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Curator responsibilities[edit] In smaller organizations, a curator may have sole responsibility for the acquisition and care of objects. The curator will make decisions regarding what objects to take, oversee their potential and documentations, conduct research based on the collection and history that provides proper packaging of art for transportation, and shares that research with the public and community through exhibitions and publications. In very small volunteer-based museums, such as local historical societies, a curator may be the only paid staff member. In larger institutions, the curator's primary function is as a subject specialist, with the expectation that he or she will conduct original research on objects and guide the organization in its collecting. Such institutions can have multiple curators, each assigned to a specific collecting area (e.g., Curator of Ancient Art, Curator of Prints and Drawings, etc.) and often operating under the direction of a head curator.

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Nation Performing Arts Convention Like e-mail in the ‘90s and the web at the dawn of the new millennium, artists and organizations—as a matter of business—have had to adapt to these new modes of communication and integrate these tools into their operations. Web 2.0 and social platforms like Digg and Delicious, YouTube, Flickr, and Facebook have pushed the electronic envelope even further up the learning curve. Along comes Twitter, and the real-time revolution is on—just as mobile technologies have gone viral. Is the Role of the Curator Evolving? Increasingly, the curatorial role is focused on audience engagement and collaboration, rather than specialized knowledge. There has been a lot of chatter in recent years about the “death of the curator.” But is the role of the curator really dead, or is it just evolving? Once a position that glorified specialized knowledge on niche-like topics, this role is expanding, becoming user-friendly and reaching beyond the walls of institutions. It has grown well beyond the selection and placement of art or artifacts in a space; it has equally become about empowering the audience, collaboration, and innovation, both in a physical space and in the virtual world.

RELATED THEMES : The role of the curator The role of the curator ‘After a time, you train yourself that once the work is out of the studio, it’s up to somebody else how it gets shown and where it gets shown. You can’t spend all your time being responsible for how the work goes out in the world, so you do have to let go.’ - Bruce Nauman, interview with Tony Oursler, Please Pay Attention Please: Bruce Nauman’s Words, Janet Kraynak (ed.), 2002,The MIT Press / Cambridge, MA / London, England, 2003 p. 381 The ‘somebody else’ who is usually primarily responsible for how and where a work of art is shown is the curator.

Curation - The Third Web Frontier Posted by Guest Writer - January 8, 2011 Here is a guest article by Partice Lamothe - CEO of Pearltrees (Pearltrees is a consulting client of SVW.) This is a lightly edited version of "La troisième frontière du Web" that appeared in the magazine OWNI - Digital Journalism - March 2010. The article argues that the founding pricinciples of the Internet are only now being implemented and that the next frontier is in organizing, or curating, the Internet.

Principles of Good Practice for Student Affairs Engages students in active learning.Helps students develop coherent values and ethical standards.Sets and communicates high expectations for student learning.Uses systematic inquiry to improve student and institutional performance.Uses resources effectively to achieve institutional missions and goals.Forges educational partnerships that advance student learning.Builds supportive and inclusive communities. Introduction Today's context for higher education presents student affairs with many challenges.

NSSE Report Builder You choose the group. We'll show you the results. How engaged are seniors majoring in engineering? Looking and Being Looked At in the New International Center of Photography The exterior of the new International Center of Photography at 250 Bowery (photo © Saul Metnick, courtesy the International Center of Photography) I expected to stare at many things at the International Center of Photography‘s (ICP) new 250 Bowery location, but my own image was not one of them. Many of the walls in the space’s inaugural exhibition, Public, Private, Secret, are mirrored, and it is impossible to photograph the work without making oneself a part of the conversation. All the mirroring is a metaphor for how the new space will work, as the ICP seeks to develop both internal and external conversations about contemporary photography. As ICP Executive Director Mark Lubell puts, 250 Bowery will be a return to the early days of the space in the 1970s, when it was still very much a “center” — a place for an exchange of ideas — and not strictly a “museum,” like its previous Midtown Manhattan location — which Lubell views as more one-sided.

Interactive: Snake Oil? The scientific evidence for health supplements See the data: See the static versionSee the old flash version Check the evidence for so-called Superfoods visualized. Cate Blanchett rewrites art history in 13 short films Whether it's Karl Marx's prescient writings on communism or Guy Debord's poetic take on the Situationists, manifestos tend to contain explosive calls to action that jump off the page – they practically demand that you lead the Next Great Revolution. But in Berlin artist Julian Rosefeldt's meticulously choreographed film installation Manifesto, the bombardment of rebellious remarks thrown at gallerygoers doesn't inspire radical upheaval so much as it leaves us unsettled, pensive and amused. With Cate Blanchett as his wildly chameleonic partner-in-crime, Rosefeldt’s 13-channel video installation, on display until 10 July at Berlin’s Hamburger Bahnhof, takes some of the most trailblazing art manifestos of the 20th century out of their original contexts – think Fluxus, surrealism and constructivism, but also the writings of architects and filmmakers like Lars von Trier and Werner Herzog. Most of the manifestos you include were penned by defiant young men.

20-year-old drone photographer turns coastline into stunning art Throw away your holiday snaps and deactivate your aspirational Pinterest boards, because Australian man Gabriel Scanu has shut down the photography game. The 20-year old uses drones to capture some of the most aerial photographs your eyes have ever clapped upon. Showcasing the beauty of Australia's coastline and now travelling regularly, Scanu's photographs depict the gorgeous contrasts where land meets the ocean. "The thing I love most about drone photography is the fact that you can capture scenes from a perspective that they are never usually viewed from," Scanu told Wired. Scenic composition is in the photographer's DNA, with Scanu telling From Where I Drone that his father Viv, a cinematographer, introduced him to the art capturing real life on film, all at the tender age of 12.

Nate DiMeo's The Memory Palace in Residence at the Met Museum Nate DiMeo’s The Memory Palace podcast excels at transporting the listener to a historical place purely with sound. As the MetLiveArts 2016-17 artist in residence at the Metropolitan Museum of Art, DiMeo is creating a series of 10 episodes. Each one offers site-specific experiences with the museum that consider how the objects, artists, curators, collectors, and even architecture of the place impact art history.