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  • Definition of curating from Webster's New World College Dictionary. Meaning of curating. Pronunciation of curating. Definition of the word curating. Origin of the word curating. — “curating - Definition of curating at ”,
  • The article discusses the basic elements of curating and explores the evolution of modern curating. — “The Art of Curating”,
  • Supported by the Postgraduate Program in Curating, Institute for Cultural Studies in the Arts (ICS), Zurich University of the Arts (ZHdK). — “”, on-
  • An artist-curator has that advantage, even though they might not have studied curating. 16 Essays on Curating in Asia, commissioned by Para/Site Art Space, is an anthology that compiles 16 essays on curating art in and of Asia. — “”,
  • Photo by Autumn de Wilde Wilco are getting their own festival: Solid Sound Festival, which comes to the Massachusetts Museum Portishead Curating ATP Event 11:30 a.m. — “Pitchfork: Wilco Curate Their Own Festival”,
  • Definition of curating in the Legal Dictionary - by Free online English dictionary and encyclopedia. What is curating? Meaning of curating as a legal term. What does curating mean in law?. — “curating legal definition of curating. curating synonyms by”, legal-
  • 'Hang it all', article on contemporary curating and the rise of curating degrees, the Observer newspaper, Sunday 9 March 2003. Sullivan, L. and Childs, S. (2003) Curating Archaological Collections ISBN 0759100241. Thea, C. (2009) On Curating: Interviews with Ten International Curators ISBN. — “curator: Definition from ”,
  • This upgraded 'operating system' of art presents new possibilities of online curating that is collective and distributed - even to the extreme of a self-organising system that curates itself. The curator is part of this entire system but not central to it. — “DATA browser 03 : Curating Immateriality”, data-
  • Curating; the balance between practice and distance. By focusing on the strategies and It is the detail of curating which can be viewed through intense contextualizations;. — “Curating Discourse”,
  • Facebook is a social utility that connects people with friends and others who work, study and live around them. People use Facebook to keep up with friends, upload an unlimited number of photos, post links and videos, and learn more about the. — “ | Facebook”,
  • Definition of curating in the Online Dictionary. Meaning of curating. Pronunciation of curating. Translations of curating. curating synonyms, curating antonyms. Information about curating in the free online English dictionary and encyclopedia. — “curating - definition of curating by the Free Online”,
  • Portal für kritische, kuratorische Positionen. Portal for critical positions in the field of curating. — “-> ”,
  • My subsequent experience has ranged from curating the online net art Gallery 9 and commissioning collaborative installations by not a book about curating new media, it's about rethinking curating. — “YProductions”,
  • In its most basic definition, curating is the practice of both preserving (as in Latin root, to care for, attend to) artifacts or objects and more commonly to arrange them into a collection or "narrative" based on parameters and relationships established by the curator. — “Curating - Shakespeare 2.0 Wiki”, thunder.biosci.umbc.edu
  • This bibliography consists of a selective list of books and articles relating to Curating. Show and tell' / article by Pamela Buxton (the challenges in curating. — “Curating: A Selective Bibliography”,
  • Curating a Region (MACUR03) Visions of Curating (MACURO4) Stage 2 focuses on contemporary art and design infrastructures in the North East to understand and identify contemporary curatorial concerns with regard to regionalism and regeneration. — “Curating”,
  • Curating Pixels - An Aggregation of the Web with a Point of View. — “Curating Pixels”,
  • This website serves as a navigation tool to the Curating Degree Zero Archive, an exhibition presenting critical positions in the field of curating. The archive contains material (catalogues, articles, videos, CDâs, images and web sites) in. — “.:::Curating Degree Zero:::”,
  • 'Hang it all', article on contemporary curating and the rise of curating degrees, the Observer newspaper, Sunday 9 March 2003. Sullivan, L. and Childs, S. (2003) Curating Archaological Collections ISBN 0759100241. Thea, C. (2009) On Curating: Interviews with Ten International Curators ISBN. — “Curator - Wikipedia, the free encyclopedia”,
  • Interactive journey down one of L.A.'s most fascinating streets. From The Los Angeles Conservancy. — “Curating the City: Wilshire Blvd”,
  • 欢迎造访 在 Facebook 上的官方专页。你不但可以从 专页这里获得独家内容,还可以与其交流互动。赶快来加入 Facebook 建立自己的专页,或马上与朋友取得联系。. — “ | Facebook”, zh-
  • CURATING LOS ANGELES™ Exploring the people, places and culture of one of the world's Come See New 16mm Experimental & Animation Films from Around the World. — “Curating Los Angeles - Blog”,

Videos
related videos for curating

  • Claire Doherty - Curating Wrong Places PT1 Claire Doherty, Senior Research Fellow in Fine Art, University of the West of England, Bristol, and leader of Situations, (), whose talk, "Curating Wrong Places or Where Have All the Penguins Gone?" looked at the predominance of place in contemporary art curating and commissioning. 'Curating Wrong Places' was hosted by the MA Twentieth Century Art & Design Course.
