{"product_id":"curating-art-9781138907973","title":"Curating Art","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003c\/p\u003e\u003ci\u003e\u003c\/i\u003e\u003cp\u003eCurating 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.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eRepresenting 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. \u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe compelling philosophical perspectives and case studies included within \u0026lt;\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e1. Curating as a relational practice \u003c\/p\u003e\u003cp\u003eJanet Marstine and Oscar Ho Hing Kay\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePart I Expertise\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eIntroduction to Part I\u003c\/p\u003e\u003cp\u003eJanet Marstine\u003c\/p\u003e\u003cp\u003eGroundwork\u003c\/p\u003e\u003cp\u003e2. Curation is Spreading\u003c\/p\u003e\u003cp\u003eHajime Nariai\u003c\/p\u003e\u003cp\u003e3. Who is HUO? \u003c\/p\u003e\u003cp\u003e\u003ci\u003eDavid Balzer\u003c\/i\u003e \u003c\/p\u003e\u003cp\u003eConnoisseurship\u003c\/p\u003e\u003cp\u003e4. From connoisseurship to technical art history: the evolution of the interdisciplinary study of art\u003c\/p\u003e\u003cp\u003e\u003ci\u003eMaryan W. Ainsworth \u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eCuratorial vision and institutional history\u003c\/p\u003e\u003cp\u003e5. ‘Electronic Refractions II’ at the Studio Museum in Harlem\u003c\/p\u003e\u003cp\u003e\u003ci\u003eSusan E. Cahan\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e6. On quality: curators at the San Francisco Museum of Modern Art (1935-2010)\u003c\/p\u003e\u003cp\u003eRichard Cándida-Smith \u003c\/p\u003e\u003cp\u003eProvenance\u003c\/p\u003e\u003cp\u003e7.\u003ci\u003e \u003c\/i\u003eFaked biographies: the remake of antiquities and their sale on the art market\u003c\/p\u003e\u003cp\u003eBrigitta Hauser-Schäublin and Sophorn Kim\u003c\/p\u003e\u003cp\u003e8\u003cb\u003e.\u003c\/b\u003e Renewing Nazi-era provenance research efforts: case studies and recommendations\u003c\/p\u003e\u003cp\u003eNancy Karrels\u003c\/p\u003e\u003cp\u003eExhibition-making and the canon\u003c\/p\u003e\u003cp\u003e\u003cb\u003e9.\u003c\/b\u003e Aestheticized installations for modernism, ethnographic art and objects of everyday life [excerpt]\u003c\/p\u003e\u003cp\u003e\u003ci\u003eMary Anne Staniszewski\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e10. Eloquent walls and argumentative spaces: displaying late works of Degas\u003c\/p\u003e\u003cp\u003eRichard Kendall\u003c\/p\u003e\u003cp\u003e11. Feminist perspectives on curating\u003c\/p\u003e\u003cp\u003eDorothee Richter\u003c\/p\u003e\u003cp\u003eLinking past to present\u003c\/p\u003e\u003cp\u003e12. The Battle over ‘The West as America’\u003c\/p\u003e\u003cp\u003e\u003ci\u003eAlan Wallach\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e13.\u003c\/b\u003e Curating contemporary art: narrating the past and reflecting on the individual and time\u003c\/p\u003e\u003cp\u003eVivian Ting Wing Yan\u003c\/p\u003e\u003cp\u003ePart II Engagement\u003c\/p\u003e\u003cp\u003eIntroduction to Part II\u003c\/p\u003e\u003cp\u003eJanet Marstine\u003c\/p\u003e\u003cp\u003eGroundwork\u003c\/p\u003e\u003cp\u003e14. Masterpieces and the critical museum\u003c\/p\u003e\u003cp\u003eKatarzyna Murawska-Muthesius\u003c\/p\u003e\u003cp\u003eThe processes of cultural translation\u003c\/p\u003e\u003cp\u003e\u003cb\u003e15.\u003c\/b\u003e From entangled objects to engaged subjects: knowledge translation and cultural heritage regeneration\u003c\/p\u003e\u003cp\u003eLea S. McChesney\u003c\/p\u003e\u003cp\u003e\u003cb\u003e16.\u003c\/b\u003e The ‘fourth world’ theory in Wonil Rhee’s curating: focusing on post-colonialism\u003c\/p\u003e\u003cp\u003eKim Sung-Ho \u003c\/p\u003e\u003cp\u003eArtists as curators\u003c\/p\u003e\u003cp\u003e\u003cb\u003e17.\u003c\/b\u003e \u003ci\u003eThe book in which we learn to \u003c\/i\u003eread: contemporary artists and their place within historical museums\u003c\/p\u003e\u003cp\u003eJasper Sharp\u003c\/p\u003e\u003cp\u003e18. Curatorial relationality\u003c\/p\u003e\u003cp\u003e\u003ci\u003eBeatrice von Bismarck \u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e19.