Curatorial

Creative Time: Cheryl Meeker

October 12, 2013

Keyword: Equity | Choosing a term buried within one of the summit themes, inequity, I choose to isolate part of that word for the keyword “equity.” In light of the current massive world debt bomb, preceded and/or partially precipitated by the financial meltdown, derivatives explosion and off budget U.S. war spending, the term equity creates an association first with financial equities (stock equities,) home equity (depleted,) and secondarily to the concept of equity in human terms: fairness. Associations with the term extends to the British actors’ labor union, Equity, and for those of us...

Curating People: Erika Balsom

April 28, 2011
Erika Balsom

My research focuses on how and why the projected image has emerged as a major feature of artistic production over the past two decades. In addition to the analysis of key artworks, a significant component of this project has involved examining the various strategies curators and artists have used to display moving images in a gallery/museum space. These can range from the innovative to the exploitative, from the refreshing to the careless. In all cases, I approach these choices after they have been made and delivered to the public; I can speculate on what internal agendas might...

Curating People: Susan Miller

April 28, 2011
Susan Miller
Top Ten Things Every Curator Should Know about Supporting Experimental Work 1) Being a good curator is more than having good taste or knowing how to arrange things. 2) If supporting experimental work ONLY requires facilitating the production of it, the title of curator is probably overstated. Facilitator, coordinator, producer is probably more like it. (See next.) 3) In addition to the above, being a curator also means you are a critic and capable of writing good text about the work. Work that is “experimental” is often so because it is new, and without description or context yet. It...

Curating People: Constance Lewallen

April 28, 2011
Constance Lewallen
Performance emerged as a new genre in contemporary art at the end of the 1960s. Alongside other new forms, such as video and installation, which developed contemporaneously as aspects or off shoots of Conceptual art and concurrent with the radical politics of the time, it was conceived as oppositional to the increasing commercialism of art and a way to break down boundaries between artist and audience, art and life, and to de-emphasize the art object in favor of the process of creation. The San Francisco Bay Area rivaled New York in the amount of performance activity that took place in...

Curating People: David Henry

April 28, 2011
David Henry
A hybrid inside the gates: confessions of an artist/curator/educator/administrator/curator/artist Over the past 30 years I have worked in five different art museums including one photography museum, two encyclopedic museums, and two modern/contemporary museums.I came to the field through the back door—a government grant to better engage visitors gave me and three fellow MFA students our first museum jobs – – leading tours and creating public programs.When the grant ended I went behind the scenes in a different museum as a preparator and curatorial assistant. In this capacity, it became...

Cross Sector Conference

Open Engagement Pre-conference | CROSS-SECTOR Thursday, April 28, 2016, 10am to 6pm Friday, April 29, 2016, 10am to 1:30pm The Magnes Collection, 2121 Allston Way, Berkeley, CA
Accessible from the Downtown Berkeley BART station CROSS-SECTOR pre-conference will be free and open to the public. Kindly REGISTER here for the plenary talks, break-out sessions, and closing lecture so we can track attendance.

Making Time at Human Resources: Aandrea Stang

February 22, 2012
Aandrea Stang
Since 2008 I have been working with a team of colleagues at The Museum of Contemporary Art, Los Angeles (MOCA) to design and organize the museum’s performative/social practice program, Engagement Party. Engagement Party’s statement is below: Engagement Party offers Southern California–based artist collectives and collaborators an opportunity to make new artworks, interacting with and exploring MOCA and its resources in unexpected ways. Invited to work on site for three months, the artists may employ any medium, discipline, or strategy to create performances, workshops, screenings,...

On “Soul of a Nation: Art in the Age of Black Power”

November 8, 2019
On “Soul of a Nation: Art in the Age of Black Power” Curator Mark Godfrey, Tate Modern, in conversation with Kenyatta A.C. Hinkle Friday, November 8, 2019
4:00-6:00pm
David Brower Center, 2150 Allston Way, Downtown Berkeley

Watch the recording here!

Please note, this event is free and open to the public. Seating is first come, first served (no tickets). Co-sponsored by The Arts Research Center and the Department of Art Practice.

Location/Translation: Apsara DiQuinzio

September 19, 2012
When I first moved to San Francisco, over six years ago, for a job at the San Francisco Museum of Modern Art, the recurring refrain I often heard from people living here and working in the field of contemporary art was that the region’s art scene tended to be rather “provincial.” I found this pejorative qualifier highly problematic, and in many ways it remains a perception artists living in the Bay Area struggle to overcome. For example, an artist I know recently appeared in a major national exhibition, and on his wall label in the exhibition he had been described as a “San Francisco-based...

Curation as Research

September 19, 2017
Curation as Research: Contemporary Art in Central America Miguel A. López and Emiliano Valdés
in conversation with Julia Bryan-Wilson (History of Art) Tuesday, September 19 at 5:30 pm
Geballe Room, Townsend Center for the Humanities (map)

Watch the recording...