  • 9/10 'You Talkin' to Me? Why are Artists and Curators Turning to Education?' (Questions) "You Talkin' to Me? Why are Artists and Curators Turning to Education?" is a public discussion held on Wednesday March 31 at the VU University, Amsterdam. This discussion was held on the occasion of the launch of the book "Curating and the Educational Turn", edited by Paul O'Neill and Mick Wilson, published by de Appel arts centre and Open Editions. The speakers were, from left to right: Sonia Dermience (The Public School Brussels), Edgar Schmitz (artist), Mick Wilson (editor), Hassan Khan (artist), Mélanie Bouteloup (Betonsalon Paris), Annie Fletcher (Van Abbemuseum), Binna Choi (Casco) and Paul ONeill (editor). Off frame, on the left, stood Wouter Davidts (VU University), and on the front row of the public Ann Demeester (de Appel). "In recent years there has been increased debate about the incorporation of pedagogy into art and curatorial practice about what has been termed the educational turn. In this follow up volume to the critically acclaimed Curating Subjects, artists, curators, critics and academics respond to this widely recognised sense of arts paradigmatic re-orientation towards the educational. Consisting primarily of newly commissioned texts, from interviews and position statements to performative texts and dialogues, Curating and the Educational Turn also includes a small number of previously published writings that have proved pivotal in the debate so far. This anthology presents an essential enquiry for anyone interested in the cultural politics of ...
  • Hans Ulrich Obrist. The Art of Curating. 2004. 1/8 www.egs.edu Hans Ulrich Obrist, Swiss curator, art critic, artist, scientist, writer, curator, composer, architect, thinker talking and lecturing about his interviews and discussion with Philippe Parreno and architects, urbanists, scientists, linguists, philosophers and non-mainstream filmmakers, conversations between the temporal dimensions of visual production, the essay Postman Time 1992, the amount of time it takes to look at an art work and how this experience is framed: the postman delivers a package, and then it's up to the recipient, to make something of this, the notion of how an exhibition could be structured not as a progression of physical objects, but around the notion of time, itself. Asking questions about the concept of exhibitions and audience: Could we realise a group show in which artists would not be given space, but some kind of temporality? Would it be possible for an exhibition to be delivered to audiences, rather than require them to walk through a gallery? Il Tempo del Postino, a show at the Manchester International Festival is the product of these discussions, a first effort at filling a missing trajectory within the history of exhibition-making. Hans Ulrich Obrist in a public open video lecture for the faculty and students of the European Graduate School, Media and Communication Studies Department Program, EGS, Saas-Fee, Switzerland, Europe, 2004. Hans Ulrich Obrist, born in Zürich, Switzerland, 1968 founded the Museum Robert Walser in 1993 and ...
  • 'Curating the City' @ Matthew Gallery. Curating The City: Representation and Seriality A programme of work, curated by Dr. Dorian Wiszniewski, University of Edinburgh, promotes a critical exchange between the narrative apparatuses of architecture and the museum.
