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Peristil : zbornik radova za povijest umjetnosti, Vol. 59 No. 1, 2016.

Prethodno priopćenje
https://doi.org/10.17685/Peristil.59.12

Hospitable Embraces – Institutional Imagery and the Iconography of Curatorship

Beti Žerovc ; Faculty of Arts, University of Ljubljana, Department of Art History

Puni tekst: engleski, pdf (294 KB) str. 147-154 preuzimanja: 119* citiraj
APA 6th Edition
Žerovc, B. (2016). Hospitable Embraces – Institutional Imagery and the Iconography of Curatorship. Peristil, 59 (1), 147-154. https://doi.org/10.17685/Peristil.59.12
MLA 8th Edition
Žerovc, Beti. "Hospitable Embraces – Institutional Imagery and the Iconography of Curatorship." Peristil, vol. 59, br. 1, 2016, str. 147-154. https://doi.org/10.17685/Peristil.59.12. Citirano 26.05.2019.
Chicago 17th Edition
Žerovc, Beti. "Hospitable Embraces – Institutional Imagery and the Iconography of Curatorship." Peristil 59, br. 1 (2016): 147-154. https://doi.org/10.17685/Peristil.59.12
Harvard
Žerovc, B. (2016). 'Hospitable Embraces – Institutional Imagery and the Iconography of Curatorship', Peristil, 59(1), str. 147-154. doi: https://doi.org/10.17685/Peristil.59.12
Vancouver
Žerovc B. Hospitable Embraces – Institutional Imagery and the Iconography of Curatorship. Peristil [Internet]. 2016 [pristupljeno 26.05.2019.];59(1):147-154. doi: https://doi.org/10.17685/Peristil.59.12
IEEE
B. Žerovc, "Hospitable Embraces – Institutional Imagery and the Iconography of Curatorship", Peristil, vol.59, br. 1, str. 147-154, 2016. [Online]. doi: https://doi.org/10.17685/Peristil.59.12

Sažetak
One of the crucial changes that occurred in contemporary visual art in the twentieth century was the formation of an immense institutional platform with thousands of very different institutions that not only exhibit, house, and support contemporary art, but also directly commission it and produce it. This global network of institutions is run by contemporary art experts – which as a rule means curators, not artists. Curators are the ones who devise and administer programmes, who invite the public to participate in a varied and constant stream of events, and who guide the public using a complex discourse rich in metaphor and conceptual abstraction. The art system, therefore, not only allows but even demands that the curator, too, in keeping with the charismatic ideology of the art field, be as fully “consecrated” as possible and also that production relations be defined, not clearly as actual production relations, but rather as, for instance, the relations of hospitable hosting.

Ključne riječi
institutional art; history of contemporary art exhibitions; documenta; curatorial mythology; curatorial practice and theory; Carolyn Christov-Bakargiev

Hrčak ID: 179002

URI
https://hrcak.srce.hr/179002

[hrvatski]

Posjeta: 265 *