A curatorial dreaming methodology allows the artist-curator to not only reinvent what exhibition making looks like, but also step out of disciplinary boundaries.
A system attuned to economic reality but focussed on providing optimal good and services. Quality over quantity, more considered innovation.
I would argue that a dense text does a good job of being a ‘mothership’ or a bible to underpin research, but a bad job of catching the eye, seducing a consumer or entering the public consciousness.
As we start talking about communicating with large numbers of people we have no choice but to look outside of the museum or classroom walls and beyond the exhibition as the primary mode of presentation.
Throughout history the solutions to problems, and even solutions to problems we didn’t know we had, have been discovered by either venturing out of a discipline, or inviting those from other disciplines in.
One might go as far as to say that, from our point of view, culture cannot exist without the senses, and neither can we.
Comedy has a lot in common with art. It reacts to an observation, experience or emotional resonance, expressing it through a chosen medium to an audience.
Where photography once overtook painting as the shower of truth, this title is now held by video. We see it used in one way or another by most, if not all disciplines.
An artist makes artworks, thinking hard about communicating through their chosen media. In addition to this behaviour, an artist-curator thinks technically about how, why, where and when artworks (or outputs) will be consumed by an audience.
Art and curating, by their very nature, are constantly moving, looking for the next turn or movement. This tends to be how museums plot and present the development of disciplines over time.
The story of research communication could begin with scientists like Michael Faraday who realised that if their cutting edge research was to reach its potential and change the world it had to be seen.
In making judgements about how best to communicate ideas to audiences, one must pay real attention to the audience in question. It’s important to recognise that the concept of a ‘general public’ is long gone.
Gardening is shaping nature, art is representing nature, life is part of nature, and science looks to understand the laws of nature.
Conceptual appropriateness’ is a personal judgement that takes a leaf out of the book of conceptual art. There is a clear refusal to default to traditional methods of production, a desire to find a shoe that fits.
The ‘cultural landscape’ looks to describe the landscape we live in. It would include all spaces and ‘things’ in society, public and private, that form the cultural experiences of everyday life.
In this context a ‘tool’ is the specific vehicle employed to carry an idea to an audience. Although my attention is predominantly focused on the art world, visual culture, manufacturing and knowledge economies, a tool can be anything and come from anywhere.
There was something about recreating an observation on your own terms that seemed so new and innovative to me, but sat so conformably in the canon of art history, of memory, of perception, of how we want things to be.
It’s the number of times something is deemed profound, significant, inspiring, useful, compelling etc. in a specific text, based on ones current knowledge. This makes this number both extremely personal and potentially very telling.
Joy Shellard recounts growing up in the museum during WWII in a book entitled A Child of the Home Front. Anecdotes of her youth are set against the backdrop of not only war, but growing up in a museum.
It’s people like Davis that have started to inform my ethical position; not progress vs conservation, but ‘progress for conservation’, research that negotiates successfully between the two, or makes both equal stakeholders in its investment, outcomes and impact.