  • Curating a Contemporary Crafts Exhibit V&A curator Laurie Britton Newell tells Creative Choices how the exhibit "Out of the Ordinary: Spectacular Craft" was developed. By working with the Crafts Council and other museum staff, the idea was developed and the artists were chosen, within the constraint of the exhibition space. You can also see the video and read the transcription here: www.creative-
  • Hans Ulrich Obrist. The Art of Curating. 2004. 5/8 www.egs.edu Hans Ulrich Obrist, Swiss curator, art critic, artist, scientist, writer, curator, composer, architect, thinker talking and lecturing about his interviews and discussion with Philippe Parreno and architects, urbanists, scientists, linguists, philosophers and non-mainstream filmmakers, conversations between the temporal dimensions of visual production, the essay Postman Time 1992, the amount of time it takes to look at an art work and how this experience is framed: the postman delivers a package, and then it's up to the recipient, to make something of this, the notion of how an exhibition could be structured not as a progression of physical objects, but around the notion of time, itself. Asking questions about the concept of exhibitions and audience: Could we realise a group show in which artists would not be given space, but some kind of temporality? Would it be possible for an exhibition to be delivered to audiences, rather than require them to walk through a gallery? Il Tempo del Postino, a show at the Manchester International Festival is the product of these discussions, a first effort at filling a missing trajectory within the history of exhibition-making. Hans Ulrich Obrist in a public open video lecture for the faculty and students of the European Graduate School, Media and Communication Studies Department Program, EGS, Saas-Fee, Switzerland, Europe, 2004. Hans Ulrich Obrist, born in Zürich, Switzerland, 1968 founded the Museum Robert Walser in 1993 and ...
  • [ITS 2009 Demo] Curator: A Design Environment for Curating Tabletop Museum Experiences Interactive tabletops show great potential to be used in learning contexts, particularly in museums, as a way for people to collaboratively learn and explore rich sets of digital information. However, it is a real challenge for exhibition designers, or Curators, to create exhibitions for tabletop displays, as it is tedious to create these data-sets manually. Curator is a cross-platform tool that can be used by non-technical designers and museum staff to construct rich information collections for exploration on our interactive tabletop. After the data- set has been constructed using Curator on a desktop computer, this information can be tested and displayed on the tabletop immediately, providing an engaging, collaborative experience for exploration and learning. by Benjamin Sprengart , University of Sydney, University and of Applied Sciences Kaiserslautern Anthony Collins , University of Sydney Judy Kay , University of Sydney www.its2009.org
  • Hans Ulrich Obrist. The Art of Curating. 2004. 6/8 www.egs.edu Hans Ulrich Obrist, Swiss curator, art critic, artist, scientist, writer, curator, composer, architect, thinker talking and lecturing about his interviews and discussion with Philippe Parreno and architects, urbanists, scientists, linguists, philosophers and non-mainstream filmmakers, conversations between the temporal dimensions of visual production, the essay Postman Time 1992, the amount of time it takes to look at an art work and how this experience is framed: the postman delivers a package, and then it's up to the recipient, to make something of this, the notion of how an exhibition could be structured not as a progression of physical objects, but around the notion of time, itself. Asking questions about the concept of exhibitions and audience: Could we realise a group show in which artists would not be given space, but some kind of temporality? Would it be possible for an exhibition to be delivered to audiences, rather than require them to walk through a gallery? Il Tempo del Postino, a show at the Manchester International Festival is the product of these discussions, a first effort at filling a missing trajectory within the history of exhibition-making. Hans Ulrich Obrist in a public open video lecture for the faculty and students of the European Graduate School, Media and Communication Studies Department Program, EGS, Saas-Fee, Switzerland, Europe, 2004. Hans Ulrich Obrist, born in Zürich, Switzerland, 1968 founded the Museum Robert Walser in 1993 and ...
  • Anthony Huberman on For the Blind Man... Chief Curator at the Contemporary Art Museum St. Louis Anthony Huberman, talks about arts purpose to undue knowledge and how that challenges the individual to reconsider what knowledge is. In curating an exhibition, he explains his process and how his vision expands as the museum develops events, programs, and educational activities in response to the exhibition.
  • Hans Ulrich Obrist. The Art of Curating. 2004. 3/8 www.egs.edu Hans Ulrich Obrist, Swiss curator, art critic, artist, scientist, writer, curator, composer, architect, thinker talking and lecturing about his interviews and discussion with Philippe Parreno and architects, urbanists, scientists, linguists, philosophers and non-mainstream filmmakers, conversations between the temporal dimensions of visual production, the essay Postman Time 1992, the amount of time it takes to look at an art work and how this experience is framed: the postman delivers a package, and then it's up to the recipient, to make something of this, the notion of how an exhibition could be structured not as a progression of physical objects, but around the notion of time, itself. Asking questions about the concept of exhibitions and audience: Could we realise a group show in which artists would not be given space, but some kind of temporality? Would it be possible for an exhibition to be delivered to audiences, rather than require them to walk through a gallery? Il Tempo del Postino, a show at the Manchester International Festival is the product of these discussions, a first effort at filling a missing trajectory within the history of exhibition-making. Hans Ulrich Obrist in a public open video lecture for the faculty and students of the European Graduate School, Media and Communication Studies Department Program, EGS, Saas-Fee, Switzerland, Europe, 2004. Hans Ulrich Obrist, born in Zürich, Switzerland, 1968 founded the Museum Robert Walser in 1993 and ...
