Journal of Curatorial Studies

Volume 1, Number 1, 2012

Jim Drobnick and Jennifer Fisher, editors

Intellect Publishers

http://www.intellectbooks.co.uk/journals/view-issue,id=2094

TABLE OF CONTENTS

JIM DROBNICK AND JENNIFER FISHER
Introduction

ARTICLES

LEIGH MARKOPOULOS
The Accidental Exhibition: Chance as Curatorial Critique and Opportunity

REBECCA UCHILL
Hanging Out, Crowding Out or Talking Things Out: Curating the Limits of Discursive Space

JOHN POTVIN
Fashion and the Art Museum: When Giorgio Armani Went to the Guggenheim

MYRON M. BEASLEY
Curatorial Studies on the Edge: The Ghetto Biennale, a Junkyard, and the Performance of Possibility

BEN CRANFIELD
Between Consensus and Anxiety: Curating Transparency at the ICA of the 1950s

EXHIBITION REVIEWS

HELENA RECKITT
Chrisoph Büchel, Piccadilly Community Centre

MILENA TOMIC
Move: Choreographing You – Art and Dance Since the 1960s

SVEN CHRISTIAN SCHUCH
MMX Open Art Venue
KW69
squatting. erinnern, vergessen, besetzen

MARTA JECU
Carlos Bunga, Simultâneo, fragmentado, descontínuo

JOANNA SZUPINSKA
Fokus Łódź Biennale 2010: From the Liberty Square to the Independence Square

WEBSITE REVIEW

JAMES SHAEFFER
VVORK

BOOK REVIEWS

GABRIELLE MOSER           
Curating and the Educational Turn, Paul O’Neill and Mick Wilson (eds)
Raising Frankenstein: Curatorial Education and Its Discontents, Kitty Scott (ed.)

CHELSEA HAINES
Selected Maria Lind Writing, Brian Kuan Wood (ed.)

BRIAN CURTIN
Who Cares? 16 Essays on Curating in Asia, Alvaro Rodriguez Fominaya and Michael Lee (eds)

ETHAN W. LASSER
A Matter of Class: John Cotton Dana, Progressive Reform and the Newark Museum, Carol G. Duncan
Made in Newark: Cultivating Industrial Arts and Civic Identity in the Progressive Era, Ezra Shales

Cover image: Felix Gonzalez-Torres, Untitled (Loverboy) (1989), blue sheer fabric and hanging device, dimensions vary with installation; Untitled (Placebo), candies individually wrapped in silver cellophane, endless supply, overall dimensions vary with installation, ideal weight: 1,000–1,200 lbs; and Untitled (For Stockholm) (1992), light bulbs, porcelain light sockets and extension cords, overall dimensions vary with installation, twelve parts: 42 ft. in length with 20 ft. of extra cord each. Installation view of Tino Sehgal’s curated version of Specific Objects without Specific Form at MMK Museum für Moderne Kunst, Frankfurt, Germany, 2011. Photo: Axel Schneider, © The Felix Gonzalez-Torres Foundation, courtesy of Andrea Rosen Gallery, New York.