Issues in Curating Contemporary Art and Performance

"Issues in Curating Contemporary Art and Performance proposes that the concept of curating is a complex field of enquiry. By drawing together artists, curators, architects and cultural theorists, it proposes new approaches to curating and ways of developing critical enquiry about this increasingly expanding field. Focusing on pertinent issues in curating contemporary art and performance, the book's four parts examine forms of thinking in contemporary curating : curating and the interdisciplinary; as intervention and contestation; as a form of reconsideration of conventional museum spaces and as a problematic in 'emerging' practices. Beginning with a contextual 'map' of recent thinking on curating which examines some of the issues that have emerged in curatorial discourse over the last ten years, the volume then investigates curating as a research process and a form of collaboration in considering contemporary photography and video. The relationships between writing and curating, reception and encounter are proposed as part of a way of thinking as a critical spatial practice, and cross-disciplinary issues are considered in curating science/art exhibitions. Historical and contemporary perspectives examine issues of gender and marginalization and diversity; and the particular issues relating to curating and practices such as animation, site-specific dance and computer-based work are discussed."--

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Forms of Thinking in Contemporary Curating
From Practice Discourse
The Genesis of Facing East
Curating and the Interdisciplinary Encounter Context Experience
Curating Editing Writing
Exhibitions and Their Prerequisites
The Womens Exhibitions of the ICA 1980 and the UKCanadian Film and Video Exchange 19982004
Thoughts on Curating
Emergent Practices Subverting the Museum
Animation in Museums and Galleries
The Value of Software Art
Who Makes Sitespecific Dance? The Year of the Artist and the Matrix of Curating
The Movement Began with a Scandal
Notes on Contributors

The Role of the Curator Contestation and Consideration
Curating Doubt

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Página 20 - I have in fact added to its meanings: treating it sometimes as the general domain of all statements, sometimes as an individualizable group of statements, and sometimes as a regulated practice that accounts for a certain number of statements...
Página 15 - subject" of the production of the art-work — of its value but also of its meaning — is not the producer who actually creates the object in its materiality, but rather the entire set of agents engaged in the field. Among these are the producers of works classified as artistic (great or minor, famous or unknown), critics of all persuasions. . . . collectors, middlemen, curators, etc., in short all who have ties with art, who live for art and, to varying degrees, from it.
Página 19 - For the curator, the confrontation with the work opens a different perspective, the opposite in fact. In flagrante, so to speak, the curator can observe his/her operation within the institutional apparatus of art: most prominently the procedure of abstraction and centralization that seems to be an inescapable consequence of the work's entry into the superstructure! apparatus, its transformation from practice to discourse. That almost seems to have become the curator's primary role: to function as...

Acerca del autor (2007)

Judith Rugg is research coordinator and reader in fine art theory at University College for the Creative Arts in Canterbury. Michèle Sedgwick is an employment lawyer with an interest in cultural theory and discourse.

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