Curating.info - Comments

bradford90: Fumio Nanjo and Douglas Fogle

nospam@example.com (bradford90) — Wed, 04 Jun 2008 12:04:48 -0500

check out this interview with Douglas Fogle (http://blackandwhiteprogram.com/interview/douglas-fogle-life-on-mars-carnegie-international), maybe it'll answer some questions you have

Carlo Dezzani: Francesco Bonami

nospam@example.com (Carlo Dezzani) — Sat, 17 May 2008 01:33:27 -0500

Egr.prof Bonami:gradirei con la presente richiederLe se può prendermi in considerazione come artista visitando il mio sito www.dezzaniarte.com.Purtroppo non ho grandi disponibilità finanziarie quindi non riesco a partecipare ad eventi quali i vari Expo e quindi una mia eventuale riuscita o successo vengono meno.Confido sinceramente in Lei quale estimatore d'arte e come dice il prof.Sgarbi"vi sono artisti che meritano e non escono per questioni finananziarie"l'Arte è quindi penalizzata solo dai soldi,e i sentimenti di chi crea dove finiscono?Gradirei avare una Sua risposta alla presente quando può.Le porgo i miei più cordiali saluti Carlo Dezzani

David Thomas Crawley: Opportunity: Call for curators at artselector

nospam@example.com (David Thomas Crawley) — Sun, 27 Apr 2008 14:42:17 -0500

I am very interested in this concept! Please do tell me more! I am curating a show at the CUC North West in July 2008. Check out www.crawleyali.blogspot.com

Michelle Kasprzak: Censorship & Dismissal

nospam@example.com (Michelle Kasprzak) — Sun, 09 Mar 2008 06:40:42 -0500

Thanks, Nicola!

steve taylot: Job: Curator at the Victoria and Albert Museum, London

nospam@example.com (steve taylot) — Wed, 05 Mar 2008 10:56:16 -0600

Nutcase.

nicola tucker: Censorship & Dismissal

nospam@example.com (nicola tucker) — Sat, 01 Mar 2008 15:31:20 -0600

I am very impressed with this site
Its like a breath of fresh air to us budding curators.
Thanks

Nicola
www.nicolatucker.com

Federica: Pick 'N Mix - February 2008

nospam@example.com (Federica) — Mon, 04 Feb 2008 14:18:09 -0600

I found this written very flowery. In a way could be true, but on the other hand it's true the contrary. There are in my opinion some emerging curator as well as "situation" very interesting that goes over the simple "interactivity". And then, what means "swim against the current"?

Liu Fan: Fumio Nanjo and Douglas Fogle

nospam@example.com (Liu Fan) — Tue, 08 Jan 2008 03:17:37 -0600

I want to read the articles.

Terry Rhodes: Job: Curator at the Victoria and Albert Museum, London

nospam@example.com (Terry Rhodes) — Mon, 03 Dec 2007 04:10:13 -0600

I have applied for the position as curator for a number of reasons, but there are two that stand out as the most pivotal for my personal and professional development. My desire to one day is a professional curator is the first point I would like to focus on. I have been to see many exhibitions at the V&A and have always been thoroughly impressed with the way the shows hanging are strongly presented. I recently attended the Georg exhibition and was amazed at the way the work was displayed. Such a keen eye for detail was used in the hanging of the paintings accompanied by the strategically placed sculpture and prints; the show�s fluidity simply blew me away from start to finish. I have always kept a keen eye for vacencies on your website and when I saw the opening I knew that this was a position that I would be very interested in pursuing. The role of the curator has always been appealing to me but my interest has grown from strength to strength

Over the past year since leaving university I have worked as a recruitment consultant.
I wanted to try my hand in a sales environment for the challenge along with the potential of earning good money and even better commission. I had achieved this but in the process have realized that this really is not the career path that I want to pursue at all. I want to work within the walls of something I can really enjoy and put my heart and soul into and in tandem something that I can be proud of when looking at the finished display. I feel that I can, and will do better for myself and the team being a part something I can sympathize and rationalize with.

