This document discusses various topics related to curated environments and curation, including reliquaries, ontologies, gift economies, artist-run galleries, and curatorship. It references exhibits, art colonies in New York, museums in different countries, and debates around open vs curated content online. The document brings together disparate references from art, anthropology, music, and museology to consider questions around curation, authorship, and different models of organizing cultural production and experiences.
a list of the 7 wonders of the world, top 7 wonders of the world list, 7 wonders in the world list, 7 wonders of the world list and pictures, which are 7 wonders of the world, about wonders of world, world 7 wonders pictures, latest list of 7 wonders of the world,
This powerpoint presentation is created by Gyanbikash.com for the students of class nine to ten from their English first part NCTB textbook for multimedia class.
a list of the 7 wonders of the world, top 7 wonders of the world list, 7 wonders in the world list, 7 wonders of the world list and pictures, which are 7 wonders of the world, about wonders of world, world 7 wonders pictures, latest list of 7 wonders of the world,
This powerpoint presentation is created by Gyanbikash.com for the students of class nine to ten from their English first part NCTB textbook for multimedia class.
History of the British Museum’s buildings over the past 260 yearsbritishmuseum
On 7 June 1753, an Act of Parliament established the British Museum after Sir Hans Sloane bequeathed his collection of 71,000 objects. Since then, the collection has grown to over 8 million objects and the Museum receives over 6 million visitors a year. This is a pictorial history visually showing the development of different buildings which have been on the Bloomsbury site.
In Genoa at Palazzo Ducale until March 03, 2019.
Sixty works from the Johannesburg Art Gallery that cover over a century of international art, through the major performers, from Claude Monet to Edgar Degas, from Dante Gabriel Rossetti to John Everet Millais, from Pablo Picasso to Francis Bacon, from Roy Lichtenstein to Andy Warhol.
This chapter is about the Statue of Liberty in the USA. The presentation is on the basis of the text for the class 9/10 students in Bangladesh.
It is strongly suggested to download this presentation to get the best.
History of the British Museum’s buildings over the past 260 yearsbritishmuseum
On 7 June 1753, an Act of Parliament established the British Museum after Sir Hans Sloane bequeathed his collection of 71,000 objects. Since then, the collection has grown to over 8 million objects and the Museum receives over 6 million visitors a year. This is a pictorial history visually showing the development of different buildings which have been on the Bloomsbury site.
In Genoa at Palazzo Ducale until March 03, 2019.
Sixty works from the Johannesburg Art Gallery that cover over a century of international art, through the major performers, from Claude Monet to Edgar Degas, from Dante Gabriel Rossetti to John Everet Millais, from Pablo Picasso to Francis Bacon, from Roy Lichtenstein to Andy Warhol.
This chapter is about the Statue of Liberty in the USA. The presentation is on the basis of the text for the class 9/10 students in Bangladesh.
It is strongly suggested to download this presentation to get the best.
Slides to accompany a Stage 3 School of Art lecture at eca based on my 'Reel 2 Real Cacophony' chapter in 'Scottish Cinema Now', Edited by Jonathan Murray, Fidelma Farley and Rod Stoneman, Cambridge Scholars Publishing, 2009.
Calcium and phosphorus metabolism / dental implant courses by Indian dental a...Indian dental academy
Description :
The Indian Dental Academy is the Leader in continuing dental education , training dentists in all aspects of dentistry and
offering a wide range of dental certified courses in different formats.for more details please visit
www.indiandentalacademy.com
Who doesn't visit the museum?Everyone has heard about it and held parents' hands and walked through the aisles of fascinating objects, sculptures, murals, etc and have been in awe.
What is a Museum?
Types of Museums?
Challenges
Case study
Organizational body
Slides for a First Year introduction to aesthetics focusing on the problems of Donald Judd's dictum. The slides relate to my chapter entitled "Art Worlds" in Exploring Visual Culture: Definitions, Concepts, Contexts, edited by Matthew Rampley. Published University of Edinburgh Press, 2005
Talk given at LGP Art Theory Course (1968-72) Symposium - 18th November 2010
LGP are organising a symposium of leading academics, artists, curators and writers to analyse the echoes of events at CSAD 1968 - 72 and look at current art educational practice and the perceived systematised failures and/or successes. It will examine the role that the regional art education institution played in the art education narrative and its significance to the wider counter culture of the 70s. In the late sixties and early seventies, CSAD held a vital subset of staff and students who together were responsible for formidable critical opposition to the art education model’s perceived compliance with the market definition of the art object and its reliance on the centrality of the author. The Art and Language collective’s critical agenda was to shift focus beyond the material paradigm and to construct an education capable of reflecting and promoting conceptual practice. The 70s administration of CSAD repelled this self conscious overturn of the traditional material/author-centric regime. This unyielding stand, common through regional art schools at that time, created a network of opposing force which became part of the wider counter culture of the decade.