\u003c\/b\u003e No good time for an exhibition: reflections on the Picasso in Palestine project, Part I\u003c\/p\u003e\u003cp\u003e\u003ci\u003eMichael Baers\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eRelational practice with publics\u003c\/p\u003e\u003cp\u003e\u003cb\u003e20.\u003c\/b\u003e Other people’s stories: bringing public-generated photography into the contemporary art museum\u003c\/p\u003e\u003cp\u003eAreti Galani and Alexandra Moschovi\u003c\/p\u003e\u003cp\u003e21. The unexpected guest: food and hospitality in contemporary Asian Art\u003c\/p\u003e\u003cp\u003e\u003ci\u003eFrancis Maravillas\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eNegotiating the local and the global\u003c\/p\u003e\u003cp\u003e22. The right to be wrong\u003c\/p\u003e\u003cp\u003e\u003ci\u003eHoward N. Fox\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e23. Homegrown: The origins of performance art in Myanmar\u003c\/p\u003e\u003cp\u003e\u003ci\u003eNathalie Johnston\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e24.\u003c\/b\u003e From object to subject: conceptualizing ‘The Future of Tradition-The Tradition of Future’\u003c\/p\u003e\u003cp\u003eAvinoam Shalem\u003c\/p\u003e\u003cp\u003eNavigating the pressures of censorship\u003c\/p\u003e\u003cp\u003e25. Encounters with censorship\u003c\/p\u003e\u003cp\u003eNgũgĩ wa Thiong’o\u003c\/p\u003e\u003cp\u003e\u003cb\u003e26.\u003c\/b\u003e Art is not bioterrorism: the criminalization of critical cultural and intellectual production\u003c\/p\u003e\u003cp\u003eFaith Wilding \u003c\/p\u003e\u003cp\u003ePart III Platforms\u003c\/p\u003e\u003cp\u003eIntroduction to Part III\u003c\/p\u003e\u003cp\u003eJanet Marstine\u003c\/p\u003e\u003cp\u003eGroundwork\u003c\/p\u003e\u003cp\u003e\u003cb\u003e27.\u003c\/b\u003e The roving eye: Southeast Asian art’s plural views on self, culture and nation\u003c\/p\u003e\u003cp\u003e\u003ci\u003eIola Lenzi\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e28.\u003c\/b\u003e Experiments in integrated programming\u003c\/p\u003e\u003cp\u003e\u003ci\u003eSally Tallant\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e29.\u003c\/b\u003e The transmedia museum\u003c\/p\u003e\u003cp\u003e\u003ci\u003eJenny Kidd\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003eBlurring the boundaries between performance, programme and exhibition\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e30. ‘The Play’: reassembling African arts in the West’\u003c\/p\u003e\u003cp\u003e\u003ci\u003eJoshua I. Cohen\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e31. Museum for the people? Two joint projects for Haiti and Congo\u003c\/p\u003e\u003cp\u003e\u003ci\u003eBogumil Jewsiewicki\u003c\/i\u003e \u003c\/p\u003e\u003cp\u003eAppropriating the apparatus of the institution\u003c\/p\u003e\u003cp\u003e32. Trading Place: Museum of contemporary art\u003c\/p\u003e\u003cp\u003eKao \u003ci\u003eChien-Hui\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e33.\u003c\/b\u003e Mockstitutions\u003c\/p\u003e\u003cp\u003eGregory Sholette\u003c\/p\u003e\u003cp\u003eCurating interstitial spaces\u003c\/p\u003e\u003cp\u003e34. Invading the medias: Selma and Sofiane Ouissi’s ‘Dream City’\u003c\/p\u003e\u003cp\u003eRachida Triki\u003c\/p\u003e\u003cp\u003e35. Bishan Project: restarting the rural reconstruction movement\u003c\/p\u003e\u003cp\u003e\u003ci\u003eOu Ning \u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eNew models of curating in a network culture\u003c\/p\u003e\u003cp\u003e\u003cb\u003e36.\u003c\/b\u003e Reconfiguring curation: noninstitutional new media curating and the politics of cultural production\u003c\/p\u003e\u003cp\u003e\u003ci\u003ePatrick Lichty\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e37. The politics of contemporary curating: a network perspective\u003c\/p\u003e\u003cp\u003e\u003ci\u003eJoasia Krysa\u003c\/i\u003e\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":51019539317079,"sku":"9781138907973","price":35.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781138907973.jpg?v=1750780569","url":"https:\/\/bookcurl.com\/products\/curating-art-9781138907973","provider":"Book Curl","version":"1.0","type":"link"}