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The New Curator: Exhibiting Architecture and Design examines the challenges inherent in exhibiting design ideas. Traditionally, exhibitions of architecture and design have predominantly focused on displaying finished outcomes or communicating a work through representation. In this ground-breaking new book, Fleur Watson unveils the emergence of the ‘new curator’. Instead of exhibiting finished works or artefacts, the rise of ‘performative curation’ provides a space where experimental methods for encountering design ideas are being tested. Here, the role of the curator is not that of ‘custodian’ or ‘expert’ but with the intent to create a shared space of encounter with audiences. To illustrate this phenomenon, the book explores a diverse, international range of exhibitions. Divided into six themes, a series of project profiles are contextualized through conversations with influential curators and cultural producers such as Paola Antonelli, Kayoko Ota, Mimi Zeiger, Catherine Ince, Aric Chen, Zoë Ryan, Beatrice Leanza, Prem Krishnamurthy, Marina Otero Verzier, Brook Andrew, Carroll Go-Sam, Rory Hyde, Eva Franch i Gilabert, Patti Anahory and Paula Nascimento. Featuring over 100 color illustrations, this highly designed, beautiful book offers an innovative contribution to the field. An essential read for students and professionals in architecture, design, art, visual culture, museum studies, curatorial studies and cultural theory. The book also features a foreword by Deyan Sudjic and an afterword by Leon van Schaik AO.
In the twenty-first century, we are continually confronted with the existential side of technology—the relationships between identity and the mechanizations that have become extensions of the self. Focusing on one of humanity’s most ubiquitous machines, Automotive Prosthetic: Technological Mediation and the Car in Conceptual Art combines critical theory and new media theory to form the first philosophical analysis of the car within works of conceptual art. These works are broadly defined to encompass a wide range of creative expressions, particularly in car-based conceptual art by both older, established artists and younger, emerging artists, including Ed Ruscha, Martha Rosler, Richard Prince, Sylvie Fleury, Yael Bartana, Jeremy Deller, and Jonathan Schipper. At its core, the book offers an alternative formation of conceptual art understood according to technology, the body moving through space, and what art historian, curator, and artist Jack Burnham calls “relations.” This thought-provoking study illuminates the ways in which the automobile becomes a naturalized extension of the human body, incarnating new forms of “car art” and spurring a technological reframing of conceptual art. Steeped in a sophisticated take on the image and semiotics of the car, the chapters probe the politics of materialism as well as high/low debates about taste, culture, and art. The result is a highly innovative approach to contemporary intersections of art and technology.
This book is an interdisciplinary collection of twenty-four essays which critically examine contemporary exhibitions and artistic practices that focus on conceptual and creative aspects of access. Oftentimes exhibitions tack on access once the artwork has already been executed and ready to be installed in the museum or gallery. But what if the artists were to ponder access as an integral and critical part of their artwork? Can access be creative and experimental? And furthermore, can the curator also fold access into their practice, while working collaboratively with artists, considering it as a theoretical and practical generative force that seeks to make an exhibition more engaging for a wider diversity of audiences? This volume includes essays by a growing number of artists, curators, and scholars who ponder these ideas of ad-hoc, experimental and underground approaches within exhibition-making and artistic practices. It considers how, through these nascent exhibition models and art practices, enhanced experiences of access in the museum can be a shared responsibility amongst museum workers, curators, and artists, in tandem with the public, so that access becomes a zone of intellectual and creative "accommodation," rather than strictly a discourse on policy. The book provides innovative case studies which provide a template for how access might be implemented by individuals, artists, curators, museum administrators and educators given the growing need to offer as many modalities of access as possible within cultural institutions. This book shows that anyone can be a curator of access and demonstrates how to approach access in a way that goes beyond protocol and policy. It will thus be of interest to students and scholars engaged in the study of museums, art history and visual culture, disability, culture, and communication.
Making Disability Modern: Design Histories brings together leading scholars from a range of disciplinary and national perspectives to examine how designed objects and spaces contributes to the meanings of ability and disability from the late 18th century to the present day, and in homes, offices, and schools to realms of national and international politics. The contributors reveal the social role of objects - particularly those designed for use by people with disabilities, such as walking sticks, wheelchairs, and prosthetic limbs - and consider the active role that makers, users and designers take to reshape the material environment into a usable world. But it also aims to make clear that definitions of disability-and ability-are often shaped by design.