The 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.
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阿德里安•乔治(Adrian George),是一位资深策展人、委托创作者和教育家,同时,他在包括纽约的新美术馆、肯特现代美术馆等许多在世界范围内深具影响力的当代艺术机构工作逾18年之久。
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一个好的展览不应该是“墙上的书本”……艺术家有的 时候会与预期相反,被圈进某个概念。你需要采取平衡的姿态,既满足受众又能获得艺术家的尊重。 今天一名在泰特工作的策展人,必须从每个公众成员的角度思考一场展览的所有切入点(身体上和智力上两方面),包括各种线上信息、展览的解释说明、画册、展览和艺术品。 ——尼古拉斯·塞罗塔, 伦敦泰特美术馆总馆长
强行将某个生硬的枯燥主题或概念推销给受众,通过艺术作品来描述一个概念可能会被认为充满了说教意味。而艺术家的作品被“硬塞进”一个只能部分展示其作品内涵的主题中也是十分令人不快的。
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