Posts Tagged ‘Curator’

Summer Session – How to Make It: 10 Rules for Success From Art Curators

RoseLee Goldberg and Performa board member Todd Bishop at Relâche, 2012. Image via Paula Court and the original posting.

For our Back to School Summer Session, we’ve taken a look at education, pedagogy, and learning in the arts from a broad perspective, including work informed by school or schools of thought, investigations into the current state of academia, and resources for those interested in either self-directed or formal education. Today for our final installment we bring you an excerpt from an article by Cedar Pasori at Complex, who asked[…..]

Summer Session – Help Desk: Getting Paid for Curatorial Work

Kerry James Marshall. Portrait of a Curator (In Memory of Beryl Wright), 2009; acrylic on PVC, 30 7/8 x 24 7/8 x 1 7/8 in.

This week wraps up our month of regarding labor in the arts: work, innovation, collaboration, compensation, and leisure. In this Help Desk column, Bean Gilsdorf answers a question about making money from curatorial pursuits with some help from Fatos Üstek and Kuba Szreder. The article was originally published on May 9, 2016. I’m a professional curator with over a decade of experience, mostly as a salaried professional. I’d[…..]

Help Desk: Getting Paid for Curatorial Work

Kerry James Marshall. Portrait of a Curator (In Memory of Beryl Wright), 2009; acrylic on PVC, 30 7/8 x 24 7/8 x 1 7/8 in.

Help Desk is where I answer your queries about making, exhibiting, finding, marketing, buying, selling–or any other activity related to contemporary art. Submit your questions anonymously here. All submissions become the property of Daily Serving. I’m a professional curator with over a decade of experience, mostly as a salaried professional. I’d like to be doing more freelance curatorial work, but curators seem to either get paid nothing, absurdly little, or astronomical sums.[…..]

From the Archives – Help Desk: Put the Artist First

Rachel Reupke. Still from Letter of Complaint, 2015; color video, 10 min.

Today we look back at an intriguing curatorial question from last year: “Which comes first—the artist or the machine?” Help Desk is an arts-advice column that demystifies practices for artists, writers, curators, collectors, patrons, and the general public. Submit your questions anonymously here. All submissions become the property of Daily Serving. This article was originally published on March 16, 2015 In the role of writer and curator,[…..]

Help Desk: The Vanishing Curator

Sanya Kantarovsky. You Were Welcome Here, 2013; oil, watercolor, ink, bleach, gesso on canvas; 55 x 40 in.

Help Desk is an arts-advice column that demystifies practices for artists, writers, curators, collectors, patrons, and the general public. Submit your questions and issues anonymously here. All submissions become the property of Daily Serving. I’m a new MFA grad and I’m trying to break into the gallery system. Recently I had a great studio visit with a well-known curator. We talked for a long while about[…..]

Interview with Anthony Huberman

Joan Jonas. Still from 
Volcano Saga, 1985/2011; 28 min, color, sound.

Anthony Huberman was appointed the director of the CCA Wattis Institute in August of 2013, but only really started reshaping the institution this fall with an intriguing—and fairly democratic—strategy for presenting and thinking about contemporary art. As the founding director of the Artist’s Institute in New York, Huberman has worked with artists such as Robert Filliou, Rosemarie Trockel, Haim Steinbach, and Thomas Bayrle, and will be[…..]

Help Desk: Ghost in the Art Writing Machine

Pierre Huyghe. The Host and the Cloud, 2009-2010; Museum Ludwig, Cologne.

Help Desk is an arts-advice column that demystifies practices for artists, writers, curators, collectors, patrons, and the general public. Submit your questions anonymously here. All submissions become the property of Daily Serving. I’m a young curator and an arts writer with a museum job, but like everyone in the world, I can always use extra money. I’ve been approached before about “ghostwriting” for more established curators[…..]