Examines how scientific objects in museums and other collections act as inspiration to contemporary art practice, its histories, curating and aesthetics. Cross-disciplinary essays from leading arts professionals explore how scientific encounters in museums provoke new modes of creative thinking about art, science and curating. 84 col. illus.

Redefining curatorial practice for those working with new kinds of art. As curator Steve Dietz has observed, new media art is like contemporary art—but different. New media art involves interactivity, networks, and computation and is often about process rather than objects. New media artworks are difficult to classify according to the traditional art museum categories determined by medium, geography, and chronology and present the curator with novel challenges involving interpretation, exhibition, and dissemination. This book views these challenges as opportunities to rethink curatorial practice. It helps curators of new media art develop a set of flexible tools for working in this fast-moving field, and it offers useful lessons from curators and artists for those working in such other areas of art as distributive and participatory systems. The authors, both of whom have extensive experience as curators, offer numerous examples of artworks and exhibitions to illustrate how the roles of curators and audiences can be redefined in light of new media art's characteristics. Rethinking Curating offers curators a route through the hype around platforms and autonomous zones by following the lead of current artists' practice.

"'Thinking contemporary curating' is the first publication to comprehensively explore what is distinctive about contemporary curatorial thought. In five essays, art historian, critic, and theorist Terry Smith surveys the international landscape of current discourse; explores a number of exhibitions that show contemporaneity in present, recent, and post art; describes the enormous growth world-wide of exhibitionary infrastructure and the instability that haunts it; re-examines the phenomenon of artist-curators and curator-artists; and assesses a number of key tendencies in curating - such as the reimagined museum, the expanded exhibition, historicization and recuration, infrastructural activism, and engaged spectatorship - as responses to contemporary conditions." -- book cover.

Curating Under Pressure breaks the silence surrounding curatorial self-censorship and shows that it is both endemic to the practice and ubiquitous. Contributors map the diverse forms such self-censorship takes and offer creative strategies for negotiating curatorial integrity. This is the first book to look at pressures to self-censor and the curatorial responses to these pressures from a wide range of international perspectives. The book offers examples of the many creative strategies that curators deploy to negotiate pressures to self-censor and gives evidence of curators’ political acumen, ethical sagacity and resilience over the long term. It also challenges the assumption that self-censorship is something to be avoided at all costs and suggests that a decision to self-censor may sometimes be politically and ethically imperative. Curating Under Pressure serves as a corrective to the assumption that censorship pressures render practitioners impotent. It demonstrates that curatorial practice under pressure offers inspiring models of agency, ingenuity and empowerment. Curating Under Pressure is a highly original and intellectually ambitious volume and as such will be of great interest to students and academics in the areas of museum studies, curatorial and gallery studies, art history, studio art and arts administration. The book will also be an essential tool for museum practitioners.

Situated at the crossroads of performance practice, museology, and cultural studies, live arts curation has grown in recent years to become a vibrant interdisciplinary project and a genuine global phenomenon. Curating Live Arts brings together bold and innovative essays from an international group of theorist-practitioners to pose vital questions, propose future visions, and survey the landscape of this rapidly evolving discipline. Reflecting the field’s characteristic eclecticism, the writings assembled here offer practical and insightful investigations into the curation of theatre, dance, sound art, music, and other performance forms—not only in museums, but in community, site-specific, and time-based contexts, placing it at the forefront of contemporary dialogue and discourse.

Comradeshipcollects 16 essays by the forward-thinking Slovenian curator, museum director and scholar Zdenka Badovinac (born 1958). Appointed director of Ljubljana's Museum of Modern Art in 1993 in the wake of Slovenian independence, Badovinac has become an influential voice in international conversations rethinking the geopolitics of art after the fall of communism. She is a ferocious critic of unequal negotiations between East and West and a leading historian of the avant-garde art that emerged in socialist and post-socialist countries at the end of the last century. One of the longest-serving and most prominent museum directors in the region, Badovinac has pioneered radical institutional forms to create a museum responsive to the complexities of the past, and commensurate with the demands of the present. Collecting writing from disparate and hard-to-find sources, as well as new work, this book offers a transformative perspective on a major thinker. It is a crucial handbook of alternative approaches to curating and institution-building in the 21st century. A dialogue between Badovinac and art historian J. Myers-Szupinska introduces her history and ideas. Comradeshipis the third book in the series Perspectives in Curatingby Independent Curators International. "Whip smart, politically astute, curatorially inventive: Zdenka Badovinac is nothing less than the most progressive and intellectually rigorous female museum director in Europe. This anthology includes key essays accompanying her series of brilliant exhibitions in Ljubljana, and is essential reading for anyone interested in the differences between former East and former West. For anyone seeking curatorial alternatives to the neoliberal museum model of relentless expansion and dumbed-down blockbusters, Badovinac is a galvanizing inspiration." -Claire Bishop, author of Artificial Hells

