Abstract In the context of retrospective exhibitions, feminist restaging signifies a performative 'redoing' in a circuit of repetition that re-envisions, reinvents and remakes the discriminatory absences in history. In this article, the activism of restaging will be explored through the curatorial methods employed to memorialize Ana Mendieta's artistic legacy. Feminist strategies differ from the norms of canonical practices used in traditional career retrospectives, such as those for Mendieta's husband, Carl Andre. In another example of restaging, the 2011 re-presentation of Judy Chicago's works in Setting the Table created the opportunity to exhibit simultaneously Margarita Cabrera's sewing project in collaboration with Mexican artists. Restaging inaugurates the past and present of feminist collectivities, establishing a transnational activist model for repeat exhibitions.
在回顾展览的背景下，女权主义的重新演绎意味着在重复的循环中进行表演性的“重做”，重新设想、重新创造和重塑历史上的歧视性缺失。在这篇文章中，我们将通过纪念Ana Mendieta艺术遗产的策展方法来探索重新演绎的激进主义。女权主义策略不同于传统职业回顾中使用的规范做法，比如门迭塔的丈夫卡尔·安德烈(Carl Andre)。在另一个重新演绎的例子中，2011年朱迪·芝加哥(Judy Chicago)的作品在《摆桌子》(Setting the Table)中的重新展示创造了同时展示玛格丽塔·卡布雷拉(Margarita Cabrera)与墨西哥艺术家合作的缝纫项目的机会。reaging开创了女性主义集体的过去和现在，建立了一个跨国活动的重复展览模式。
{"title":"Restaging Feminism: The Activist Retrospective","authors":"J. Davidson","doi":"10.1386/jcs_00002_1","DOIUrl":"https://doi.org/10.1386/jcs_00002_1","url":null,"abstract":"Abstract In the context of retrospective exhibitions, feminist restaging signifies a performative 'redoing' in a circuit of repetition that re-envisions, reinvents and remakes the discriminatory absences in history. In this article, the activism of restaging will be\u0000 explored through the curatorial methods employed to memorialize Ana Mendieta's artistic legacy. Feminist strategies differ from the norms of canonical practices used in traditional career retrospectives, such as those for Mendieta's husband, Carl Andre. In another example of restaging, the\u0000 2011 re-presentation of Judy Chicago's works in Setting the Table created the opportunity to exhibit simultaneously Margarita Cabrera's sewing project in collaboration with Mexican artists. Restaging inaugurates the past and present of feminist collectivities, establishing a transnational\u0000 activist model for repeat exhibitions.","PeriodicalId":41456,"journal":{"name":"Journal of Curatorial Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47170761","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The most common form of restaging is that of the retrospective exhibition, for it can be used to provide a platform for the museum to reaffirm the original exhibition and in turn reaffirm itself as host. For Harald Szeemann, the role of the curator was that of a mediator who, through the exhibition, should attempt to halt the abovementioned closed-circuit of affirmations by questioning existing boundaries and canons. His own work, however, has been repeatedly restaged in recent years. This article focuses on two restagings: the Prada Foundation's When Attitudes Become Form: Bern 1969/Venice 2013 (2013) and the Getty Research Institute's Harald Szeemann: Museum of Obsessions (2018). I argue that restaged exhibitions can take two different forms: they can be focused on revising traditional canons and hierarchies, or they can serve to reaffirm the exhibition and the hosting institution. The two forms are interdependent, however, and most restagings contain a mixture of the two.
