On Jun 26, 2006, at 7:57 AM, Sarah Cook wrote:
> Museums that have no collections at all, such as the kunsthalles and
> ICAs, it seems to me are even more pushed towards a
> global/international style of curating when they don't have curators
> who hold portfolios (i.e. have deep knowledge) of specific media -
> what's there to advocate for except the new project and its context,
> the artists' work on its own terms? Does anyone have any experience of
> this or can suggest how institutional structures have gone on to
> influence curatorial decision making as regards the inclusion of new
> media in the museum?
>
Alan Moore posted a couple of things on our site over the weekend that
are germane to this topic:
Objectives and Objectivity
http://post.thing.net/node/929
A report on "Now-Time Venezuela" at U.C. Berkeley Art Museum
http://post.thing.net/node/930
For those who are unfamiliar with Alan Moore, he was instrumental in
the groups Colab and ABC No Rio in New York in the '70/80s. He was
wandering in the desert for a while but is back thinking and writing
about art and activism from his unique anarchist perspective.
One question I have about the Brooklyn decision: where does the
registrar fit into the equation? Over the years, at large institutions,
the registrar has taken over many of what were traditional curatorial
duties such as shipping, storage and insurance that are so important to
the globalized art world. But you never hear about them. Are they like
art fabricators, a new growth industry in the art world?
Robbin Murphy
http://post.thing.net
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