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After Work: Celine Condorelli (Paperback)
Celine Condorelli; Contributions by Jay Bernard, Tessa Giblin, Lucy Steeds, Sam Thorne; Edited by …
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R789
R712
Discovery Miles 7 120
Save R77 (10%)
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The future of curatorial practice: how education, research, and
institutions can adapt to the expansion of the curatorial field.
Today curators are sometimes more famous than the artists whose
work they curate, and curatorship involves more than choosing
objects for an exhibition. The expansion of the curatorial field in
recent decades has raised questions about exhibition-making itself
and the politics of production, display, and distribution. The
Curatorial Conundrum looks at the burgeoning field of curatorship
and tries to imagine its future. Indeed, practitioners and
theorists consider a variety of futures: the future of curatorial
education; the future of curatorial research; the future of
curatorial and artistic practice; and the institutions that will
make these other futures possible. The contributors examine the
proliferation of graduate programs in curatorial studies over the
last twenty years, and consider what can be taught without giving
up what is precisely curatorial, within the ever-expanding
parameters of curatorial practice in recent times. They discuss
curating as collaborative research, asking what happens when
exhibition operates as a mode of research in its own right. They
explore curatorial practice as an exercise in questioning the world
around us; and they speculate about what it will take to build new,
innovative, and progressive curatorial research institutions.
Contributors Nancy Adajania, Melanie Bouteloup, Nikita Yingqian
Cai, Luis Camnitzer, Eddie Chambers, Zasha Cerizza Colah, Galit
Eilat, Liam Gillick, Koyo Kouoh, Miguel A. Lopez, Hans Ulrich
Obrist, Paul O'Neill, Tobias Ostrander, Joao Ribas, Sarah Rifky,
Sumesh Sharma, Simon Sheikh, Lucy Steeds, Jeannine Tang, David The,
Jelena Vesic & Vladimir Jeric Vlidi, What, How & for
Whom/WHW, Mick Wilson, Vivian Ziherl Copublished with the Center
for Curatorial Studies Bard College/Luma Foundation
What it means to be global-or to be local-in the context of
artistic, curatorial, and theoretical knowledge and practice. In
this volume, an international, interdisciplinary group of writers
discuss what it means to be global-or to be local-in the context of
artistic, curatorial and theoretical knowledge and practice.
Continuing the discussion begun in The Curatorial Conundrum (2016)
and How Institutions Think (2017), Curating After the Global
considers curating and questions of locality, geopolitical change,
the reassertion of nation-states, and the violent diminishing of
citizen and denizen rights across the globe. It has become
commonplace to talk of a globalized art world and even to speak of
contemporary art as a driver of globalization. This
universalization of what art is or can be is often presumed to be
at the cost of local traditions and any sense of locality and
embeddedness. But need this be the case? The contributors to
Curating After the Global explore, among other things, specific
curatorial projects that may offer roadmaps for the globalized
present; new institutional approaches; and ways of thinking,
vocabularies, and strategies for moving forward. Contributors
include Lotte Arndt, Marwa Arsanios, Athena Athanasiou and Simon
Sheikh, Maria Berrios and Jakob Jakobsen, Qalandar Bux Memon, Ntone
Edjabe and David Morris, Liam Gillick, Alison Greene, Yaiza Maria
Hernandez Velazquez, Prem Krishnamurthy and Emily Smith, Nkule
Mabaso, Morad Montazami, Paul-Emmanuel Odin, Vijay Prashad, Kristin
Ross, Grace Samboh, Sumesh Sharma, Joshua Simon, Hajnalka Somogyi,
Lucy Steeds, Francoise Verges Copublished with the Center for
Curatorial Studies Bard College/Luma Foundation
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