The Curators

A step-by-step guide to every aspect of putting on an art exhibition, with tips from a range of influential curators The Curator’s Handbook is the essential handbook for curators and curatorial students, mapping every stage of the process of putting on an exhibition, no matter how traditional the venue, from initial idea to final installation. An introduction explores curatorial work from its origins in the seventeenth century onward and outlines the various roles of the curator today. Twelve chapters then trace the various stages of the exhibition process in clear, informative language and using helpful diagrams and tables, from developing the concept to writing contracts and loan requests; putting together budgets and schedules; producing exhibition catalogues and interpretation materials; designing gallery spaces; working with artists, lenders, and art handlers; organizing private views; and documenting and evaluating a show. With advice and tips from a cast of international museum directors and curators—including Daniel Birnbaum (Moderna Museet, Stockholm); Aric Chen (M+, Hong Kong); Elizabeth Macgregor (Museum of Contemporary Art, Sydney); Hans Ulrich Obrist (Serpentine Gallery, London); Gao Peng (Today Art Museum, Beijing); Jennifer Russell (Metropolitan Museum of Art, New York); and Nicholas Serota (Tate, London)—this volume is a crucial guide for anyone involved in, or studying, the dynamic field of curation.

Ever wondered what made the Universe? - Was it the big bang? - Why is it not expanding or contracting? Why does it appear to have an orderly level of functionality? Are there more universes within a much larger multiversal environment? If so, where are they? Are theoretical physicists correct? In The Curators the reader is exposed to the mechanics of the multiversal environment we exist within and those entities that maintain it. In The Curators you will learn:- · That there is a hierarchy of entities that maintain the evolutionary efficiency of the multiverse · The roles and responsibilities of these entities · What nature spirits or elementals are · That we exist in many “Event Spaces” and the Realities within them · That there are different classifications of Event Space and Realities · That these entities can change our Event Spaces and/or Realities at will · That evolutionary efficiency is the primary reason for change in the multiverse · That there are different levels of structure to support the maintenance and functionality of the multiverse.

While being an inventor doesnt seem to be the best line of profession for the accident prone, an inventor working on a way to speed up the cooking time of a microwave unknowingly invents the first time machine. Not realizing what he has just made, he throws it out with all of his other nonworking inventions only realizing what it was he had made after it is stolen. After a daring rescue and a visit to the oracle (really just a crazy old cat lady), he must save time and maybe even fall in love armed with just a superheated ice-cream scoop, a modified version of his time machine, and his talking cat Gitz.

Over the centuries, natural history museums have evolved from being little more than musty repositories of stuffed animals and pinned bugs, to being crucial generators of new scientific knowledge. They have also become vibrant educational centers, full of engaging exhibits that share those discoveries with students and an enthusiastic general public. At the heart of it all from the very start have been curators. Yet after three decades as a natural history curator, Lance Grande found that he still had to explain to people what he does. This book is the answer—and, oh, what an answer it is: lively, exciting, up-to-date, it offers a portrait of curators and their research like none we’ve seen, one that conveys the intellectual excitement and the educational and social value of curation. Grande uses the personal story of his own career—most of it spent at Chicago’s storied Field Museum—to structure his account as he explores the value of research and collections, the importance of public engagement, changing ecological and ethical considerations, and the impact of rapidly improving technology. Throughout, we are guided by Grande’s keen sense of mission, of a job where the why is always as important as the what. This beautifully written and richly illustrated book is a clear-eyed but loving account of natural history museums, their curators, and their ever-expanding roles in the twenty-first century.

In recent years, the museum and gallery have increasingly become self-reflexive spaces, in which the relationship between art, its display, its creators, and its audience is subverted and democratized. One effect of this has been a growing place for artists as curators, and in The Artist as Curator Celina Jeffery brings together a group of scholars and artists to explore the many ways that artists have introduced new curatorial ways of thinking and talking about artistic culture. Taking a deliberately multidisciplinary and cross-cultural focus, The Artist as Curator will fill a gap in museum and curatorial studies, offering a thorough and diverse treatment of various approaches to the historical and changing role of the artist as curator that should appeal to scholars, curators, and artists alike.