{"title":"Restaging Origin, Restaging Difference: Restaging Harald Szeemann's Work","authors":"N. Foster","doi":"10.1386/jcs_00005_1","DOIUrl":"https://doi.org/10.1386/jcs_00005_1","url":null,"abstract":"Abstract The most common form of restaging is that of the retrospective exhibition, for it can be used to provide a platform for the museum to reaffirm the original exhibition and in turn reaffirm itself as host. For Harald Szeemann, the role of the curator was that of a\u0000 mediator who, through the exhibition, should attempt to halt the abovementioned closed-circuit of affirmations by questioning existing boundaries and canons. His own work, however, has been repeatedly restaged in recent years. This article focuses on two restagings: the Prada Foundation's\u0000 When Attitudes Become Form: Bern 1969/Venice 2013 (2013) and the Getty Research Institute's Harald Szeemann: Museum of Obsessions (2018). I argue that restaged exhibitions can take two different forms: they can be focused on revising traditional canons and hierarchies, or they\u0000 can serve to reaffirm the exhibition and the hosting institution. The two forms are interdependent, however, and most restagings contain a mixture of the two.","PeriodicalId":41456,"journal":{"name":"Journal of Curatorial Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47127085","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In February 1971, the artist collective Aesthetic Dynamics, Inc. presented its first major undertaking: an exhibition of over 130 works of art by 66 artists. Organized as a memorial to the late James A. Porter, Afro-American Images 1971 was presented at the National Guard Armory in Wilmington, Delaware. Many of the artists who participated in the show were well-established nationally; however, the location and inclusion of many artists known only to the local community resulted in the marginalization of this significant exhibition. In 2021, the Delaware Art Museum will restage the exhibition as a collaborative curatorial partnership with past and currents members of Aesthetic Dynamics, Inc. in an effort to counter this historical amnesia. Restaging as a curatorial methodology is a constructive means through which to aid in the recovery of the 1971 project, its archival record and its significance locally and nationally.
{"title":"Aesthetic Dynamics, Inc. Presents: Afro-American Images 1971","authors":"Margaret Winslow","doi":"10.1386/jcs_00003_1","DOIUrl":"https://doi.org/10.1386/jcs_00003_1","url":null,"abstract":"Abstract In February 1971, the artist collective Aesthetic Dynamics, Inc. presented its first major undertaking: an exhibition of over 130 works of art by 66 artists. Organized as a memorial to the late James A. Porter, Afro-American Images 1971 was presented at the\u0000 National Guard Armory in Wilmington, Delaware. Many of the artists who participated in the show were well-established nationally; however, the location and inclusion of many artists known only to the local community resulted in the marginalization of this significant exhibition. In 2021, the\u0000 Delaware Art Museum will restage the exhibition as a collaborative curatorial partnership with past and currents members of Aesthetic Dynamics, Inc. in an effort to counter this historical amnesia. Restaging as a curatorial methodology is a constructive means through which to aid in the recovery\u0000 of the 1971 project, its archival record and its significance locally and nationally.","PeriodicalId":41456,"journal":{"name":"Journal of Curatorial Studies","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41955170","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Totalitarian Aesthetics of Mass Bodily Display During the 1930s","authors":"K. Toepfer","doi":"10.1386/JCS.8.1.52_1","DOIUrl":"https://doi.org/10.1386/JCS.8.1.52_1","url":null,"abstract":"","PeriodicalId":41456,"journal":{"name":"Journal of Curatorial Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/JCS.8.1.52_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49265674","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Quintessential Childhood: Showing Care in the Exhibition of the Dionnes","authors":"Jane Nicholas","doi":"10.1386/JCS.8.1.26_1","DOIUrl":"https://doi.org/10.1386/JCS.8.1.26_1","url":null,"abstract":"","PeriodicalId":41456,"journal":{"name":"Journal of Curatorial Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41968977","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Reviving the Refusé: Lenka Clayton and Jon Rubin","authors":"J. Drobnick, J. Fisher","doi":"10.1386/JCS.8.1.82_7","DOIUrl":"https://doi.org/10.1386/JCS.8.1.82_7","url":null,"abstract":"","PeriodicalId":41456,"journal":{"name":"Journal of Curatorial Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42388071","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Bones of Contention: Curating the Work of nichola feldman-kiss","authors":"Michelle Gewurtz, C. Sinclair","doi":"10.1386/jcs.7.2.272_1","DOIUrl":"https://doi.org/10.1386/jcs.7.2.272_1","url":null,"abstract":"","PeriodicalId":41456,"journal":{"name":"Journal of Curatorial Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42506756","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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