  • Curating the Dark Data in the Long Tail of Science Google Tech Talks August 28, 2008 ABSTRACT There is a wealth of scientific data that is almost impossible to see. This is science's dark data. Much of this data resides in the long tail of science or "small" data collection efforts. Instrumentation has made it possible to develop large collections of relatively homogeneous data, be it from space sensors or high throughput gene sequencers. The monolithic collections are easy to find and search. Dark data on the other hand may constitute the larger mass of scientific information. The collections that make up the dark data of science are much smaller but also much more numerous, being generated by thousands of scientists, on a much broader number of scientific questions, and in a complex array of formats. Unfortunately, it is also more prone to be overlooked and lost over time. Using new technology, the economics of the internet, and change in the sociology of science it is possible to make greater use of this data than was possible in the past. Data curators are the people who develop and use these technologies and procedures to make this data more useful, insuring a more efficient return on investment in the enterprise of science. Speaker: P. Bryan Heidorn Program Manager, National Science Foundation Division of Biological Infrastructure and Associate Professor, University of Illinois
  • Claire Doherty - Curating Wrong Places PT4 Claire Doherty, Senior Research Fellow in Fine Art, University of the West of England, Bristol, and leader of Situations, (), whose talk, "Curating Wrong Places or Where Have All the Penguins Gone?" looked at the predominance of place in contemporary art curating and commissioning. 'Curating Wrong Places' was hosted by the MA Twentieth Century Art & Design Course.
  • Interview Wayne Baerwaldt curator Montreal Biennale P1 This is the first part of an indepth interview with Wayne Baerwaldt the curator of the 2007 Montréal Biennale. I have known Wayne Baerwaldt since he was director of Plug In Inc. an artist Run Gallery in Winnipeg, Manitoba, Canada (1986-1999). We have not always seen eye to eye over the years, but there is a sense in this interview that both of us have mellowed. Wayne talks frankly about how the Biennale de Montréal came together, the choice of artists, his intuitive approach to curating, his vision of a Canadian Biennale, how and why the show was installed as it was, and his view of himself as an actor in the creative process and the production of culture. The interview is illustrated with shots of the works by over 30 of the artists in the show, see list below, most of which were taken during the opening of the exhibition. They give a taste of the energy of the show, rather than formally documenting the art. Wayne has a lot of experiences in his dealings with in the art world; his accomplishments are impressive, both locally and internationally (see this bio and CV ciac.ca He has many critics, but I think historically we will look back and acknowledge that he contributed greatly to opening up the international art scene to Canadian, and especially Winnipeg artists. He did this by including Canadian and international artists in the exhibitions he curated. But more importantly, over the years, he has demonstrated to the world how a seemingly-insignificant "cultural outpost ...
  • JANERA - Curating Global Conversations JANERA is the network for a generation that understands that behind the stories of crisis and disease are stories of culture and hope. A generation that sees the potential and limitations of social media, and seeks perspectives that come from human interaction with like-minds and world leaders. We curate global conversations.
  • 1/10 'You Talkin' to Me? Why are Artists and Curators Turning to Education?' "You Talkin' to Me? Why are Artists and Curators Turning to Education?" is a public discussion held on Wednesday March 31 at the VU University, Amsterdam. This discussion was held on the occasion of the launch of the book "Curating and the Educational Turn", edited by Paul O'Neill and Mick Wilson, published by de Appel arts centre and Open Editions. The speakers were, from left to right: Sonia Dermience (The Public School Brussels), Edgar Schmitz (artist), Mick Wilson (editor), Hassan Khan (artist), Mélanie Bouteloup (Betonsalon Paris), Annie Fletcher (Van Abbemuseum), Binna Choi (Casco) and Paul ONeill (editor). Off frame, on the left, stood Wouter Davidts (VU University), and on the front row of the public Ann Demeester (de Appel). "In recent years there has been increased debate about the incorporation of pedagogy into art and curatorial practice about what has been termed the educational turn. In this follow up volume to the critically acclaimed Curating Subjects, artists, curators, critics and academics respond to this widely recognised sense of arts paradigmatic re-orientation towards the educational. Consisting primarily of newly commissioned texts, from interviews and position statements to performative texts and dialogues, Curating and the Educational Turn also includes a small number of previously published writings that have proved pivotal in the debate so far. This anthology presents an essential enquiry for anyone interested in the cultural politics of ...
