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What is Curating?

What is Curating?. Ken Jones (left) & CMDC student Gary Nasca (right) hanging a poster for “Loud & Clear,” North Bank Artists Gallery, April 2012; photo by Nicole Buckner. Curating comes from the Latin word curare , “to Care”. Care about each individual work

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What is Curating?

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  1. What is Curating? Ken Jones (left) & CMDC student Gary Nasca (right) hanging a poster for “Loud & Clear,” North Bank Artists Gallery, April 2012; photo by Nicole Buckner

  2. Curating comes from the Latin word curare, “to Care” • Care about each individual work • Care about the audience’s experience with the works, both individual & as together as a whole • Care about the larger effort that involves all of the work CMDC student Hunter Crawford assisting visitor at “Electronic Literature” with work, Seattle, WA, January 2012; photo by Kerri Lingo

  3. Curator’s aesthetic Space Material Object Audience’s aesthetic Curating involves Aesthetic, Material, & Spatial practices

  4. Aesthetic Practice • Originally a branch of philosophy that focused on beauty • Critical reflection on art • Personal perspective, judgment and taste––sensibilities one brings to a one work; includes both the curator & the audience “Autovation” produced by CMDC students spring 2012 for OMSI; photo by WSUV MarComm dept.

  5. “Autovation” produced by CMDC students spring 2012 for OMSI; photo by WSUV MarComm dept. Material Practice Can involve tangible & intangible material objects & spaces

  6. Material Practice: Three types Jim Bizzocchi’s Re:cycle at the MAC Gallery at “Electrifying Literature,” in Morgantown, WV, June 2012; photo by Kerri Lingo Andy Campbell & Judy Alston’s “The Nightingale’s Playground” (2010) published on the web John Barber’s Brautigan.net archive of the of American writer Richard Brautigan Virtual works in physical spaces Physical works in virtual spaces Virtual works in virtual spaces

  7. Spatial Practice Three spaces used for “Electrifying Literature,” Morgantown, WV, June 2012; photos by Kerri Lingo Tap each screen to see how each space was used for an exhibit

  8. Affordances & Constraints • The features the work affords & constrains us for experiencing it • The features the space allows for showcasing the work • The level of support (e.g. funds, assistance, materials) a curator has to execute ideas on behalf of the work and the space “VJ Fleet” produced by CMDC students fall 2009; created by artists in residence Julie Andreyev and Simon Lysander Overstall; photos by Dene Grigar

  9. Curatorial Design “Contemporary curating practices that influence aesthetic experience associated with the art of exhibit” (7). “Critically informed approach” that considers the work in relation to the space in which it is exhibited. Anne John & Kathi Rick’s video installation in window of the Koplan Blg., Vancouver, WA, June 2010 during “Windows into Art;” photo by Dene Grigar From Vince Dziekan’s Virtuality & the Art of Exhibition

  10. In-Class Activity Directions: Working with the other members of your pod, study the items provided you and, then, develop an idea for how to present them (e.g. theme, concept). Select those items that fit your plan; set aside those that do not. Arrange the selected items in a way that makes sense for your plan. Be prepared to explain your choices.

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