Curatorial Design > Digital Cliff Notes
1st Wave, 1500 to 1600s: Guardians
|2nd Wave: 1700 to 1800s: Keepers||3rd Wave,1900 to 2000s: Curators|
|Question||Social Role||Organizational Role||Promotional Role|
|Method||Delegated Responsibility||Responsibility to Collect and Catalog||Responsibility to Develop and Inform|
|Vision||Local View||National Imperative||International Reputation|
|Theory||Keeping Things Well Ordered||Conveying knowledges Historical and Aesthetic||Producing New Knowledges and New Relations|
|Narrative||Cabinets of Curiosity||Authority on Artifacts||Co-Producer of Culture|
Caring for objects
|Sharing Objects||Creating Access to New Experiences|
|Space||Basic Formating||Demonstarative Fromating||Perfromative Formating|
|Power||Private Becoming Public||Irrational Collections Becoming Well Organized||Rational Collections Becoming Deterritorialized|
|Politic||WonderKrammer and Cultural Preservatiuon||Encyclopedic Knowledge and Enlightenment||Democratization and Globalization|
|Dialectic||Artisan / Society||Court Painter / State||Avant-gaurd / Internationalism|
Primary Dialect: Thesis: Disorder / Anti-Thesis: Order / Sythnesis: The Orders of Knowledge-Power
Waves of Pyscho-socio-cultural Development: Commons / Richards / Paiget / Aurobindo
Two Dialetic Triads: Thesis, Anti-Thesis and Synthesis, 4th Wave becomes a new first wave.
Curatorial Design: 1st Wave: Guradians, Symbolic (Pre-operational) | Second Wave: Keepers, Conceptual (Pre-Operational) | Third Wave: Curators, Concrete-Operational, (Role Mind) | Fourth Wave: Exhbition Makers/Star Curators, Formal-Operational, (Rational Mind) |
Curatorial Practice: First Wave: Exhbition Makers/Star Curators, Formal-Operational, (Rational Mind) | Second Wave: Collaborative Curator, Pluralistic Mind (Meta-systemic, Planetary Mind) | Third Wave: Collective Curators, Low to High Vision Logic (Cross-Paradigmatic, Higher Mind, Global Mind | 4th Wave Consumate Curator (Illuminiated-Intuitive Para-Mind, Meta-Mind, Transglobal) |
Museum Exhibition Planning and Design.
By Elizabeth Bogle.
[ ] Chapter 1: Phases
The Curators Handbook.
By Adrian George
[ ] Introduction
Exhibiting Cultures: The Poetics and Politics of Museum Display.
Edited by Ivan Karp and Steven D. Lavine.
[ ] Chapter 1: The Museum as a Way of Seeing. By Svetlana Alpers
Who’s Muse: Art Museums and the Public Trust
Edited by James Cuno
[ ] The Object of Art Museums. By James Cuno
The Objects of Experience: Transforming Visitor-Object Encounters in Museums.
By Elizabeth Wood and Kiersten F. Latham.
[ ] Chapter 1: Object Knowledge
[ ] Chapter 2: Object Knowledge Framework
The Art of Museum Exhibitions: How Story and Imagination Create Aesthetic Experience.
By Leslie Bedford.
[ ] Chapter 1: Exhibitions as Education
[ ] Chapter 5: John Dewey and Art as Experience
[ ] Chapter 6: Creating and Experiencing the Exhibition as Medium
Do Museums Still Need Objects?
By Steven Conn
[ ] Chapter 1: Do Museums Still Need Objects?
What Makes a Great Exhibition? Questions of Practice.
Edited by Paula Marincola.
[ ] Chapter 1: Show and Tell. By Robert Storr
Show Time: The 50 Most Influential Exhibitions of Contemporary Art.
By Jens Hoffman, Hans Ulrich Obrist, Massimiliano Gioni and Maria Lind.
[ ] Introduction: Changing Exhibitions
[ ] Beyond the White Cube
[ ] Across Fields and Beyond the Disciplines
Thinking About Exhibitions.
By Bruce W. Furguson, Reesa Greenberg, and Sandy Nairne.
Beyond the Box: Diverging Curatorial Practices
Edited by Melanie Townsend
[ ] Chapter 8: Contemporary Art Practices and the Museum: To be Reconciled at All?
Exhibition, Design, Participation: An Exhibit 1957 and Related Projects, Exhibition Histories Vol. 7
By Elena Crippa and David Sylvester