“Festival Sites: The Civic and Collective Life of Curatorial Practice” An Interview with Deborah Pearson and Joyce Rosario

Reading the clues embedded in extant clothing demands both imagination and patience since the subtle marks of wear, use and alteration may only become evident with extended observation and reflection. During the course of a project undertaken in conjunction with the bicentenary celebrations of John Ruskin's birth culminating in the exhibition of Sarah Casey's drawings in Ruskin's Good Looking! (8 February–7 April 2019), the authors studied the garments of John Ruskin at Brantwood, his former home in the Lake District. The life-sized drawings of these garments produced by Casey mapped the absent presence of the former wearer, allowed visitors the opportunity to better see and reflect on Ruskin's clothing, and also revealed the hidden histories of Ruskin's garments. Drawing, the making of marks with meaning, is not an obvious research tool in dress history and curatorial practice but, as this case study shows, can expose subtle details and reveal new insights.

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Learning to Say No, the Ethics of Artist-Curator Relationships

Philosophies ◽

10.3390/philosophies6010016 ◽

2021 ◽

Vol 6 (1) ◽

pp. 16

Author(s):

Mirjami Schuppert

Keyword(s):

Contemporary Art ◽

Curatorial Practice ◽

The Many

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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Thin Place: New Modes of Environmental Knowing through Contemporary Curatorial Practice

Climate and Culture ◽

10.1017/9781108505284.006 ◽

2019 ◽

pp. 93-114

Keyword(s):

Curatorial Practice

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Othering Time: Strategies of attunement to non-human temporalities

APRIA Journal ◽

10.37198/apria.03.02.a10 ◽

2021 ◽

Vol 3 (2) ◽

pp. 75-83

Author(s):

Alice Smits

Keyword(s):

Ethics Of Care ◽

Life Forms ◽

Ecological Crisis ◽

Time And Space ◽

Deep Time ◽

Curatorial Practice ◽

Time Zones ◽

The Future ◽

Opening Up ◽

Epistemological Framework

In her article 'Othering Time: Strategies of Attunement to Non-Human Temporalities,' art curator and researcher in the field of art and ecology Alice Smits delves into artistic practices that tune into deep time and non-human time zones. Starting from the viewpoint that our current ecological crisis is in need of developing an ethics of care towards generations far into the future and life forms extremely different to ours, she discusses art and aesthetic knowledge as particularly well suited for experimentation with new stories and sensibilities about our place in time. Making use of geologist Marcia Bjornerud's concept of 'timefulness,' the article focuses on several art projects by Rachel Sussman, Katie Paterson and Špela Petrič, whose works engage in developing a more time-literate sensibility that aims to understand how our everyday lives are shaped by processes that vastly predate us. Underlining changing ways of understanding of time and space by opening up to what is referred to in the title as 'othering time,' art opens up as a discourse in its own right that can interrogate the sciences as a specific epistemological framework that is in need of revision. The author concludes with a few references to how these artistic practices change her own curatorial practice.

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Curatorial Practice as Production of Visual and Spatial Knowledge: Panelists Respond

Contemporaneity Historical Presence in Visual Culture ◽

10.5195/contemp.2015.152 ◽

2015 ◽

Vol 4 ◽

pp. 158-163

Author(s):

Alison Langmead ◽

Dan Byers ◽

Cynthia Morton

Keyword(s):

Graduate Students ◽

Information Science ◽

Spatial Knowledge ◽

University Of Pittsburgh ◽

Visual Knowledge ◽

Curatorial Practice ◽

History Of Art ◽

History Of ◽

The University ◽

Art And Architecture

Three participants in the panel “Curatorial Practice as Production of Visual and Spatial Knowledge” reflect upon the ideas raised in their discussion about curating, both in their respective fields and as a general practice. The panel was a part of Debating Visual Knowledge, a symposium organized by graduate students in Information Science and History of Art and Architecture at the University of Pittsburgh, October 3–5, 2014. A transcription of the panel is available in this issue.

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Investigating Curatorial Voice with Corpus Linguistic Techniques

Museum and Society ◽

10.29311/mas.v18i2.3175 ◽

2020 ◽

Vol 18 (2) ◽

pp. 151-169

Author(s):

Andrew Salway ◽

James Baker

Keyword(s):

Informational Content ◽

Cultural Contexts ◽

Corpus Linguistic ◽

Comprehensive Account ◽

Curatorial Practice ◽

New Knowledge

We seek to demonstrate how corpus linguistic techniques can facilitate a comprehensive account of curatorial voice in a large digitised museum catalogue and hence leverage its value as a resource for generating new knowledge about: curatorial practice; the historical and cultural contexts of curation; and, the content of collections. We worked with 1.1 million words written by the historian M. Dorothy George between 1930 and 1954 to describe 9330 late-Georgian satirical prints. George’s curatorial descriptions were analysed in terms of their typical informational content and with regards to the extent George included interpretation and evaluation in her descriptions. We discuss how results from such analyses can provide a basis for addressing questions about George’s curatorial voice and, more generally, suggest how this approach could benefit museological practice around the production of descriptions and the re-purposing of legacy catalogues for digital access and analysis of collections.

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Surface and light

Alphaville: Journal of Film and Screen Media - Researching Creative Practice: Terminology, Policy, Models ◽

10.33178/alpha.17.11 ◽

2019 ◽

pp. 169-178

Author(s):

Melanie Wilmink

Keyword(s):

Case Studies ◽

Installation Art ◽

Single Channel ◽

Embodied Experience ◽

Moving Image ◽

Space And Time ◽

Short Films ◽

Curatorial Practice ◽

The Spectator

Utilising case studies from my curatorial practice, this paper discusses the balance between research and creation, and elaborates on exhibition projects that centre the spectator within an embodied experience of the moving image. While some of my curatorial practice includes installation art that literalises the space of the image, including Urbanity on Film (2009), and The Situated Cinema Project; in camera (2015), other programs have achieved this same effect within a single-channel screening format, including Radiant Bodies (2015) and Dirt City Rock Fantasy: The Short Films of Trevor Anderson (2016). By treating the moving image as an experience that incorporates the space and time of the viewer’s body, these curatorial projects explore the idea of artwork as a phenomenological tool, creating exciting environments while simultaneously advancing knowledge through the process of being with the artwork.

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