The second main reason I am applying for this position is truly the fact that I do enjoy and regularly attend exhibitions (solo and joined) and am fascinated by the way in which the curator can either enhance or destroy a body of work by any artist generally, whatever level they may be. I know what keeps and holds my and I feel the career path which I have taken thus far is not is not something I will be pursuing again, but it was a learning curve and I realize that that particular path just was not for me. I would love to work within the field connected to the thinking and practice of the art world and would like the chance to learn whilst something I am interested in and most importantly I feel I can excel and really forge a career in something I genuinely have an interest in. I have invested all of my further education into the subject and I feel this is what I would like to put into practice while learning the intricacies of the theoretical side of the curator role in the gallery and exhibition process. I feel strongly that this role would really hold my interest and would be a job that I could immerse and further myself and my already strong and meticulous thirst for the subject.

I have had some prior experience in hanging my own exhibitions while studying painting in Wales and some smaller but by no less important experience over the past few weeks of sitting in and helping hang some Indian art works in a small gallery in West London. Through these means I have found the process a much harder and much more delicate than I could have ever imagined which has really spurred me on to apply for this role.

I find myself gazing as much at the hanging and positioning of works as I do the works itself; one of my more recently favourites being the Banksy vs. Warhol exhibition which I found to be hung beautifully.

Thank you for your time,

Terry Rhodes

Michaela Mantini: Curatorial Intern: Toronto

nospam@example.com (Michaela Mantini) — Mon, 29 Oct 2007 11:01:52 -0500

Hi Alissa,
I realise that this internship is from last fall, however the position is something which sparked my interest. I am a third year Queen's University art history student, from Toronto and would love to speak wth you about the position and the work that you do in general as it is something i am very interested in.
I look forward to speaking with you soon,
Michaela Mantini

Alexander Viscio: Call for curators: Smack Mellon Emerging Curator Programme

nospam@example.com (Alexander Viscio) — Mon, 22 Oct 2007 09:02:29 -0500

I dropped off a package regarding a show I curated, "Through the Night Softly" I will come by a drop off a s.a.s.e. before I leave aginn for Vienna this Thursday the 25TH.

GILLIAN MCIVER: Open Source Curating

nospam@example.com (GILLIAN MCIVER) — Sun, 21 Oct 2007 05:56:41 -0500

Actually I find that in most cases in the art world, not much is "open and transparent" and it becomes more arcane the higher up you go.
I like the post by Niels Van Tomme, who makes some points that I agree with in terms of successful projects I've been involved with, with a few caveats:

1] film making is never non-hierarchical. the director is always god, just some gods are more dictatorial than others.

2] the tyranny of the brief, or theme: to practice a true "open" kind of curation means to walk the knife edge between having some key element to hold the whole together, and allowing each contributor the freedom to explore the meaning and take it in the direction that woks for them. In this way it's unlike software which in the end depends on if those "zeroes and ones" allows it to work. With art, there are no real mechanistic boundaries and things "working" or not is somewhat subjective.

3] Lastly the idea of the "classically trained" curator is a myth put out by conservative institutions and people. There is no "classical" training course for curating contemporary art - its not something you can learn or teach in school. by definition schools can only teach canons whereas contemporary curators have to be a good few steps ahead of the canon to be able to see and anticipate the meaning of "contemporary" in any given time. This is one reason so many "alternative" shows are so exciting, and why so many institutional and "wannabee" shows are so boring - and look so alike.

aaaaaaaaaaah, enough

Lucia Andrea Sweeney: Every curator's nightmare?

nospam@example.com (Lucia Andrea Sweeney) — Sun, 14 Oct 2007 20:59:18 -0500

Absolutely! As her sister and co-artist to several of the projects she has done. She is one on her own and from nothing makes new and wonderful creatives experiences to evolve.

Elizabeth Henley: Every curator's nightmare?

nospam@example.com (Elizabeth Henley) — Sun, 14 Oct 2007 20:58:02 -0500

I can vouch the dedication of Gaynor. She has given many opportunities, including myself to work along side to help my research in my practice.

This is a woman and artist with so much vision, passion and conviction to her art and humanity, she is working head long, although she is severly ill at the moment.

I thank her for her support that I have been given and others similar over the years she has been doing art and curating.

LeisureArts: Pick 'N Mix - October 2007

nospam@example.com (LeisureArts) — Mon, 01 Oct 2007 07:48:00 -0500

To continue to stretch things a bit...Maybe you would be interested in the book Everyday eBay: culture, collecting, and desire. It's an anthology and many of the essays touch on issues germane to curating and art. One example: Lisa Bloom's essay deals with the way eBay has affected the art auction houses, particularly how it has disrupted the "...social filters based on elite assumptions about gender-, race- and class-based forms of social relations."