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OverviewCurating Art provides insight into some of the most socially and politically impactful curating of historical and contemporary art since the late 1990s. It offers up a museological framework for understanding watershed developments of curating in art museums. Representing the plurality of theory and practice around the expanded field of relational curating, the book focuses on curating that prioritises the quality of relationships between people and objects, between institutions and people and among people. It has wide international breadth, with particularly strong representation in East and Southeast Asia, including four papers never before translated into English. This Asian cluster illuminates the globalisation of the field and challenges dichotomies of East and West while acknowledging distinctions within specific, but often transnational, cultural spheres. The compelling philosophical perspectives and case studies included within Curating Art will be of interest to students and researchers studying curating, exhibition development and art museums. The book will also inspire current and emerging curators to pose challenging but important questions about their own practice and the relationships that this work sustains. Full Product DetailsAuthor: Janet Marstine , Oscar Ho Hing Kay , Oscar HoPublisher: Taylor & Francis Ltd Imprint: Routledge Weight: 1.002kg ISBN: 9781138907966ISBN 10: 1138907960 Pages: 458 Publication Date: 31 December 2021 Audience: College/higher education , Professional and scholarly , Tertiary & Higher Education , Professional & Vocational Format: Hardback Publisher's Status: Active Availability: In Print  This item will be ordered in for you from one of our suppliers. Upon receipt, we will promptly dispatch it out to you. For in store availability, please contact us. Table of Contents1. Curating as a relational practice Janet Marstine and Oscar Ho Hing Kay Part I Expertise Introduction to Part I Janet Marstine Groundwork 2. Curation is Spreading Hajime Nariai 3. Who is HUO? David Balzer Connoisseurship 4. From connoisseurship to technical art history: the evolution of the interdisciplinary study of art Maryan W. Ainsworth Curatorial vision and institutional history 5. ‘Electronic Refractions II’ at the Studio Museum in Harlem Susan E. Cahan 6. On quality: curators at the San Francisco Museum of Modern Art (1935-2010) Richard Cándida-Smith Provenance 7. Faked biographies: the remake of antiquities and their sale on the art market Brigitta Hauser-Schäublin and Sophorn Kim 8. Renewing Nazi-era provenance research efforts: case studies and recommendations Nancy Karrels Exhibition-making and the canon 9. Aestheticized installations for modernism, ethnographic art and objects of everyday life [excerpt] Mary Anne Staniszewski 10. Eloquent walls and argumentative spaces: displaying late works of Degas Richard Kendall 11. Feminist perspectives on curating Dorothee Richter Linking past to present 12. The Battle over ‘The West as America’ Alan Wallach 13. Curating contemporary art: narrating the past and reflecting on the individual and time Vivian Ting Wing Yan Part II Engagement Introduction to Part II Janet Marstine Groundwork 14. Masterpieces and the critical museum Katarzyna Murawska-Muthesius The processes of cultural translation 15. From entangled objects to engaged subjects: knowledge translation and cultural heritage regeneration Lea S. McChesney 16. The ‘fourth world’ theory in Wonil Rhee’s curating: focusing on post-colonialism Kim Sung-Ho Artists as curators 17. The book in which we learn to read: contemporary artists and their place within historical museums Jasper Sharp 18. Curatorial relationality Beatrice von Bismarck 19. No good time for an exhibition: reflections on the Picasso in Palestine project, Part I Michael Baers Relational practice with publics 20. Other people’s stories: bringing public-generated photography into the contemporary art museum Areti Galani and Alexandra Moschovi 21. The unexpected guest: food and hospitality in contemporary Asian Art Francis Maravillas Negotiating the local and the global 22. The right to be wrong Howard N. Fox 23. Homegrown: The origins of performance art in Myanmar Nathalie Johnston 24. From object to subject: conceptualizing ‘The Future of Tradition-The Tradition of Future’ Avinoam Shalem Navigating the pressures of censorship 25. Encounters with censorship Ngũgĩ wa Thiong’o 26. Art is not bioterrorism: the criminalization of critical cultural and intellectual production Faith Wilding Part III Platforms Introduction to Part III Janet Marstine Groundwork 27. The roving eye: Southeast Asian art’s plural views on self, culture and nation Iola Lenzi 28. Experiments in integrated programming Sally Tallant 29. The transmedia museum Jenny Kidd Blurring the boundaries between performance, programme and exhibition 30. ‘The Play’: reassembling African arts in the West’ Joshua I. Cohen 31. Museum for the people? Two joint projects for Haiti and Congo Bogumil Jewsiewicki Appropriating the apparatus of the institution 32. Trading Place: Museum of contemporary art Kao Chien-Hui 33. Mockstitutions Gregory Sholette Curating interstitial spaces 34. Invading the medias: Selma and Sofiane Ouissi’s ‘Dream City’ Rachida Triki 35. Bishan Project: restarting the rural reconstruction movement Ou Ning New models of curating in a network culture 36. Reconfiguring curation: noninstitutional new media curating and the politics of cultural production Patrick Lichty 37. The politics of contemporary curating: a network perspective Joasia KrysaReviewsAuthor InformationJanet Marstine is Honorary Associate Professor of Museum Studies (retired), University of Leicester, and is now based in Maine in the US. She writes on diverse aspects of museum ethics from curatorial ethics to artists’ interventions as drivers for ethical change and has a particular interest in recognising and supporting the agency of practitioners to make informed ethical decisions. Oscar Ho Hing Kay is Associate Professor of Practice and Director of the Master's Programme in Cultural Management at the Chinese University of Hong Kong. Formerly he was the exhibitions director of the Hong Kong Arts Centre and the founding director of the Museum of Contemporary Art, Shanghai. Tab Content 6Author Website:Countries AvailableAll regions |
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