  • Claire Doherty - Curating Wrong Places PT3 Claire Doherty, Senior Research Fellow in Fine Art, University of the West of England, Bristol, and leader of Situations, (), whose talk, "Curating Wrong Places or Where Have All the Penguins Gone?" looked at the predominance of place in contemporary art curating and commissioning. 'Curating Wrong Places' was hosted by the MA Twentieth Century Art & Design Course.
  • 3/10 'You Talkin' to Me? Why are Artists and Curators Turning to Education?' "You Talkin' to Me? Why are Artists and Curators Turning to Education?" is a public discussion held on Wednesday March 31 at the VU University, Amsterdam. This discussion was held on the occasion of the launch of the book "Curating and the Educational Turn", edited by Paul O'Neill and Mick Wilson, published by de Appel arts centre and Open Editions. The speakers were, from left to right: Sonia Dermience (The Public School Brussels), Edgar Schmitz (artist), Mick Wilson (editor), Hassan Khan (artist), Mélanie Bouteloup (Betonsalon Paris), Annie Fletcher (Van Abbemuseum), Binna Choi (Casco) and Paul ONeill (editor). Off frame, on the left, stood Wouter Davidts (VU University), and on the front row of the public Ann Demeester (de Appel). "In recent years there has been increased debate about the incorporation of pedagogy into art and curatorial practice about what has been termed the educational turn. In this follow up volume to the critically acclaimed Curating Subjects, artists, curators, critics and academics respond to this widely recognised sense of arts paradigmatic re-orientation towards the educational. Consisting primarily of newly commissioned texts, from interviews and position statements to performative texts and dialogues, Curating and the Educational Turn also includes a small number of previously published writings that have proved pivotal in the debate so far. This anthology presents an essential enquiry for anyone interested in the cultural politics of ...
  • Curating the Kinsey Institute 2009 Juried Art Show ~ An interview with curator Jennifer Cahn about selecting artwork for the 2009 Kinsey Institute Juried Art Show. Accompanied by a slideshow of artworks from the exhibition. For more information on the Kinsey Insitute Juried Art Show, including information on submitting to next year's show, please visit us at http
  • Curating the Other Seminar Discussion Part 3 of 4 Curatorial Network. Curating the Other Seminar 2007. Discussion
  • Social Web Curating Tools Introduction to Storify and a half dozen other social web curating tools. What curating tools do YOU favor?
  • Curating and Relevance: A conversation with Ouriel Ohayon of Appsfire While at LeWeb 2009, I was engaged by my6sense to have a series of video conversations with a select number of the influencers attending the event. The premise - get their take on the importance of relevance and curation for content in the real-time stream ... specifically Twitter. In this interview, Ouriel Ohayon, former VC turned Entrepreneur with a new company Appsfire, gives his opinion
  • Angela Kingston - Independent Curator Angela Kingston vodcast where she talks about her work as independent curator. Her curating and writing often touches on political issues, such as feminism, refugees and the environment. Her approach in terms of the artists she works with and the audiences she addresses is socially inclusive. Collective Works (1983), Girl at The New Art Gallery Walsall (2000), What I Said (Mikey Cuddihy, 1998), Ratman series (Clare Charnley, 1999-2000), Whatshername (Claire Carter, 1998-2000), Frances and the Elves (Annelies Strba, 2005), Untitled/Scream (Janaina Tschape, 2004), Little Red Riding Hood & Untitled (Vanessa Jane Phaff, 2002 & 2005), Big Castle (Peter Callesen, 2007), This is My Land (Ben Rivers, 2006), She took photographs of everywhere she slept when she first went to Blackpool (Kathryn Boyd, 2008), Spade (Charlotte Ginsberg, 2002) More information on
  • Curating European design with Li Edelkoort For Spazio Rossana Orlandi, Li Edelkoort brought over a part of the Designhuis' Talent show from Eindhoven. Matylda Krzykowski speaks with Li about the exhibition which shows 21 selected designers from 11 different countries, presenting an archaic view of design with an interest in radical primitive materials as earth, cow-dung, wood, cardboard, textiles, bone and hide. They try to escape from a world of over-consumption with unplugged proposals taken from the roots of humanity with humble yet forceful form. signguide.tv music courtesy by
  • Curating the Archive: Representing Scattered Collections of the Colonial Past Talk by Pippa Skotnes, Professor of Fine Art and Director of the Centre for Curating the Archive at the Michaelis School of Fine Art, University of Cape Town. This talk focuses on creative curatorship and the challenges of representing the material presence of the past.
