titsay
$LAYYYTER
dirt enthusiast
Cosimo Galluzzi
blake kathryn
NASA
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YOU ARE THE REASON
Sweet Seals For You, Always
Xuebing Du
Not today Justin
todays bird
Alisa U Zemlji Chuda
Misplaced Lens Cap
if i look back, i am lost
tannertan36
tumblr dot com
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oozey mess
Janaina Medeiros
seen from Finland
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@livingpresentenvisioningfuture
“Contemporariness is, then, a singular relationship with one’s own time, which adheres to it and, at the same time, keeps a distance from it”
-Giorgio Agamben
“What is the Contemporary?” in What is an Apparatus and Other Essays, Giorgio Agamben, Stanford University Press 2009
On kawara- silence. Monographic exhibition @guggenheimmuseumnewyork
@thecityofnewyorkmuseum Speaking about women's power, Gay protest and the history of Jewish immigrants in New York. Beautiful section for the contemporary art galleries upstairs. Interesting video narrating the story of new york from its foundation to the contemporary days... To be visited @102 street 5th avenue
"Beauty is power" by @masonklein @jewishmuseum. A remarkable exhibition on Helena Rubistein ' art collection, a well - structured, inspiring and interesting exhibition. Rubistein advocated exceptioality in a world that discouraged nonconformity. She offered women the ideal of self invention. One's identity,she asserted, is a matter of choice. "I like different kinds of beautiful things and I am not afraid to use them in unconventional ways." H. R.
She said look at you,your game is over Your cup is full why you praying for more exposure? She said look at you,why don't you just pick a fleet, your cup is full..your cup is full...what have you not achieved?
London,Benjamin Clementine @benjaminclementine
Conceptualist pedagogy
Today I have attended an interesting lecture by conceptual artist Luis Camnitzer at the curatorial practicum course.He talked about turning education into a conceptualist pedagogy which means in the case of art history to first analyzing contemporary art and how it relates to the present to then explore the past - perhaps in a non-chronological, categorical way.
I find conceptualist pedagogy quite an interesting educational approach which does not explore art as an historical progression of styles, ideas and concepts, but as made of clusters of time, ideas and visual representations of intuitions and ideas.
Luis has referred about museums as maneuvered by governments, politics and economics. He said that art is made for being 'seen' or 'experienced', and therefore produces consumers.
He also talked about his experience as first director of the Art Department at SUNY, where he proposed to integrate the study of art in all the disciplines within the university: economics, sociology, history..and so far and so forth.
I find it genial, though it did last only one semester!:-(
Camnitzer's conceptualist pedagogy made me reflect on one issue: is there an education that can be just based on conceptualism? I mean, can an education rely only on concepts and theories or suppositions ? How far can the study of art go beyond the canons?
If art is just in theory and does't exist in practice, we don't need museums, don't we?
STARTING A GOOD DAY
Do the things you used to talk about but never did. Know when to let go and when to hold on tight. Stop rushing. Don't be intimidated to say it like it is. Stop apologize all the time. Learn to say no, so your yes has some oomph (?!?).
Spend time with the friends who lift you up, and cut loose the ones that bring you down. Stop giving your power away. Be more concerned with being interested rather than being interesting. Be old enough to appreciate your freedom, and young enough to enjoy it.
In a word, know who you are.
by Kristin Armstrong
Last November 2014, I visited TATE Liverpool while I was visiting researcher at the School of Museum Studies at the University of Leicester.
I could not but be very intrigued by the way in which artistic Director Francesco Manacorda and his curatorial team had displayed the collection proposing an alternative narrative through which the museums narrate art and art history.
The exhibition display is titled "DLA Piper Series: Constellations" and encourages the exploration of connections between major contemporary works of outstanding quality and significance by arranging them in five ‘constellations’. Presenting more than sixty works from the national collection, the display offers an imaginative way of viewing and understanding artworks through how they relate to each other rather than chronological sequence.
The museum has chosen some of the works of art from the collection acting as the originating ‘trigger’ of each constellation. The artworks have been chosen for their revolutionary effect on modern and contemporary art. These "triggers" are displayed together with other works of art from the collection and relate to these either for their similarity to, or apparent difference from or transformation of the trigger work. Each grouping creates interesting relationships and meaning that extends the themes and concerns of the originating work.
Accompanying each constellation there is a word cloud (which you ca see in one of the pictures above), that shows the connections between artworks across time, space and geography.
The museum is an interesting case study for my PhD research which investigates new curatorial practice to curate and interpret the display of both temporary exhibitions and the collection in alternative ways.
Very much inspiring and stimulating!
#tateliverpool #artcurating
Feminist art history is there to make trouble, to call into question, to ruffle feathers in the patriarchal dovecotes. It should not be mistaken for just another variant of or the supplement to mainstream art history. At its strongests, a feminist art history is a transgressive and anti-established practice meant to call many of the major precepts of the discipline into question.
Linda Nochlin, Introduction to "Women, Art and Power and Other Essays", p. xii (1988)
"The nature of museums is to be inclusive."
by William Grimes, New York Time, February 14 2015
@Rockfeller Center by night
I am part of all I have met
Lord Tennyson
Why now and why in New York?
I have been told to write a blog since many months. My supervisor in Aarhus and my Academic English Tutor in Leicester told me several times that my English is too academic..and that I should find my own voice to narrate the story of how I see and perceive the world. Because that's all about life!
To experience things, people and moments to then include them into a story, a kind of narration. Sometimes we just make these stories for the sake of store them in our memory and pick them one day we will be very nostalgic or in need of these stories.
I am fascinated by stories and particularly by the storytelling modes we use to narrate these. It might be for this reason that I am fascinated by museums and their incredible power of narrating through visual representations not simply stories but entire cultures, ideas, beliefs and identities.
In New York I am attending the Mellon Foundation curatorial practicum course held by Claire Bishop at the Graduate Centre at CUNY.
Our task is to prepared an exhibition proposal to be displayed in the James Gallery at CUNY. The class concerns the problem of translating scholarly research into a spatial configuration for exhibition. Why make an argument with objects in space? What type of approaches are possible for narrating histories spatially? What types of relationship are possible between an exhibition and its catalogue?
Yesterday it was my first class, and while reviewing exhibition proposals from important museums I cannot mention here, the most recurrent question was: "Why making this exhibition here in this museum? Why make it now?"
Though they sound like banal questions, I found these crucial - nearly existential - questions for a museum. If the art museum is able to answer to these two questions while making exhibitions, then it has certainly done more than entertaining people. It has attempted to impact on people's everyday life by offering something that was not known before. When one answer to the question 'why', it disclose a truth that was not known before, There are as many truths as there are different perspectives.
These questions "Why now and why here?" reverberated in my mind all evening. Why starting now my blog and why here in New York?
Life is not that long as we wish to be, and there are so many things I would like to see and know. Every day I feel that I discover something - and everyday I tell myself the story of this discovery. I think it is time to tell the others the joy of these discoveries. So, here you have.
This blog will share topics, issues and reflections related to my work in art museums, but it will also include stories or reflections born out of my everyday life in New York.
It is a blog for colleagues in the field of museum studies and curatorial practice but also a space where friends all over the world can share with me my experiences.
My name "livingpresent-envisioningfuture" says all I look forward in life. One has to imagine the future to build it.
What else to say? Good journey and enjoy reading!
#livingthepresentenvisioningfuture