As a curator, I feel like I look after artists practice and how people can engage with that, rather then art and audiences. There is a subtle difference but one that is important.
I feel you can blur the line even further if you view curation as an 'art-practice'. > So, the space in between? I feel maybe you could be curating the 'space' but not the people or the art there in. If event based then they (both the 'art' and the 'audiences') are arguably irrelevant... Curator more as an artist than a facilitator, maybe?
Does anyone have the reading list? I don't know where it is to be found, sorry!
I felt bad that I wasn't reading anything, so I went digging through Camberwell curation section in the library and there's a lot of interesting work. I got 'Revisions: New Perspectives on the African Collections of the Horniman Museum' and 'Fragments of the World: Uses of Museum Collections.' Both of which are worth a look if you're interested in how contemporary curation relates to older attitudes towards curation. Which is one of the things I find the most engaging; how curation reinvents itself and how closely it relates to society's attitudes... like Victorian attitudes towards the Horniman collection vs. modern ones and how it can still be relevant now.
when i said "space in between" i wasn't referring to the venue as space but emily's comment,which said she looks after how people engage with the artist's practice so the metaphorical space between the art and the viewer, the activity of engagement
This blog is a space for thinking critically about the role of the curator.
Independent Curating
This blog is a space for thinking critically about the role of the curator. It is an online tool for the elective titled Becoming an Independent Curator, taught by Emily Druiff and Rachael House at Camberwell College of Arts, University of the Arts London.
6 comments:
As a curator, I feel like I look after artists practice and how people can engage with that, rather then art and audiences. There is a subtle difference but one that is important.
So, the space in between?
I feel you can blur the line even further if you view curation as an 'art-practice'.
> So, the space in between?
I feel maybe you could be curating the 'space' but not the people or the art there in. If event based then they (both the 'art' and the 'audiences') are arguably irrelevant...
Curator more as an artist than a facilitator, maybe?
> Phil: 'curation in the 21st century' ... quote,
[ any chance of a page # or a chapter # so I can read it in context.]
thanks, K.
Does anyone have the reading list? I don't know where it is to be found, sorry!
I felt bad that I wasn't reading anything, so I went digging through Camberwell curation section in the library and there's a lot of interesting work. I got 'Revisions: New Perspectives on the African Collections of the Horniman Museum' and 'Fragments of the World: Uses of Museum Collections.' Both of which are worth a look if you're interested in how contemporary curation relates to older attitudes towards curation. Which is one of the things I find the most engaging; how curation reinvents itself and how closely it relates to society's attitudes... like Victorian attitudes towards the Horniman collection vs. modern ones and how it can still be relevant now.
Anybody with any other book suggestions?
when i said "space in between" i wasn't referring to the venue as space but emily's comment,which said she looks after how people engage with the artist's practice so the metaphorical space between the art and the viewer, the activity of engagement
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