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A step-by-step guide to every aspect of putting on an art exhibition, with tips from a range of influential curatorsThe Curator’s Handbook is the essential handbook for curators and curatorial students, mapping every stage of the process of putting on an exhibition, no matter how traditional the venue, from initial idea to final installation. An introduction explores curatorial work from its origins in the seventeenth century onward and outlines the various roles of the curator today. Twelve chapters then trace the various stages of the exhibition process in clear, informative language and using helpful diagrams and tables, from developing the concept to writing contracts and loan requests; putting together budgets and schedules; producing exhibition catalogues and interpretation materials; designing gallery spaces; working with artists, lenders, and art handlers; organizing private views; and documenting and evaluating a show. With advice and tips from a cast of international museum directors and curators―including Daniel Birnbaum (Moderna Museet, Stockholm); Aric Chen (M+, Hong Kong); Elizabeth Macgregor (Museum of Contemporary Art, Sydney); Hans Ulrich Obrist (Serpentine Gallery, London); Gao Peng (Today Art Museum, Beijing); Jennifer Russell (Metropolitan Museum of Art, New York); and Nicholas Serota (Tate, London)―this volume is a crucial guide for anyone involved in, or studying, the dynamic field of curation. 1 line drawing

The Curator Crossbody Bag is small yet practical nylon bag with two internal pockets for convenient organization of your belongings. This bag features matte nickel-plated metal rings and sliders, adding a touch of sophistication to its design. Finished with YKK® zippers, renowned for their quality and durability. Composition: Nylon 100% Care: Hand wash only, cold water

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Over the centuries, natural history museums have evolved from being little more than musty repositories of stuffed animals and pinned bugs, to being crucial generators of new scientific knowledge. They have also become vibrant educational centers, full of engaging exhibits that share those discoveries with students and an enthusiastic general public.   At the heart of it all from the very start have been curators. Yet after three decades as a natural history curator, Lance Grande found that he still had to explain to people what he does. This book is the answer—and, oh, what an answer it is: lively, exciting, up-to-date, it offers a portrait of curators and their research  like none we’ve seen, one that conveys the intellectual excitement and the educational and social value of curation. Grande uses the personal story of his own career—most of it spent at Chicago’s storied Field Museum—to structure his account as he explores the value of research and collections, the importance of public engagement, changing ecological and ethical considerations, and the impact of rapidly improving technology. Throughout, we are guided by Grande’s keen sense of mission, of a job where the why is always as important as the what.   This beautifully written and richly illustrated book is a clear-eyed but loving account of natural history museums, their curators, and their ever-expanding roles in the twenty-first century.  

Curators of the Buddha is the first critical history of the study of Buddhism in the West and the first work to bring the insights of colonial and postcolonial cultural studies to bear on this field. After an overview of the origins of Buddhist studies in the early nineteenth century, the essays focus on important "curators of the Buddha," such as Aurel Stein, D. T. Suzuki, and Carl Jung, who, as they created and maintained the discipline, played a significant role in disseminating knowledge about Buddhism in the West. The essays bring to life many of the important but unexamined social, political, and cultural conditions that have shaped the course of Buddhist studies for more than a century—and have frequently distorted the understanding of a complex set of traditions. Contributors Charles Hallisey, Gustavo Benavides, Stanley Abe, Luis Gómez, Robert Sharf, and Donald Lopez challenge some of the most enduring ideas in Buddhist studies: that Zen Buddhism is, above all, an experience; that Tibetan Buddhism is polluted, or pristine; that the Buddha image is of Greek or Roman origin; that the classical text supersedes the vernacular, as the manuscript supersedes the informant; and many others.

