478 Pages
    by Routledge

    478 Pages
    by Routledge

    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.

    1. Curating as a relational practice

    Janet Marstine and Oscar Ho Hing Kay

    Part I Expertise

    Introduction to Part I

    Janet Marstine


    2. Curation is Spreading

    Hajime Nariai

    3. Who is HUO?

    David Balzer


    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


    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


    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


    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


    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.