Curating Art / Edition 1

by Janet Marstine, Oscar Ho Hing Kay

Overview

Curating 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.

Product Details

ISBN-13:	9781138907966
Publisher:	Taylor & Francis
Publication date:	12/31/2021
Series:	Leicester Readers in Museum Studies
Pages:	478
Product dimensions:	6.88(w) x 9.69(h) x (d)

About the Author

Janet 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.

Table of Contents

1. 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 Krysa