Tracing the development of the museum concept from the opening of The Louvre to the launch of Tate Modern, this accessible and succinct publication explores the museum’s role and evolution within society.Encompassing curatorial, scholarly, political and cultural spheres, this volume addresses the concept of the museum from a variety of influences.In the first section, Schubert looks at the complex history of the museum in specific cities during critical moments; for instance, New York between 1930–50 as the Metropolitan Museum expanded and the Museum of Modern Art was founded. The second section focuses on the success and unprecedented development of the museum in the 1980s and 1990s in Europe and the United States, highlighting the need for cities and institutions to revise their programs in response to a surge of interest in the arts.The newly completed final section looks at the museum’s current predicament ten years after The Curator’s Egg was originally published in 2000, exploring the museum's evolution in a post 9/11 environment.

This volume argues that a small, loosely connected group of men constituted an informal museum movement in America from about 1740 to 1870. As they formed their pioneer museums, these men were guided not so much by European examples, but rather by the imperatives of the American democratic culture, including the Enlightenment, the simultaneous decline of the respectability and rise of the middle classes, the Age of Egalitarianism, and the advent of professionalism in the sciences. Thus the pre-1870 American museum was neither the frivolous sideshow some critics have imagined, nor the enclave for elitists that others have charged. Instead, the proprietors displayed serious motives and egalitarian aspirations.The conflicting demands for popular education on the one hand and professionalism on the other were a continuing source of tension in American museums after about 1835, but by 1870 the two claims had synthesized into a rough parity. This synthesis, the "American Compromise," has remained the basic model of museums in America down to the present. Thus, by 1870, the form of the modern American museum as an institution which simultaneously provides popular education and promotes scholarly research was completely developed.

The title poem―about a group of schoolchildren illustrating Shelley's "Ode to a Skylark"―ends with the following assertion: "these are the only / lessons they will ever need to learn: that life / is not artifact, but aperture―a stepping into / and a falling away; that to sing is to rise / from the grave of the body. And still / say less than nothing." This idea of the aperture, the gap, the silence that exists between what we want to say and what we actually do say pervades The Curator of Silence. The paradox, of course, is that the creation of art itself makes this gap, as there is always a gulf between the impulse and the gesture, the vision and the poem. Nutter's experience of living for two months in the Antarctic, perhaps the greatest silence and solitude possible on earth, is the archetype of silence whose many dimensions she explores in this volume. She considers both literal, obvious silences―death, abandonment, loneliness, the silence into which lost things vanish―and silences of a more mysterious and paradoxical nature: the (mis)perceptions of childhood, the erasures of addiction and brain damage, the isolation of Antarctic explorers, and the seemingly distant, and often fearsome, lives of animals. In the end, this great silence we batter our hearts against―call it the grave or god or the universe or the intimate silence of the white page―is the silence these poems are singing to and with, not against.

Exhibition Catalogue Curators' Focus: Turning in Context is an exhibition that presents the work of contemporary lathe-turning artists from around the world. It was curated by Maria van Kesteren, David Revere McFadden, Bruce Metcalf, and Mark Richard Leach and was organized around the four contexts of the physical, emotional, spiritual, and intellectual, as they relate to lathe turning. The curators selected 51 works by 39 artists that they felt exemplify the lathe-turning field today and point to areas of future growth. This catalogue contains color photographs of all the artwork in the exhibition, along with the artists' statements and resumes. Also included are essays on the lathe-turning field by each of the four curaotrs and three experts.

336 pages : colour illustrations ; 32 cm. Text in English with headings in English and Chinese and chapter summaries in Chinese. "Catalogue of an exhibition of the Oriental Ceramic Society at the Brunei Gallery, SOAS University of London, 15th October-11th December 2021." Summary:"A fully illustrated catalogue edited by Sarah Wong and Stacey Pierson and including both English and Chinese captions. . Includes four specially commissioned essays and new unpublished material about the Society's history"-- Provided by publisher