The symposium will look at the significant role that regional art schools played in the art education narrative and examine how, if at all, the art education institution can function as a site of self-organisation, agitation and change. It will be held at the Herbert and free to attend.
http://neilmulholland.blogspot.com/2010/10/dave-rushton-lgp-coventry-18th-november.html
Presentation for CAA 2010 Conference in Chicago
http://conference.collegeart.org/2010/
Historians of British Art British Art: Survey and Field in the Context of Glocalization
Chair: Colette Crossman, independent scholar, Arlington, Virginia
The recent three-volume History of British Art published by the Yale Center for British Art and Tate Britain invites reflection on how art historical surveys situate British art in political, economic, social, and cultural processes that affirm, vex, and otherwise relate “glocally,” integrating global, regional, and local contexts. What is “glocal” in the
historiography, narratives, and methodologies of British art surveys and the ways they lend coherence to a field, blur its boundaries, or position its subject in the mainstream or margins of art history? How
do they treat subjects and subjectivities—citizen, immigrant, emigrant, diasporian, tourist—that bridge local and global through lineage, heritage, memory, and travel? To what effects do they distinguish what is non-British or serve readers outside Britain? In what ways do British
art surveys or British art in world art surveys advance nonart glocal political, economic, or social relationships?
------------------------
Neomedieval Art after Britain
Neil Mulholland, Edinburgh College of Art
Discourses of “British art” are suspended in a geopolitical vacuum that is blind to constitutional changes that have taken place in the United Kingdom since the fin de siècle devolution settlements. These discourses share the common fallacy of assuming that “Britain”—as a
euphemism for a state and as a cultural imaginary—continues to exist as locus of meaningful cultural debate. In fact, since the mid-1960s, the
Keynesian bureaucracy designed to promote the imaginaries of British art has been gradually dismantled, replaced by new European, national,
regional, and transurban cultural technocracies. This is a symptom of neomedievalism—overlapping microgeographies supplanting unilateral
colonial narratives such as “Britishness.” To understand and envisage the cultural implications of the “Balkanization of Britain,” this paper
critically compares the 2009 Venice Pavilions of Britain, Scotland, Wales, Ulster, and the English Regions, foregrounding a neomedieval
self-reflectiveness as the basis of a post-British alterity.
These are still to be updated for Dorm, but are similar those I will discuss at:
The Model – Sligo, Ireland
Opening: Saturday 1 May 2010 18:00-21:00
Symposium: Sunday 2 May 2010 16:00-18:00
Exhibition: Sunday 2 May – Sunday 4 July 2010
http://themodel.ie/exhibitions/dorm
The Model re-opens May Day with the vibrant exhibition Dorm. To coincide with this occasion, Reactor open the doors of The Munkanon Centre for one day only, with Munkanites on hand and ready to help. For the duration of the exhibition, an audio recording will be left in situ, which along with the remaining artefacts and remnants provide a glimpse into the world of Munkanon.
http://neilmulholland.blogspot.com/2010/04/munkanon-centre-model-sligo-ireland.html
Ethnobotany and Ethnopharmacology:
Ethnobotany in herbal drug evaluation,
Impact of Ethnobotany in traditional medicine,
New development in herbals,
Bio-prospecting tools for drug discovery,
Role of Ethnopharmacology in drug evaluation,
Reverse Pharmacology.
The Art Pastor's Guide to Sabbath | Steve ThomasonSteve Thomason
What is the purpose of the Sabbath Law in the Torah. It is interesting to compare how the context of the law shifts from Exodus to Deuteronomy. Who gets to rest, and why?
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
This is a presentation by Dada Robert in a Your Skill Boost masterclass organised by the Excellence Foundation for South Sudan (EFSS) on Saturday, the 25th and Sunday, the 26th of May 2024.
He discussed the concept of quality improvement, emphasizing its applicability to various aspects of life, including personal, project, and program improvements. He defined quality as doing the right thing at the right time in the right way to achieve the best possible results and discussed the concept of the "gap" between what we know and what we do, and how this gap represents the areas we need to improve. He explained the scientific approach to quality improvement, which involves systematic performance analysis, testing and learning, and implementing change ideas. He also highlighted the importance of client focus and a team approach to quality improvement.