  • Hans Ulrich Obrist. The Art of Curating. 2004. 2/8 www.egs.edu Hans Ulrich Obrist, Swiss curator, art critic, artist, scientist, writer, curator, composer, architect, thinker talking and lecturing about his interviews and discussion with Philippe Parreno and architects, urbanists, scientists, linguists, philosophers and non-mainstream filmmakers, conversations between the temporal dimensions of visual production, the essay Postman Time 1992, the amount of time it takes to look at an art work and how this experience is framed: the postman delivers a package, and then it's up to the recipient, to make something of this, the notion of how an exhibition could be structured not as a progression of physical objects, but around the notion of time, itself. Asking questions about the concept of exhibitions and audience: Could we realise a group show in which artists would not be given space, but some kind of temporality? Would it be possible for an exhibition to be delivered to audiences, rather than require them to walk through a gallery? Il Tempo del Postino, a show at the Manchester International Festival is the product of these discussions, a first effort at filling a missing trajectory within the history of exhibition-making. Hans Ulrich Obrist in a public open video lecture for the faculty and students of the European Graduate School, Media and Communication Studies Department Program, EGS, Saas-Fee, Switzerland, Europe, 2004. Hans Ulrich Obrist, born in Zürich, Switzerland, 1968 founded the Museum Robert Walser in 1993 and ...
  • Interview Wayne Baerwaldt curator Montreal Biennale P2 This is the second part of an indepth interview with Wayne Baerwaldt the curator of the 2007 Montréal Biennale. I have known Wayne Baerwaldt since he was director of Plug In Inc. an artist Run Gallery in Winnipeg, Manitoba, Canada (1986-1999). We have not always seen eye to eye over the years, but there is a sense in this interview that both of us have mellowed. Wayne talks frankly about how the Biennale de Montréal came together, the choice of artists, his intuitive approach to curating, his vision of a Canadian Biennale, how and why the show was installed as it was, and his view of himself as an actor in the creative process and the production of culture. The interview is illustrated with shots of the works by over 30 of the artists in the show, see list below, most of which were taken during the opening of the exhibition. They give a taste of the energy of the show, rather than formally documenting the art. Wayne has a lot of experiences in his dealings with in the art world; his accomplishments are impressive, both locally and internationally (see this bio and CV ciac.ca He has many critics, but I think historically we will look back and acknowledge that he contributed greatly to opening up the international art scene to Canadian, and especially Winnipeg artists. He did this by including Canadian and international artists in the exhibitions he curated. But more importantly, over the years, he has demonstrated to the world how a seemingly-insignificant "cultural ...
  • The Trouble With Curating The verb to 'curate' is a recent addition to the lexicon of the art world. How has the role of the curator developed and, as the boundaries are increasingly blurred between the artist and the curator, is there a fundamental difference of position between artist and curator? Curator and writer Andrew Renton chairs the discussion with the Director of The Showroom Emily Pethick, Tate Britain Director Penelope Curtis, artist Steven Claydon and lecturer, writer and artist Pavel Buchler.
  • Paul Schmelzer: Curating niche content Paul Schmelzer (@iteeth), editor of the Minnesota Independent, presented at the Other Future of News conference on Dec. 12, 2009.
  • Curating Contemporary Design MA at Kingston University and the Design Museum Catherine McDermott and Donna Loveday talk about the Curating Contemporary Design MA course at Kingston University delivered in partnership with the Design Museum.
  • The Government as Community Curator Justin Houk has worked for the Metro,the Portland area regionally elected government, for eleven years. During that time he has focused on geographic data creation and outreach on projects ranging from natural resource protection to population forecasts. Metro coordinates and standardizes many data sources from it's member governments and helps governments purchase technology though regional consortia. Justin is very active in the Portland community and involved in several technology blogs. He has been one of the organizers of WhereCampPDX for the past two years and helped to convene a conference called OpenGov West in Seattle in 2010. He has recently interned with and written posts for ReadWriteWeb. He currently is a contributor at where he writes about open data and government APIs. It's not enough to simply open data and have an API. Government needs to get better at fostering communities around all of it's services. To do this it needs to divest itself of some control and invest in communities that are already working. Curating existing communities around data and services is critical for future success. Can we create a joiner government that supports civic participation at all levels?
