Art museum curators

PublisherSALT2018
A curatorial archive is much more than a curator’s archive; it is also an instrument and working place for the curator and/or the institution that hosts the archive. This publication aims to promote the idea that curatorial archives should be considered not only as resources for objective research, but also as systems or operational structures where curatorial visions are set out. In other words, a place where practice is expressed and takes shape; a salon where it is possible to enter into discussion with individual and collective methodologies…

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PublisherArtFCity2017
This week on Explain Me William Powhida and Paddy Johnson chat with Los Angeles Times staff writer Carolina Miranda about David Geffen’s $150 million donation to LACMA and the questions surrounding the gift. Will he bequeath his collection to the museum? Later, we discuss the recent gentrification wars in Boyle Heights, a rather strange description of the non-profit 365 Mission and solicit Miranda’s advice on must-see LA shows!

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Moderna galerija, Museo Nacional Centro de Arte Reina Sofía, Museu d'Art Contemporani de Barcelona, et alMuseum van Hedendaagse Kunst Antwerpen, Muzeum Sztuki Nowoczesnej w Warszawie, SALT, Van Abbemuseum
L’Internationale is a confederation of seven modern and contemporary art institutions. L’Internationale proposes a space for art within a non-hierarchical and decentralised internationalism, based on the values of difference and horizontal exchange among a constellation of cultural agents, locally rooted and globally connected. L’Internationale brings together seven major European art institutions: Moderna galerija (MG+MSUM, Ljubljana, Slovenia); Museo Nacional Centro de Arte Reina Sofía (MNCARS, Madrid, Spain); Museu d’Art Contemporani de Barcelona (MACBA, Barcelona, Spain); Museum van Hedendaagse Kunst Antwerpen (M HKA, Antwerp, Belgium); Muzeum Sztuki Nowoczesnej w Warszawie (Warsaw, Poland), SALT (Istanbul and Ankara, Turkey) and Van Abbemuseum (VAM, Eindhoven, the ...

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In the second episode of Seeing is Forgetting, Aaron Moulton and I discuss how repressive logic inhibits freedom of expression, participatory anthropology, recursive exhibition making, and the power of dark magic. “…the last place you’ll have an avant-garde experience is the art gallery, because you’re so prepared to potentially have one, and for that reason not have one” A.M.

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Dan Cameron discusses critical writing becoming a function of the market, approaches to curating, the legacy of Marcia Tucker, and issues of gay and lesbian identity in contemporary art. “…your identity can be the source of your work…today, not only is that accepted, it’s cliché. That wasn’t always the case.” D.C.

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Lauren speaks about the five years of running Public Fiction as an exhibition space in Los Angeles, as well as the on-going print publication of the same name; her collaborations with institutions, curators, and artists; and what it means for the exhibition to be treated as a medium.

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PublisherBadlands Unlimited2013
Think Like Clouds collects for the first time the diagrams, notes, and drawings curator Hans Ulrich Obrist has made for the past twenty-two years. Obrist has curated exhibitions worldwide and has interviewed personalities in nearly every field of endeavor: from architect Rem Koolhaas to painter Gerhard Richter to author and historian Studs Terkel. During conversations and curatorial work he draws and takes notes obsessively in order to help him remember and expand the topic at hand. But what ends up being drawn on hotel stationery or printouts of emails are more than mere memory aids. Beautiful and enigmatic, they are ...

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