www.intellectbooks.co.uk/journals
The Journal of Curatorial Studies is an international, peer-reviewed publication that explores curating and exhibitions and their relation to institutions, communities, and display culture at large. The expanded practices of curating not only produce exhibitions to view, they also play a catalytic role in redefining aesthetic experience, interrogating social and political formations, and inquiring into the construction of knowledge. The journal supports in-depth investigations of contemporary and historical exhibitions, curatorial projects and themes, and analyses of the theoretical and critical dynamics that influence the production, mediation and impact of exhibitions.
In issue 3.1 of the Journal of Curatorial Studies
Cinema and the Everyday: Margot Bouman examines how the postproduction aesthetic of Christian Marclay’s The Clock transforms the experience of both video installation and the exhibition context.
Activist Photography: The 1931 Exhibition of the Building Workers Unions by Herbert Bayer, Walter Gropius and László Moholy-Nagy stands as an early but overlooked example of audience-activated display. Vanessa Rocco analyzes its innovative techniques within German social and political history.
Diplomacy and Museology: Annette de Stecher considers the Huron-Wendat Museum in Wendake, Quebec in light of the current expansion of indigenous museums in North America. While negotiating Western curatorial models, this museum foregrounds indigenous concepts of culture keeping and knowledge transmission.
Museums in Nigeria: While colonial-era African museums were often influenced by European standards, Amanda H. Hellman explores the processes by which early Nigerian museums simultaneously extended and departed from the uses ofBritish museums for social and political purposes.
Exhibiting Indifference: Andy Weir analyzes two works from dOCUMENTA (13)—Pierre Huyghe’s Untilled and Guillermo Faivovich and Nicolas Goldberg’s series based on the meteorite El Chaco—and the claim that they propose a non-anthropocentric form of knowledge production.
Further highlights:
Exhibition reviews of David Bowie Is (V & A, London), Yang Fudong (TIFF, Toronto), the 55th Venice Biennale, Art on the Underground: Contemporary Art Programme on the Tube (London), Glam! The Performance of Style (Tate Liverpool), David Tomas (Artexte, Montreal), and Arte de Contradicciones. Pop, realismos y política. Brasil-Argentina 1960 (Fundación Proa, Buenos Aires).
Website review of The Library by soundpocket.
Book reviews of Making Art Global (Part 1): The Third Havana Biennial 1989 (Rachel Weiss, Ed.), Bad Boy: My Life On and Off the Canvas (Eric Fischl and Michael Stone), and Museums and Communities: Curators, Collections and Collaboration (Viv Golding and Wayne Modest, Eds.)
Upcoming issues
3.2 (June): Latin American Curating and Exhibitions
4.1 (February 2015): China: Curating, Exhibitions and Display Culture
4.3 (October 2015): Curating and the Affective Turn
Call for papers
The Journal of Curatorial Studies publishes three times a year and invites original research articles on the subject of curating and exhibitions, as well as reviews of books, exhibitions, conferences and websites. Proposals can be submitted anytime and are considered on an ongoing basis. Please see the call for papers section of the journal’s web page for more information.
Please send correspondence to:
Jennifer Fisher, Editor
York University
[email protected]
Jim Drobnick, Editor
OCAD University
[email protected]
Journal of Curatorial Studies
372 Sackville Street
Toronto, Ontario
Canada M4X 1S5
www.intellectbooks.co.uk/journals
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ISSN: 20455836 / Online ISSN: 20455844
First published in 2012 / three issues per volume
Subscriptions
Personal: 36 GBP / 68 USD, Institutional (print and online): 150 GBP / 210 USD, Online only: 117 GBP / 160 USD. To subscribe to the journal, please contact Intellect, or visit the journal’s webpage.
About Intellect
Intellect is an independent academic publisher of scholarly books and journals that supports original thinking, placing great emphasis on serving the interests of authors and editors. It aims to provide a vital space for widening critical debate in new and emerging subjects within the fields of visual arts, film studies, cultural and media studies, and performing arts. For more information, please visit www.intellectbooks.com.
*Christian Marclay, The Clock, 2010. Single-channel video with sound, 24 hours, looped. Installation view, White Cube Mason’s Yard, London (15 October–13 November 2010). Photo: Todd-White Photography. © Christian Marclay. Courtesy Paula Cooper Gallery, New York and White Cube, London.