  • Hans Ulrich Obrist. The Art of Curating. 2004. 4/8 www.egs.edu Hans Ulrich Obrist, Swiss curator, art critic, artist, scientist, writer, curator, composer, architect, thinker talking and lecturing about his interviews and discussion with Philippe Parreno and architects, urbanists, scientists, linguists, philosophers and non-mainstream filmmakers, conversations between the temporal dimensions of visual production, the essay Postman Time 1992, the amount of time it takes to look at an art work and how this experience is framed: the postman delivers a package, and then it's up to the recipient, to make something of this, the notion of how an exhibition could be structured not as a progression of physical objects, but around the notion of time, itself. Asking questions about the concept of exhibitions and audience: Could we realise a group show in which artists would not be given space, but some kind of temporality? Would it be possible for an exhibition to be delivered to audiences, rather than require them to walk through a gallery? Il Tempo del Postino, a show at the Manchester International Festival is the product of these discussions, a first effort at filling a missing trajectory within the history of exhibition-making. Hans Ulrich Obrist in a public open video lecture for the faculty and students of the European Graduate School, Media and Communication Studies Department Program, EGS, Saas-Fee, Switzerland, Europe, 2004. Hans Ulrich Obrist, born in Zürich, Switzerland, 1968 founded the Museum Robert Walser in 1993 and ...
  • Curating Contemporary Design MA - Current students Current students from the Curating Contemporary Design MA course talk about their reasons for choosing the course and the benefits of studying at the Design Museum in London. For further information on the course visit
  • Claire Doherty - Curating Wrong Places PT 2 Claire Doherty, Senior Research Fellow in Fine Art, University of the West of England, Bristol, and leader of Situations, (), whose talk, "Curating Wrong Places or Where Have All the Penguins Gone?" looked at the predominance of place in contemporary art curating and commissioning. 'Curating Wrong Places' was hosted by the MA Twentieth Century Art & Design Course.
  • A Brief History of Curating (Global Art Forum 2009) The entire session is available to view at www.artdubai.ae Returning for a third successful year at Art Dubai, The Global Art Forum played host to a series of lectures and discussions featuring leading contemporary art thinkers. The forum continued to create links between East and West through the exploration of professional and public interests in art. It examined public support for the arts, corporate and private collecting and art patronage taking into consideration the state of the economic climate. Other topics under discussion included The Art Party, and focuses on cities such as Athens, Moscow and Tehran. Our FB page http Followus on twitter /artdubai
  • Wystan Curnow discusses "Curating as Critical Practice" to hear more, go to: writing.upenn.edu Wystan Curnow is a poet, curator, art critic, and essayist. He spoke at the Kelly Writers House as part of the "Writers Without Borders" program on April 7th, 2009. "Curating as a Critical Practice" will focus on an exhibition Wystan Curnow is curating, called "Let Us Possess One World," which groups New Zealand painter Colin McCahon, Spanish painter , Antoni Tapies, the Croatian artist Mangelos, and the expatriate American painter, Cy Twombly: four contemporaries who committed the literary heresy of adding language to abstraction. Curnow will also discuss his role as an advisor/collaborator to the New Zealand conceptual artist, Billy Apple, whose survey show, Billy Apple, A History of the Brand, opens in Rotterdam at the end of May.
  • Nancy Spector '81: Chief Curator, Guggenheim Museum For more information: www.slc.edu Nancy Spector received her M.Phil. in art history from the Graduate Center of the City University of New York. Since 1989, she has been a curator of the Solomon R. Guggenheim Museum, where she has organized exhibitions of conceptual photography, Matthew Barney's Cremaster Cycle, and Richard Prince. She co-organized the exhibits Moving Pictures and Singular Forms (Sometimes Repeated). She was one of the curators of Monument to Now, an exhibition of the Dakis Joannou Collection, which premiered in Athens as part of the Olympics program.