We all have good and bad thoughts from time to time and situation to situation. We are bombarded daily with spiraling thoughts(both negative and positive) creating all-consuming feel , making us difficult to manage with associated suffering. Good thoughts are like our Mob Signal (Positive thought) amidst noise(negative thought) in the atmosphere. Negative thoughts like noise outweigh positive thoughts. These thoughts often create unwanted confusion, trouble, stress and frustration in our mind as well as chaos in our physical world. Negative thoughts are also known as “distorted thinking”.
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
The Indian economy is classified into different sectors to simplify the analysis and understanding of economic activities. For Class 10, it's essential to grasp the sectors of the Indian economy, understand their characteristics, and recognize their importance. This guide will provide detailed notes on the Sectors of the Indian Economy Class 10, using specific long-tail keywords to enhance comprehension.
For more information, visit-www.vavaclasses.com
14. MEGOLAPONERA FOETENSSTINK ANT OF THE CAMEROON OF WEST CENTRAL AFRICA THE MUSEUM OF JURASSIC TECHNOLOGY "...guided along as it werea chain of flowers intothe mysteries of life." HORN OF MARY DAVIS OF SAUGHALL
15.
16. Dutch Calvinist Iconoclasm 1566 - an engraving by Franz Hogenberg in Michael Aitsinger's "De Leone Belgico" (Cologne, 1588)
34. The Lower East Side hosted a loosely connected art colony on East 10th Street that formed as part of the avantgardist New York School.
35. Charlie Mingus, at the Five Spot, 1950s A 1956 exhibition entitled "Painters and Sculptors on Tenth Street" featured the works of 25 artists who lived on the street.
36. The artists, de Kooning and Larry Rivers, frequented the bar as did the beat writers Jack Kerouac and Frank O’Hara and jazz bassist Charles Mingus and saxophonist Sonny Rollins. Franz Kline, along with several other Abstract Expressionists, all vistited the Colony, a bar on the corner of E. 10th Street and Fourth Avenue.
37.
38.
39. The Giftopen source, creative commons?Accursed Sharemonopolising, curated content?
40. The Content Curator: Job Description “Someone whose job it is not to create more content, but to make sense of all the content that others are creating. To find the best and most relevant content and bring it forward.” rohitbhargava.typepad.com Source: cloudave.com
45. Teresa Gleadowe in Trade Secrets: Education/Collection/History, organized by the Banff International Curatorial Institute in collaboration with Teresa Gleadowe, and held at The Banff Centre, November 12-14, 2008.
46. When Travesty Becomes Form Alberto Duman The problem with critiques of curatorship is that they usually end up reinforcing the central importance of the curator. http://www.metamute.org/en/When-Travesty-Becomes-Form
Editor's Notes
diversity of strategy and engagement manifest in the range of actual curatorial practice The curatorial function cannot be crudely reduced to exhibition making
Everything is curated now…?What do we mean by this?What is a curator?
From the Latincuratus (compare Curator), a curate (pronounced /ˈkjʊərɨt/, us dict: kyoorʹĭt) is a person who is invested with the care, or cure (cura), of souls of a parish. Their job was to – take care of their parishioners souls.Following this tradition, a curator or keeper of a cultural heritage institution (e.g., gallery, museum, or archive) is a content specialist responsible for an institution's collections. The object of a traditional curator's concern necessarily involves tangible objects of some sort, whether it be inter alia artwork, collectibles, historic items or scientific collections.
A reliquary (also referred to as a shrine or by the French term chasse) is a container for relics. In Central West Africa, reliquaries used in the Bwete rituals contain objects considered magical, or the bones of ancestors, and are commonly constructed with a guardian figure attached to the reliquary.Used by the Kota whorevered the relics of ancestors. Ancestor worship formed the core of the family group’s religious and social life.
These may be the physical remains of saints, such as bones, pieces of clothing, or some object associated with saints or other religious figures. The authenticity of any given relic is often a matter of debate; for that reason, some churches require documentation of the relic's provenance.
Ontology (from theGreek ὄν, genitive ὄντος: "of being" (neuter participle of εἶναι: "to be") and -λογία, -logia: science, study, theory) is the philosophical study of the nature of being, existence or reality as such, as well as the basic categories of being and their relations.Traditionally listed as a part of the major branch of philosophy known as metaphysics, ontology deals with questions concerning what entities exist or can be said to exist, and how such entities can be grouped, related within a hierarchy, and subdivided according to similarities and differences.With the development of transport and the discovery of new worlds in the 16th century, several princes, scientists and amateurs started to collect curiosities. A general definition of the cabinet of curiosities would be to say that it was like a microcosm or summary of the world where the produce of the earth, sea and air (mineral, plant and animal), could be compared to the productions of mankind. The cabinets of curiosities found in the 16th and 17th centuries were collections of a rare or strange multitude of objects representing the three elements of Naturalia: the animal world, the vegetable world and the mineral world. In addition the cabinets would record Articialiahuman achievements.
