constraint to the materialities of economic dominance. This article argues that both these responses to meaning meet at the same terminus, impoverishing the image and its potential. Looking to and setting out some further problems within Quentin Meillassoux's speculative materialism, this text seeks to move past these problematic

- by Amanda Beech
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- Art History, Art Theory, Curatorial Studies and Practice, Curatorial Practice (Art)

Is the concept of a retrospective antithetical to feminist-aligned politics and histories? How can a retrospective effectively account for the achievements of an artist whose practice was indelibly interwoven with feminist collectives? What possibilities and limitations does working in a museum institution pose for feminist curating? To engage these questions, this article provides a case study of the exhibition, When in Doubt… Ask: a Retrocollective Exhibition of the Work of Mónica Mayer (Museo Universitario de Arte Contemporaneo, Mexico City, 2016), a long overdue survey of the work of a central figure in the feminist art movement in Mexico.

- by Erin L. McCutcheon
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- Art History, Museum Studies, Contemporary Art, Curatorial Studies and Practice

In this essay, the author explored the official/unofficial, national/international dynamics of the 1989 China:Avant-garde Exhibition, its aftermath on the later Chinese contemporary art sphere and society, as well as the subtle (slightly... more

- by Laura Shao
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- Art History, Art, Contemporary Art, Curatorial Practice (Art)

Essay by Timothy B. Barnard

- by Stefano Harney and +1
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- Black Studies Or African American Studies, Art Theory, Critical Pedagogy, Collective Action
- by Vincenzo Di Rosa
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- Contemporary Art, Curatorial Practice (Art), History of Exhibitions

Recensione della mostra “Dalì. Il sogno del classico” a Palazzo Blu a Pisa fino al 19 febbraio 2017

- by Elena Janniello
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- Contemporary Art, Surrealism, Curating, Museums and Exhibition Design

Borrowing from Marxist thought, postcolonial studies and critical social theory, this essay will explore the main curatorial and ethical issues facing the United States Holocaust Memorial Museum and Yad Vashem. Specifically, this essay will evaluate the success of their representations of the Holocaust by analysing the delivery of their collections and architectural features. An important critique that surfaces from this research is of the power dynamics present in modern museological practice, and whether it is morally correct for dominant cultures to narrate the racially charged trauma of marginalized groups of which the hegemonic class do not have lived experience.

- by Natalie Bradvica
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- Sociology, Museum Studies, Marxism, Second World War

This project description presents a curatorial practice that is part
of a post.doc. investigating the contemporary cultural and political focus on participatory agendas. The curatorial practice takes a critical stand towards this focus, and suggests exhibition formats and educational strategies that address participation as critical reflection. The research unfolds in two exhibitions dealing with some of the notable tendencies within contemporary museological and curatorial studies, where museum and exhibition spaces are not considered as spaces of showcasing or conservation of art, but on the contrary are perceived as
active spaces of production. Referring to Doreen Massey’s seminal work For Space – first published in 2005 – art spaces are thought of as a product of interrelations and recognised as always being under construction. In the research project institutional critique from the 1960s and 1970s avant-gardes is used as an analytical approach and as a method of spatial and political criticism and articulation that can be
applied not only to the art world, but to spaces and institutions in general, which is a point made by Simon Sheikh. The two exhibitions are not to be considered as institutional critique, but as critical exchanges with and about contemporary art. The exhibitions are made in collaboration with two non-commercial art spaces in Copenhagen and will be on show in the spring of 2017.