Curator

Every museum has an object that has a story to tell to the visitors. Collecting institutions will often spend more time, energy, and money caring for the objects that visitors do not see than the institutions spend on the public exhibits. (Moses, 1) These objects, whether displayed in exhibits or in storage hidden from the public view, are instilled with meaning, as the objects “tell us who we are as individuals and as a society” and “connect us with our past.” (Moses, 2) However, while collecting

The Play of the Unmentionable The Play of the Unmentionable, a critically hailed exhibition, was a creation of the conceptual artist and curator Joseph Kosuth. The show comprised more than 100 works of art that Kosuth picked from the permanent collection of the Brooklyn Museum. Some of these creations could have been rendered objectionable when they were composed due to issues of political, religious, and social contexts. Nonetheless, The Play of the Unmentionable was a project that moved beyond

The exhibition was arranged by curator Peter Barnet, in conjunction with the director of the Hildesheim Cathedral Museum, Michael Brandt, and a curator from the Hildesheim Cathedral Museum, Gerhard Lutz. The exhibition catalogue also includes a foreword from the Dean of Hildesheim Cathedral, Hans Georg Koitz where he reveals that these objects

Another aspect of romanticism that is prevalent in Shelly’s novel is the way Frankenstein, and his creation, are controlled by their emotions. Frankenstein is continually ruled by his feelings of fear, guilt, and love throughout the novel. For instance, he works for nearly two years to accomplish his goal of creating life, only to immediately flee because of fear when his work comes to life. This was a major illustration for the reader that despite being an experienced scientist Frankenstein

returned for its 30th anniversary. The New Photography exhibition is called Ocean of Images and is showing 19 artists and artist collectives from 14 countries. The exhibition was organized by Chief Curator of Photography Quentine Bajac, Lucy Gallun, assistant curator; and Roxana Marcoco,senior curator; with the assistance of Kristen Gaylord, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography ("Ocean of Images: New Photography 2015 | MoMA”). According to MoMA’s exhibition description

Raquel de Anda is an independent curator growing in the border places between America and Mexico, which gives her cross-cutural outlook. She may experience and feel the differences between various cultures. It is a little like me, as well as other international students. We are now studying in the U.S, and experience different background and culture. Why not we explore the differences between American culture and our own culture. As a curator, maybe I should curate an exhibition focusing on the difference

Open Casket, blocking it, but not that you could totally not see, with his back facing the viewer. On a back on his T-shirt was written “Black Death Spectacle”. Same afternoon, there was an open letter released on Facebook directed to exhibition curators Mia Locks and Christopher Y. Lew, by a british artist and a writer Hannah Black. In a letter Hannah Black demanded the picture taken down and even destroyed: “It is not acceptable for a white person to transmute Black suffering into profit and fun’

Department. I was graciously welcomed into Blair House by people whose passions align with mine. Being surrounded on a daily basis with a real sense of diplomacy and history humbles most who walk through the house. The stories that are told on the curator-led tours fascinate anyone with an interest in

the guardian news discusses the museum is renowned for its conservatism. 2016, in a significant first challenge to the institution’s orthodoxy, its new head anthropologist, John Carty, has made a special appointment to Glenn Iseger-Pilkington as curator of Aboriginal art and material culture to reconnect the Indigenous collection with country and peoples. Glenn is a 35-year-old visual artist from Kimberley, he has a reputation in art curating. The aim of this appointment was to recognize and empower

An exhibition without wall text can still be effective if the information about the exhibition and the individual works are made accessible to the viewer in another way, and preferably a better way, to justify why that museum convention needed to be traversed. Like David Hickey’s exhibition “Beau Monde: Toward a Redeemed Cosmopolitanism”, the purpose of the exhibition and the art labels can be reimagined as thoughtful entries in a carry-along pamphlet, or perhaps grouped together numerically on