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Bibliography |
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"Words of Wisdom. A Curator's Vade Mecum on Contemporary Art" Edited by Carin Kuoni. Printed by Independent Cuators International (ICI).
"From the sixty essays assembled here, two main lessons might be drwan: first, that no rules exist in the field of curatorial work and, second, that curating an exhibition of contemporary art only addresses issues of the particular momen in which the exhibition was created." Quote taken from the Introduction. For more infromation please visit www.ICI.org |
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"I am a curator" A project by Per Huttner.
"I am a Curator was a major project that empowered the viewer, giving Chisenhale Gallery's visitors the chance to be a curator for one day. Over the course of six weeks, prospective curators booked a one-day slot at Chisenhale, and each individual was given the opportunity to curate their own exhibition during the course of the day." Quote taken from www.chisenhale.org.uk |
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"Installation Art. A Critical Hisotry"by Clarie Bishop.
"Some installations plunge you into a fictional world -like a films or theatre set - while others offer little visual stimuli, a bare minimum of percepual cues to be sensed. Some installations are geard toward heighting your awareness of particular senses [touch or smell] while others seem to steal your semse of self-presence , refracting your image into an infinity of mirror reflections or pluging you into darkness. Others discorage you from contemplation and insist that you act - wrtie something down, have a drink, or talk to other people. These different types of viewing experience indicate that a different approach to the history of installation art is necessary: one that focuses not on theme or materials, but on the viewers experience." Quote taken from Bishop, Claire. 'Introduction: Installation art and experience.' In Bishop, Claire.Installation art Aa critical History. London: Tate Publishing. 2005. pp 7. |
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Art and Artifact: The Museum as Medium By James Putnam. A Thames & Hudson publication.
"I hae endeavoured to illistrate hoe the history of modernism inevitably intersects with that of modern art museums and how increasingly the art ofthe present affects what they exhibit and collect." Quote taken from the Preface. Wirtten by James Putnam in Feb 2001. |
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Michael Elmgreen / Ingar Dragset: Taking PlaceEdited by Kunsthalle Zurich. Danish Contemporary Art Foundation.
"The Powerless Structures of the artist duo Michael Elmgreen & Ingar Dragset - their repetitious paintings of an exhibition room culminating in paradox, thier conversion of a gallery space into a bar setting, the construction of a gallery room inside a museum room - are not without precedent in contemporary art. Indeed, they are part of a tradition of theoretical and practical artistic concern ... better known as the White Cube." Quote taken from Chapter 'Work on the White Cube' written by Markus Bruderlin. |
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Thinking about Exhibitions Edited by Ressa Greenburg, Bruse W Ferguson and Sandy Narine. A Routledge Publication.
"Exhibitons have become the medium thorugh which most art becomes known. Constantly reshaped by artists and curators, the exhibiton has become a prominent and diverse part of contemporary culture." Quuote taken from inside front cover. |
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