He was extraordinarily successful at acquiring for the collection such monuments of modern art as Pollock's One: Number 31, 1950 and Picasso's 1914 sheet-metal Guitar. The exhibitions he mounted as Chief Curator and later Director of the Department of Painting and Sculpture at the Museum--among them the unprecedented Pablo Picasso: A Retrospective--set a standard of curatorial excellence. A Curator's Quest is the story of the professional life of a pioneering curator who built the Modern's unparalleled collection, and a history of MoMA itself during that key period. For anyone interested in the history and world of modern art, in connoisseurship and collecting, and in art scholarship in general, A Curator's Quest is at once an indispensable addition to the history of modern art and a testament to William Rubin's life and achievements--is truly a publishing event.

light blue cloth boards w/ gilt printing. 336 pgs w/ color illustrations throughout. grey & blue illustrated dusjacket w/ green illustration, white printing. Illustrates and profiles 127 pieces. Numerous essay. Primarily English, with brief Chinese translations to exhibition pieces. VG/VG (scratches, light wear to cloth. bumping & creasing to lower spine edges. dustjacket scuffed & scratched w/ scattered scoring; bumping, creasing & rubbing to spine top; light tear to lower spine edge)

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A modern update of the Medieval trade manuals--the 'come-along-with-me' (vade mecum) of Medieval craftsmen--Words of Wisdom: A Curator's Vade Mecum is an invaluable guidebook for anyone interested in contemporary art and the practice of curating. In over fifty short essays, this compendium offers advice to a new generation of curators from veterans of contemporary art exhibitions who, over the past 25 years, have played a crucial role in shaping what we see today, and how we see it. While providing an intimate look at the minds of these master curators, Words of Wisdom also establishes the curator's craft as an important vocation that has changed tremendously over the past quarter-century. In the course of their musings, the curators offer behind-the-scenes insights into influential exhibitions and institutions and the contemporary art world they represent. Among the contributors are Jean-Christophe Amman, director of the Museum of Modern Art, Frankfurt, Germany; Donna de Salvo, curator at the Tate Gallery, London; Richard Flood, chief curator at the Walker Arts Center, Minneapolis; independent curator Hans Ulrich Obrist; and Marcia Tucker, founding director of the New Museum of Contemporary Art, New York.

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The first full-length study of the life of Sara Tyson Hallowell, an American agent, advisor to collectors and artists, curator, and advocate for modern art.In the nineteenth century, women became leaders in a myriad fields but only Sara Tyson Hallowell was able to create a lasting career as a curator of exhibitions. Throughout her life Sara Tyson Hallowell continually challenged nineteenth-century expectations about the proper place of well-born women as she worked to make a name for herself in the Chicago art world of the 1880s and 1890s.Although her name may not be well known a century later Hallowell continues to command the attention of contemporary curators because the model she established and the skills she employed in her own work are those that are fundamental to success in the field today. Presenting the first comprehensive story of Sara Tyson Hallowell's life, Sara Tyson Hallowell: Pioneer Curator and Art Advisor in the Gilded Age, highlights the lasting influence and compelling story of Sara Tyson Hallowell.

Pd Curator: How to Design Peer-To-Peer Professional Learning That Elevates Teachers and Teaching 0.57

Taking that ambiguous thing we call “the exhibition” as a critical medium, artists have often radically rethought conventional forms of exhibition making. The Artist as Curator: An Anthology, born out of a series of essays originally published in Mousse, surveys seminal examples of such artist-curated exhibitions from the postwar to the present, examined by the world’s foremost curators and illustrated with rare documents and illustrations.Artists featured include the Avant-Garde Argentinian Visual Artists Group; Mel Bochner; Marcel Broothaers; John Cage; Judy Chicago, Miriam Schapiro and the CalArts Feminist Art Program; Collaborative Projects Inc. (Colab); Liam Gillick and Philippe Parreno; Group Material; Richard Hamilton and Victor Pasmore; David Hammons; Martin Kippenberger; Mark Leckey; Hélio Oiticica; Walid Raad and Akram Zaatari; Martha Rosler; and Andy Warhol, among other examples drawn from around the globe.