The objective of the cabinets was not to accumulate or index the totality of naturalia and artificialia, as would the encyclopedists of the 18th century, but rather to penetrate the intimate secrets of Nature reproducing its spectacle and fantasy in microcosm. By collecting the oddest objects available, the cabinets would seize the feeling of wonder and surprise encapsulated in European creationist doctrines such as Judaism and Christianity. All objects were seen to have a divine origin. Some were ambiguous. This produced further curiosity. For example, it was often puzzled if fossils and coral were of vegetable or mineral origin. These objects seem to be in an intermediate state. Such confusion caused interest. The secrets of creation were thought to lie in such transitory phenomena. It is important to remember, however, that these cabinets were part of a prescientific era. Curiosities were able to seize the infinite richness of the world and give some points of passage between the material earth bound existence and the heavenly afterlife. As such cabinets were often named Wunderkammern– they were quasi religious experiences.
Collections of curiosities were not defined by their contents. Objects were extracted from the circuit of utility and economic activities to form new meanings and relationships with each other. How, then, were the cabinets structured? What did the elements have in common? The majority of the cabinets to the 16th and 17th centuries consisted of composite objects and seldom contained only works of art. Works of art were not valued as highly as some curios. For example, the Medici paid 6000 guilders for the horn of a unicorn, 100 guilders for Fra Angelico’s Adoration of the Magi and only 30 guilders for a painting by Van Eyck.
Wonder and spectacle are central to the curatorial impulse.They are inherent to early science and remains a driving force for those who seek the truth.But spectacle can be traded as an end in itself.e.g. Dime museum as an earlier kind of infotainment.
Click to play the film of the MJT
Reformation (1517+)Attempt to split objects from devotion.
Reformation (1517+)
Curating in the service of the state rather than church – National Galleries.Acquisition of objects is an exercise in imperial power for nation states, a way of generation a legacy and a lineage.
National collections still have a blatantly ritualistic (liturgic) function. We can think of collections as performative objects.The places that host them are ceremonial in this sense.This function hasn’t disappeared, galleries and museums and institutions of governance perpetuate it.
Civic Galleries curate a model of civic responsibility and pride.What is it that is being taken care of? How is this circulated and distributed? Clearly curating is a form of exchange, but what kind of value system is in operation, what is being exchanged?
Much thought concerning curating places emphasis on acquisition and consumption. Perhaps we need to think more about the other side of this equation – those who give rather than those who take?. The Gift is a short book by the French sociologist Marcel Mauss and is best known for being one of the earliest and most important studies of reciprocity and gift exchange."An essay on the gift: the form and reason of exchange in archaic societies” was originally publishedin 1923-1924. Mauss's essay focuses on the way that the exchange of objects between groups builds relationships between them.He argued that giving an object creates an inherent obligation on the receiver to reciprocate the gift. The resulting series of exchanges between groups thus provided one of the earliest forms of social solidarity used by humans.The Gift has been very influential in anthropology, where there is a large field of study devoted to reciprocity and exchange. It has also influenced philosophers, artists and political activists, including Georges Bataille and Jacques Derrida as well as in research into the phenomenon of Open source software.
So we could say the inherent obligation on the receiver to reciprocate the giftis what is activatedwhen people contrivetocurate their environments for religious or secular purposes. A gift economy is at the heart of the art economy, is this one that’s incommesurable with capital? Is it an index of social solidarity?Much of the empirical evidence of how artworlds are organised, regarding who works where and who benefits would suggest otherwise.Five interrelated myths are particularly misleading when it comes to deciding whether to become an artist.1. Making authentic art will be endlessly rewarding. Even when no other rewards are forthcoming, artists receive ample private satisfaction.2. Talent in the arts is natural or God given.3. Certain talents in the arts will only appear at a later point in someone’s career.4. Success in the arts depends exclusively on talent and commitment.5. Everyone has an equal chance in the arts. And so the myths and delusions about the kinds of chances artists have in the arts, chances that are unthinkable in any other field with its diplomas, old-boys-networks etc, continue to beguile the would-be artists.According to Hans Abbing, these are central myths in the artworld that glue the participants together via reciprocity and exchange.
THE GIFTGenerates cultural capital - which translates into surplus capital that circulates in a gift economy (this is a way of trying to ensure that this surplus does not fall into the hands of the state).But this surplus capital, can just as easily be concieved as what George Bataille called the‘accursed share’.