Art + Archive provides an in-depth analysis of the connection between art and the archive at the turn of the twenty-first century. The book examines how the archive emerged in art writing in the mid-1990s and how its subsequent ubiquity can be understood in light of wider social, technological, philosophical and art-historical conditions and concerns. Deftly combining writing on archives from different disciplines with artistic practices, the book clarifies the function and meaning of one of the most persistent artworld buzzwords of recent years, shedding light on the conceptual and historical implications of the so-called archival turn in contemporary art.

The definitive reference text on curation both inside and outside the museum A Companion to Curation is the first collection of its kind, assembling the knowledge and experience of prominent curators, artists, art historians, scholars, and theorists in one comprehensive volume. Part of the Blackwell Companion series, this much-needed book provides up-to-date information and valuable insights on the field of curatorial studies and curation in the visual arts. Accessible and engaging chapters cover diverse, contemporary methods of curation, its origin and history, current and emerging approaches within the profession, and more. This timely publication fills a significant gap in literature on the role of the curator, the art and science of curating, and the historical arc of the field from the 17th century to the present. The Companion explores topics such as global developments in contemporary indigenous art, Asian and Chinese art since the 1980s, feminist and queer feminist curatorial practices, and new curatorial strategies beyond the museum. This unique volume: Offers readers a wide range of perspectives on curating in both theory and practice Includes coverage of curation outside of the Eurocentric and Anglosphere art worlds Presents clear and comprehensible information valuable for specialists and novices alike Discusses the movements, models, people and politics of curating Provides guidance on curating in a globalized world Broad in scope and detailed in content, A Companion to Curation is an essential text for professionals engaged in varied forms of curation, teachers and students of museum studies, and readers interested in the workings of the art world, museums, benefactors, and curators.

What is the future of curatorship? Is there a vision for an ideal model, a curatopia, whether in the form of a utopia or dystopia? Or is there a plurality of approaches, amounting to a curatorial heterotopia? This pioneering volume addresses these questions by considering the current state of curatorship. It reviews the different models and approaches operating in museums, galleries and cultural organisations around the world and discusses emerging concerns, challenges and opportunities. The collection explores the ways in which the mutual, asymmetrical relations underpinning global, scientific entanglements of the past can be transformed into more reciprocal, symmetrical forms of cross-cultural curatorship in the present, arguing that this is the most effective way for curatorial practice to remain meaningful. International in scope, the volume covers three regions: Europe, North America and the Pacific.

Critical theoretical essays, case studies, and manifestos offer insights from diverse contexts and geographies of feminist and queer care ethics. What happens when feminist and queer care ethics are put into curating practice? What happens when the notion of care based on the politics of relatedness, interdependence, reciprocity, and response-ability informs the practices of curating? Delivered through critical theoretical essays, practice-informed case studies, and manifestos, the essays in this book offer insights from diverse contexts and geographies. These texts examine a year-long program at Schwules Museum Berlin focused on the perspectives of women, lesbian, inter, non-binary and trans people at Schwules Museum Berlin; the formation of the Queer Trans Intersex People of Colour Narratives Collective in Brighton; Métis Kitchen Table Talks, organized around indigenous knowledge practices in Canada; complex navigations of motherhood and censorship in China; the rethinking of institutions together with First Nations artists in Melbourne; the reanimation of collectivity in immigrant and diasporic contexts in welfare state spaces in Vienna and Stockholm; struggles against Japanese vagina censorship; and an imagined museum of care for Rojava. Strategies include cripping and decolonizing as well as emergent forms of digital caring labor, including curating, hacking, and organizing online drag parties for pandemic times. Contributors Nataša Bachelez-Petrešin, Edna Bonhomme, Birgit Bosold, Imayna Caceres, Pêdra Costa, COVEN BERLIN, Nika Dubrovsky, Lena Fritsch, Vanessa Gravenor, Julia Hartmann, Hitomi Hasegawa, Vera Hofmann, Hana Janečková, k\are: Agnieszka Habraschka and Mia von Matt, Gilly Karjevsky, Elke Krasny, Chantal Küng, Sophie Lingg, Claudia Lomoschitz, Cathy Mattes, Elizaveta Mhaili, Jelena Micić, Carlota Mir, Fabio Otti, Ven Paldano, Nina Prader, Lesia Prokopenko, Patricia J. Reis, Elif Sarican, Rosario Talevi, Amelia Wallin, Verena Melgarejo Weinandt, Stefanie Wuschitz.