Curating At The Edge
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Curating at the Edge
Author: Kate Bonansinga
language: en
Publisher: University of Texas Press
Release Date: 2014-01-06
Located less than a mile from Juárez, the Stanlee and Gerald Rubin Center for Visual Arts at the University of Texas at El Paso is a non-collecting institution that serves the Paso del Norte region. In Curating at the Edge, Kate Bonansinga brings to life her experiences as the Rubin’s founding director, giving voice to a curatorial approach that reaches far beyond the limited scope of “border art” or Chicano art. Instead, Bonansinga captures the creative climate of 2004–2011, when contemporary art addressed broad notions of destruction and transformation, irony and subversion, gender and identity, and the impact of location on politics. The Rubin’s location in the Chihuahuan desert on the U.S./Mexican border is meaningful and intriguing to many artists, and, consequently, Curating at the Edge describes the multiple artistic perspectives conveyed in the place-based exhibitions Bonansinga oversaw. Exciting mid-career artists featured in this collection of case studies include Margarita Cabrera, Liz Cohen, Marcos Ramírez ERRE, and many others. Recalling her experiences in vivid, first-person scenes, Bonansinga reveals the processes a contemporary art curator undertakes and the challenges she faces by describing a few of the more than sixty exhibitions that she organized during her tenure at the Rubin. She also explores the artists’ working methods and the relationship between their work and their personal and professional histories (some are Mexican citizens, some are U.S. citizens of Mexican descent, and some have ancestral ties to Europe). Timely and illuminating, Curating at the Edge sheds light on the work of the interlocutors who connect artists and their audiences.
Curating Live Arts
Situated at the crossroads of performance practice, museology, and cultural studies, live arts curation has grown in recent years to become a vibrant interdisciplinary project and a genuine global phenomenon. Curating Live Arts brings together bold and innovative essays from an international group of theorist-practitioners to pose vital questions, propose future visions, and survey the landscape of this rapidly evolving discipline. Reflecting the field’s characteristic eclecticism, the writings assembled here offer practical and insightful investigations into the curation of theatre, dance, sound art, music, and other performance forms—not only in museums, but in community, site-specific, and time-based contexts, placing it at the forefront of contemporary dialogue and discourse.
Curating Worship
Curation is a term usually used in the art world for the role of imagining and overseeing an exhibition or art experience. However the word is now being adopted by people in alternative worship, as it affords a very different and inventive way of thinking about how to lead a service or praise event. Rather than simply presiding over liturgy or fronting a band, curation involves negotiating between institutions and artists and making do with what is to hand to create something brilliant. The hope is that moments of epiphany will be experienced as God is invited to be and breathe in the space, and people make connections with their own lives and stories. Curating Worship is in two parts. The first considers the kind of thinking, skills and disciplines involved in good curation. The second consists of in depth interviews, which tease out from people who have curated amazing worship experiences around the world, the ideas and theories behind their approaches and the practical processes involved.