Curating Art provides insight into some of the most socially and politically impactful curating of historical and contemporary art since the late 1990s. It offers up a museological framework for understanding watershed developments of curating in art museums.
Representing the plurality of theory and practice around the expanded field of relational curating, the book focuses on curating that prioritises the quality of relationships between people and objects, between institutions and people and among people. It has wide international breadth, with particularly strong representation in East and Southeast Asia, including four papers never before translated into English. This Asian cluster illuminates the globalisation of the field and challenges dichotomies of East and West while acknowledging distinctions within specific, but often transnational, cultural spheres.
The compelling philosophical perspectives and case studies included within Curating Art will be of interest to students and researchers studying curating, exhibition development and art museums. The book will also inspire current and emerging curators to pose challenging but important questions about their own practice and the relationships that this work sustains.
Reihe
Sprache
Verlagsort
Verlagsgruppe
Zielgruppe
Für höhere Schule und Studium
Für Beruf und Forschung
Illustrationen
1 s/w Tabelle
1 Tables, black and white
Maße
Höhe: 246 mm
Breite: 174 mm
Gewicht
ISBN-13
978-1-138-90796-6 (9781138907966)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
Janet Marstine is Honorary Associate Professor of Museum Studies (retired), University of Leicester, and is now based in Maine in the US. She writes on diverse aspects of museum ethics from curatorial ethics to artists' interventions as drivers for ethical change and has a particular interest in recognising and supporting the agency of practitioners to make informed ethical decisions.
Oscar Ho Hing Kay is Associate Professor of Practice and Director of the Master's Programme in Cultural Management at the Chinese University of Hong Kong. Formerly he was the exhibitions director of the Hong Kong Arts Centre and the founding director of the Museum of Contemporary Art, Shanghai.
1. Curating as a relational practice
Janet Marstine and Oscar Ho Hing Kay
Part I Expertise
Introduction to Part I
Janet Marstine
Groundwork
2. Curation is Spreading
Hajime Nariai
3. Who is HUO?
David Balzer
Connoisseurship
4. From connoisseurship to technical art history: the evolution of the interdisciplinary study of art
Maryan W. Ainsworth
Curatorial vision and institutional history
5. 'Electronic Refractions II' at the Studio Museum in Harlem
Susan E. Cahan
6. On quality: curators at the San Francisco Museum of Modern Art (1935-2010)
Richard Candida-Smith
Provenance
7. Faked biographies: the remake of antiquities and their sale on the art market
Brigitta Hauser-Schaeublin and Sophorn Kim
8. Renewing Nazi-era provenance research efforts: case studies and recommendations
Nancy Karrels
Exhibition-making and the canon
9. Aestheticized installations for modernism, ethnographic art and objects of everyday life [excerpt]
Mary Anne Staniszewski
10. Eloquent walls and argumentative spaces: displaying late works of Degas
Richard Kendall
11. Feminist perspectives on curating
Dorothee Richter
Linking past to present
12. The Battle over 'The West as America'
Alan Wallach
13. Curating contemporary art: narrating the past and reflecting on the individual and time
Vivian Ting Wing Yan
Part II Engagement
Introduction to Part II
Janet Marstine
Groundwork
14. Masterpieces and the critical museum
Katarzyna Murawska-Muthesius
The processes of cultural translation
15. From entangled objects to engaged subjects: knowledge translation and cultural heritage regeneration
Lea S. McChesney
16. The 'fourth world' theory in Wonil Rhee's curating: focusing on post-colonialism
Kim Sung-Ho
Artists as curators
17. The book in which we learn to read: contemporary artists and their place within historical museums
Jasper Sharp
18. Curatorial relationality
Beatrice von Bismarck
19. No good time for an exhibition: reflections on the Picasso in Palestine project, Part I
Michael Baers
Relational practice with publics
20. Other people's stories: bringing public-generated photography into the contemporary art museum
Areti Galani and Alexandra Moschovi
21. The unexpected guest: food and hospitality in contemporary Asian Art
Francis Maravillas
Negotiating the local and the global
22. The right to be wrong
Howard N. Fox
23. Homegrown: The origins of performance art in Myanmar
Nathalie Johnston
24. From object to subject: conceptualizing 'The Future of Tradition-The Tradition of Future'
Avinoam Shalem
Navigating the pressures of censorship
25. Encounters with censorship
Ngugi wa Thiong'o
26. Art is not bioterrorism: the criminalization of critical cultural and intellectual production
Faith Wilding
Part III Platforms
Introduction to Part III
Janet Marstine
Groundwork
27. The roving eye: Southeast Asian art's plural views on self, culture and nation
Iola Lenzi
28. Experiments in integrated programming
Sally Tallant
29. The transmedia museum
Jenny Kidd
Blurring the boundaries between performance, programme and exhibition
30. 'The Play': reassembling African arts in the West'
Joshua I. Cohen
31. Museum for the people? Two joint projects for Haiti and Congo
Bogumil Jewsiewicki
Appropriating the apparatus of the institution
32. Trading Place: Museum of contemporary art
Kao Chien-Hui
33. Mockstitutions
Gregory Sholette
Curating interstitial spaces
34. Invading the medias: Selma and Sofiane Ouissi's 'Dream City'
Rachida Triki
35. Bishan Project: restarting the rural reconstruction movement
Ou Ning
New models of curating in a network culture
36. Reconfiguring curation: noninstitutional new media curating and the politics of cultural production
Patrick Lichty
37. The politics of contemporary curating: a network perspective
Joasia Krysa