  • Hans Ulrich Obrist. The Art of Curating. 2004. 7/8 www.egs.edu Hans Ulrich Obrist, Swiss curator, art critic, artist, scientist, writer, curator, composer, architect, thinker talking and lecturing about his interviews and discussion with Philippe Parreno and architects, urbanists, scientists, linguists, philosophers and non-mainstream filmmakers, conversations between the temporal dimensions of visual production, the essay Postman Time 1992, the amount of time it takes to look at an art work and how this experience is framed: the postman delivers a package, and then it's up to the recipient, to make something of this, the notion of how an exhibition could be structured not as a progression of physical objects, but around the notion of time, itself. Asking questions about the concept of exhibitions and audience: Could we realise a group show in which artists would not be given space, but some kind of temporality? Would it be possible for an exhibition to be delivered to audiences, rather than require them to walk through a gallery? Il Tempo del Postino, a show at the Manchester International Festival is the product of these discussions, a first effort at filling a missing trajectory within the history of exhibition-making. Hans Ulrich Obrist in a public open video lecture for the faculty and students of the European Graduate School, Media and Communication Studies Department Program, EGS, Saas-Fee, Switzerland, Europe, 2004. Hans Ulrich Obrist, born in Zürich, Switzerland, 1968 founded the Museum Robert Walser in 1993 and ...
  • INDEPENDENT LENS | The Curating Process | PBS Independent Lens producer Lois Vossen describes what makes an Independent Lens film. The 2010/11 season, hosted by America Ferrera, premieres Tuesday, October 19th.
  • Hans Ulrich Obrist. The Art of Curating. 2004. 8/8 www.egs.edu Hans Ulrich Obrist, Swiss curator, art critic, artist, scientist, writer, curator, composer, architect, thinker talking and lecturing about his interviews and discussion with Philippe Parreno and architects, urbanists, scientists, linguists, philosophers and non-mainstream filmmakers, conversations between the temporal dimensions of visual production, the essay Postman Time 1992, the amount of time it takes to look at an art work and how this experience is framed: the postman delivers a package, and then it's up to the recipient, to make something of this, the notion of how an exhibition could be structured not as a progression of physical objects, but around the notion of time, itself. Asking questions about the concept of exhibitions and audience: Could we realise a group show in which artists would not be given space, but some kind of temporality? Would it be possible for an exhibition to be delivered to audiences, rather than require them to walk through a gallery? Il Tempo del Postino, a show at the Manchester International Festival is the product of these discussions, a first effort at filling a missing trajectory within the history of exhibition-making. Hans Ulrich Obrist in a public open video lecture for the faculty and students of the European Graduate School, Media and Communication Studies Department Program, EGS, Saas-Fee, Switzerland, Europe, 2004. Hans Ulrich Obrist, born in Zürich, Switzerland, 1968 founded the Museum Robert Walser in 1993 and ...
  • Curator Steven Wilson on Curating at Abraham Lincoln Library Curator Steven Wilson on Curating at Abraham Lincoln Library www.lmunet.edu

Blogs & Forum
blogs and forums about curating

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    Curating Pixels,

  • “You are hereBlogs / jtrant's blog / digital curation and curating digitally this a far cry from the kinds of things that museums do when they think about curating digitally”
    — digital curation and curating digitally | conference,

  • “Newsy Blog " Posts for tag 'curating' About. is unlike any other news service on Tags: curating, filtering, journalism, sifting, sorting. Two of the sworn enemies of the”
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  • “Art + Life + Technology amsterdam art artist Banff beauty blog Canada conference culture curating curator data design Edinburgh Events exhibition festival future futureeverything garbage identity interactive internet island lecture Life London Manchester me media Meta”
    — Michelle Kasprzak · Curating, michelle.kasprzak.ca

  • “Whether to allow comments on a post can be a controversial subject - if you allow them, they can turn into a mess of irrelevance, or worse. On the other hand, comments can promote engagement, conversations, and add value to the story. Especially”
    Curating and filtering blog post comments with WordPress and,

  • “,Curating Content blog, microblog, forum, article/story, etc) that are all interrelated, all require some authentication, and all must be tied together in some cohesive way”
    Curating Content | Joseph Bachana's Blog | DPCI,

  • “Home " Blogs " camilleb's blog. New Media CURATING Hell – part 1 new media art curating, especially in terms of curating, presentation/ exhibition and”
    — New Media CURATING Hell – part 1 | Furtherfield Blog,

  • “CURATING LOS ANGELES™ Exploring the people, places and culture of one of the world's Blog Post Index. Come See New 16mm Experimental & Animation Films from Around the World”
    Curating Los Angeles - Blog,

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