George Bataille, The Accursed Share (1949) / Home of Generalissimo Francisco Franco (1892–1975)According to Bataille's theory of consumption, the accursed share is that excessive and non-recuperable part of any economy which is destined to one of two modes of economic and social expenditure. This must either be spent luxuriously and knowingly without gain in the arts, in non-procreative sexuality, in spectacles and sumptuous monuments, or it is obliviously destined to an outrageous and catastrophic outpouring, in the contemporary age most often in war, or in former ages as destructive and ruinous acts of giving or sacrifice, but always in a manner that threatens the prevailing system.
THE GIFT as accursed share.For the late Kim Il SungWarhorses of the communist world set aside conservative habits to go on a shopping spree for Kim.Mao and Stalin sent railway carriages.Fidel Castro contributed a crocodile-skin briefcase. Former Soviet prime ministers Georgy Malenkov and Nikolai Bulganin dispatched sleek black limousines, copies of the cruisers seen in "The Untouchables."
Saddam Hussein’s mural in Peter York’s Dictator’s Homes
Immelda Marcos’ Shoes
The Heritage Industry?But the accursed share doesn’t require riches –Bataille says that "this poverty cannot in any way interrupt the movement of exuberance”
Influence of studying the potlatch - a festival ceremony practised by indigenous peoples of the Pacific Northwest Coast of North America.The word comes from the Chinook Jargon, meaning "to give away" or "a gift". At potlatch gatherings, a family or hereditary leader hosts guests in their family's house and holds a feast for their guests. \\The main purpose of the potlatch is the re-distribution and reciprocity of wealth.Different events take place during a potlatch, like either singing and dances, sometimes with masks or regalia, such as Chilkat blankets, the barter of wealth through gifts, such as dried foods, sugar, flour, or other material things, and sometimes money. Within it, hierarchical relations within and between clans, villages, and nations, are observed and reinforced through the distribution or sometimes destruction of wealth, dance performances, and other ceremonies. The status of any given family is raised not by who has the most resources, but by who distributes the most resources. The hosts demonstrate their wealth and prominence through giving away goods
The level of offering is dependent on the place the family hold in the caste system. Giving is more prominent in this cultural than receiving – it is a form of curating, literally a way in which people take care of their souls.The display is a gift related to low (nista), middle (madya), and high (utama) levels – it indicates or curates the correct place of all things in the cosmos.Good and bad spirits are given offerings as well as bad (trash is left for the bad ones).Gifts are a part of daily life.
ChristmasWe may think of a gift as something freely given, with no strings attached, an act of pure generosity. But this is not the way the gift functions in the potlatch according to Marcel Mauss and to Bataille"Hence giving must become acquiring a power..He [the gift giver] regards his virtue, that which he had the capacity for, as an asset, as a power that he now possesses. He enriches himself with a contempt for riches, and what he proves to be miserly of is in fact his generosity" (375). According to Bataille, giving and "reckless expenditure" are productive of rank, social standing. Giftingconfers rank.. [rank exists in Peanuts, think about it… who is the hereditary leader ?]
This is a false dichotomy, but a persistent one.Let’s look at some examples of how it persists.
Curated Computing?
Teresa Gledowe makes a similar point in this book.Origins of curating courses in the Whitney ISP – this was focused on institutional critique in the later 1980s.So most curating that has emerged since has been ‘independent’ – not based in museums, not adherant to the CAA’s rules regarding Art Historical scholarship.It has been generative and speculative, much like art since the 60s. Not a case of learning on the job any more, but of reflecting upon what that job might become.Artists were increasingly concerning themselves with mediation and the language of mediation, as they turned towards conceptual strategies. They were also, increasingly,organising themselves collectively.It is a product of post-conceptual notions of an expanded practice and is, therefore, something we should consider alongside the history of the MFA in terms of its impact upon artwork.As Paul O’Neil and Mick Wilson comment:In part these possibilities have been created by the emergence of alternative reputational economies that are not circumscribed by the market, and which are not necessarily destined to be 'cashed-in'.
Duman is perplexed by curators discussing curating in curating publications and curating conferences.Question might be how do we move away from the focus on the curator as an auteur towards the idea that we all curate?Curating isn’t something for just some people but a process we are all implicated in.How do we use this realisation to differentiate between what’s simply emergent in the dominant culture (which is how the CAA defines a curator) and what’s generative of a new direction in culture? How can curating correct rather than replicate, existing tendencies of managerial and administrative ranks typical of post-industrial capitalism?