styofa doing anything
đȘŒ
⣠Chile in a Photography âŁ
Keni
trying on a metaphor
Show & Tell
2025 on Tumblr: Trends That Defined the Year
pixel skylines
Jules of Nature
JVL
blake kathryn
Janaina Medeiros
Origami Around
Peter Solarz
Lint Roller? I Barely Know Her
if i look back, i am lost
let's talk about Bridgerton tea, my ask is open
One Nice Bug Per Day
AnasAbdin
$LAYYYTER
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@experimentalmuseum
Centuries ago, scientists and explorers began to collect botanical, zoological and geological specimens in part because they were fascinating and in part ...
âThe museum plans to hire a curator of the Anthropocene in January. In a turnabout from the usual, the exhibition focuses on... climate change, pollution, extinction, habitat alteration and post-natural history.â
The New Mexico biennial SITE Santa Fe has announced the curators of its upcoming exhibition: José Luis Blondet, curator of special projects at LACMA; Candice
A brilliant way to address the tedious press release.
"The Los Angelesâbased artist Stephanie Taylor, who is known for her work exploring the relationship between sound and objects, has converted the exhibitionâs press release into a song. Taylor will also transform SITE Santa Feâs future announcements into musical melodies, which will all be performed the conclusion of the event"
The Kitchen Sisters are about to embark on a new NPR and podcast series, The Keepers â stories of activist archivists, rogue librarians, curators, collectors and historians. Keepers of the culture âŠ
It's pretty difficult to create cultural projects if you haven't kept them.
NYTimes: Museum Cafeteria Serves Black History and a Bit of Comfort
"Secret Life of an Artifact is a display at the Northwest Museum of Arts and Culture in Spokane, Washington which shows how museums strive to conserve and explain the artifacts in their collections."
âPreservation is at the heart of museum work. The material world is in a constant state of decay, and museums are in the business of slowing it down. Understanding an artifactâs material composition, we can anticipate potential threatsâwhether environmental, biological, chemical, or physical.â
The Royal Court has staged work by top-secret playwrights and Dance Umbrella is presenting new commissions by unnamed choreographers. Mystery performances can be liberating for artists as well as audiences
Interesting model to consider for a variety of contexts.
'Tomorrow Never Happensâ at the Samek Art Museum Envisions a Queered Future
âTomorrow Never Happensâ at the Samek Art Museum Envisions a Queered Future
Chitra Ganesh, âPussy Riot,â 2015. Courtesy of Freese Family Collection.
âA map of the world that does not include Utopia is not worth even glancing atâ â Oscar Wilde
The exhibition, Tomorrow Never Happens, explores queer futurity and the aesthetics of utopia. This group exhibition features work by contemporary artists Ugo Rondinone, Jordan Eagles, Deborah Kass, Harmony Hammond, Chitrah Ganesh, ZâŠ
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Bake Sale for the 21st Century Museum
In her article, The New Face of Philanthropy, Millennials in the U.S. Tammy Tibbets of Sheâs the First talks about her rethinking fundraising and who defines it. What sort of projects might museums fund raise if we did it this way? How might it free us up to explore social impact and reinterpret our missions?
https://medium.com/@tammytibbetts/the-new-face-of-philanthropy-33255e0abc14#.m058na33p
Two Chelsea galleries are simultaneously hosting the same audience-activated Yoko Ono pieces, with collaborative mending of shattered ceramic, sketching of an infinite line, and contemplating riverâŠ
Yoko Ono, where participation is a score, is an activity, is a historic undertaking.
â...all museums should be social activists, describing the oft-voiced museum ambition of being "places to convene discussions" as "weak tea." ...today's guest post... describes how the Eastern State Penitentiary Historic Site in Philadelphia moved from neutrality to taking a position on criminal justice reform.â
UK-based School of Life thinks museums can help make sense of the world. You?
Before traveling to OE 2015, I was in Los Angeles and heard the term âtea cozy artâ used in reference to the tendency of some social practice art to present convivial situations and facilitate agency in marginalized groups without ever really dismantling the institutional structures that create oppression. I wouldnât devalue this work altogether, but I do see a risk in these contexts to obscure the complexity and pervasiveness of inequality ...it remains important to speak to institutionalized power, which holds at its center art schools, funding agencies, and museums.
Reflections on a Weekend Devoted to Socially Engaged Art, Hyperallergic, Gretchen Coombs, 2015
Add a few captions and youâve covered Euro-American Art History 101.
Can we stop arguing about immersion vs button-pushing?
In this review of the exhibition âThe Visitorsâ by Ragnar Kjartansson at the Broad, immersion and focus are lauded over âbutton pushing.â. Iâd like to point out itâs simply one of many approaches that in terms of best practices, should be used when itâs errr, the best practice for the project.
Itâs not us vs them.
âI must mention that, in fact, the majority of the museum-goers looked for a place to sit on the floor and stayed there for quite some time, changing their place once in a while to make the most of different perspectives of image and sound; some museum-goers even lay down on the floor.What I find most remarkable is that this noteworthy appeal for immersion does not rely on the potential effectiveness of buttons to push and screens to scroll down, as these features are not present in the installation.â
https://objectsofsound.com/2016/04/22/the-visitors-by-ragnar-kjartansson-when-the-text-is-the-experience/
"Itâs been two weeks and there are 35 million search results for PokĂ©mon Go on Google and 9.5 million daily active players in the United States..."
Using Pokemon Go as a way into art history is great. HOWEVER, this piece suggest a direct link from Alan Kaprow and Happenings, which is gross oversimplification.
âWhat $100 Can Buy, State by Stateâ
Looking across the landscape when considering experimental work, this is good data to refer to. Not to mention fodder for an exhibitâŠ
http://www.nytimes.com/2016/08/09/business/what-100-can-buy-state-by-state.html
The project is not about predicting or creating the future, but rather about bringing practitioners in different fields together through panels, books, periodicals, exhibitions, and residencies to share their insights and ideas.
https://www.artsy.net/article/hans-ulrich-obrist-the-future-of-art-according-to-hans-ulrich-obrist
Hans Ulrich Obrist on 89plus
