Anne Pontégnie (Kelley Walker's exhibition)

A curator (from Latin: curare meaning "take care") is a manager or overseer. Traditionally, a curator or keeper of a cultural heritage institution (e.g., gallery, museum, library or archive) is a content specialist responsible for an institution's collections and involved with the interpretation of heritage material. The object of a traditional curator's concern necessarily involves tangible objects of some sort, whether it be inter alia artwork, collectibles, historic items or scientific collections. More recently, new kinds of curators are emerging: curators of digital data objects and biocurators.

Curator responsibilities[link]

In smaller organizations, a curator may have sole responsibility for the acquisition and care of objects. The curator will make decisions regarding what objects to collect, oversee their care and documentation, conduct research based on the collection, provide proper packaging of art for transport, and share that research with the public and scholarly community through exhibitions and publications. In very small volunteer-based museums, such as local historical societies, a curator may be the only paid staff member.

In larger institutions, the curator's primary function is as a subject specialist, with the expectation that he or she will conduct original research on objects and guide the organization in its collecting. Such institutions can have multiple curators, each assigned to a specific collecting area (e.g. Curator of Ancient Art, Curator of Prints and Drawings, etc.) and often operating under the direction of a head curator. In such organizations, the physical care of the collection may be overseen by museum collections managers or museum conservators, and documentation and administrative matters (such as insurance and loans) are handled by a museum registrar.

Other definitions[link]

In the United Kingdom, the term curator is also applied to government employees who monitor the quality of contract archaeological work under Planning Policy Guidance 16: Archaeology and Planning (PPG 16) and are considered to manage the cultural resource of a region. In the museum setting, a curator in the United Kingdom may also be called a "keeper".

In Scotland, the term "curator" is used to mean the guardian of a child.

In the United States, the term can also be used to refer to a member of the University of Missouri Board of Curators, the governing body of the University of Missouri System. The Board consists of nine members appointed by the state governor.

More recently, advances in new technologies have led to a further widening of the role of curator. This has been focused in major art institutions internationally and has become an object of academic study and research.

In contemporary art, the title curator is given to a person who selects and often interprets works of art. In addition to selecting works, the curator often is responsible for writing labels, catalog essays, and other supporting content for the exhibition. Such curators may be permanent staff members, be "guest curators" from an affiliated organization or university, or be "freelance curators" working on a consultant basis. The late twentieth century saw an explosion of artists organizing exhibitions. The artist-curator has a long tradition of influence. Notable among these was Sir Joshua Reynolds, founder of the Royal Academy, London.

In some American organizations, the term curator is also used to designate the head of any given division of a cultural organization. This has led to the proliferation of titles such as "Curator of Education" and "Curator of Exhibitions". The term "literary curator" has been used to describe persons who work in the field of poetry, such as former 92nd Street Y poetry director Karl Kirchwey.^[1] This trend has increasingly been mirrored in the United Kingdom in such institutions as Ikon, Birmingham, UK and Baltic, Gateshead, UK.

In Australia and New Zealand, the term is also applied to a person who prepares a sports ground for use (especially a cricket ground)^[2] This job is equivalent to that of groundsman in some other cricketing nations.

In France, the term curator is translated as conservateur. There are two kind of curators, Heritage curators (conservateurs du patrimoine) with five specialities (archeology, archives, museums, historical monuments, natural science museums), and Librarian curators (conservateurs des bibliothèques). These curators are in public service, selected by competitive exam, the use of the title curator by private workers remains unofficial.

Education and training[link]

Curators generally hold a higher academic degree in their subject, typically a Doctor of Philosophy or a master's degree in subjects such as history, history of art, archaeology, anthropology, or classics.^[3][4][5] Curators are also expected to have contributed to their academic field, for example, by delivering public talks, publishing articles or presenting at specialist academic conferences.^[3] It is important that curators have knowledge of the current collecting market for their area of expertise, and are aware of current ethical practices and laws that may impact their organisation's collecting.^[6][7]

Recently, the increased complexity of many museums and cultural organisations has prompted the emergence of professional programs in fields such as public history, museum studies, arts management, and curating/curatorial practice.^[8] In 1992, the Royal College of Art established an MA course co-funded by the Royal College of Art and the Arts Council of Great Britain, the first in Britain to specialise in curating with a particular focus on contemporary art. The course is now funded by Arts Council England, and in 2001 the course title was amended to Curating Contemporary Art to more accurately reflect the content and primary focus of the programme.^[9] Other institutions that run programs in curating include Kingston University; Goldsmiths College, University of London; Birkbeck, University of London; Chelsea College of Art and Design;University of the Arts London; California College of the Arts; University of Southern California; Bard College; University of Rennes 2—Upper Brittany; Ontario College of Art and Design and The University of Melbourne. (See →External links for further information on courses.)

Technology and Society[link]

In the same way that a museum curator may acquire objects of relevance or an art curator may select or interpret a work of art, the injection of technology and impact of social media into every aspect of our society has seen the emergence of technology curators; someone who is able to disentangle the science and logic of a particular technology and apply it to real world situations and society, whether for social change or commercial advantage. The first UK Wired Conference had a test lab, where an independent curator selected technology that showcased radical technology advancements and their impact on society, such as the ability to design and "print" real world objects using 3D printers (such as a fully working violin) or the ability to model and represent accurate interactive medical and molecular models in Stereoscopic 3D.^[10] MLOVE,^[11] a Confestival started in 2010, celebrated the disruption of the perception of what a tech conference should be, using a radically more interactive format that drew on a variety of influences outside of the traditional world of technology, including religion, micro-banking for developing countries and interactive art installations/workshops such as the Future Cube^[12] and a giant interactive video projection.^[13]

See also[link]

• Collection
• Curation
• Curatorial platform
• Docent

References[link]

Further reading[link]

• Burcaw, G. (1997) Introduction to Museum Work, 3rd edition. Lanham, MD: Altamira Press. ISBN 978-0-7619-8926-4
• Ferguson, B., Greenburg, R. and Nairne, S. (1996) Thinking About Exhibitions ISBN 0-415-11590-6.
• Glaser, J. and A. Zenetou. (1996) Museums: A Place to Work. Routledge. ISBN 978-0-415-12724-0
• Lord, G. and B. Lord. (1997) The Manual of Museum Management. Lanham, MD: Altamira Press. ISBN 0-7591-0249-X
• Kuoni, Carin. (2001) Words Of Wisdom: A Curator's Vade Mecum on Contemporary Art. New York: Independent Curators International (ICI). ISBN 0-916365-60-3
• Marincola, P. (2002) Curating Now: Imaginative Practice/Public Responsibility ISBN 0-9708346-0-8
• Obrist, H. (2008) A Brief History of Curating ISBN 3-905829-55-X.
• Rugg, J. and Segdwick, M (2007) Issues in Curating. Intellect. ISBN 978-1-84150-162-8
• Richter, D. and Drabble, B (2007) Curating Critique. Revolver. ISBN 978-3-86588-451-0
• Spalding, F. (1998) The Tate: A History. Tate Publishing. ISBN 1-85437-231-9.
• Sullivan, L. and Childs, S. (2003) Curating Archaeological Collections ISBN 0-7591-0024-1.
• Thea, C. (2009) On Curating: Interviews with Ten International Curators ISBN 1-935202-00-6.
• Graham, B. and Cook S. (2010) Rethinking Curating. Cambridge: MIT Press. ISBN 0-262-01388-6

External links[link]

Wikimedia Commons has media related to: Curators

Look up curator in Wiktionary, the free dictionary.

• 'Hang it all', article on contemporary curating and the rise of curating degrees, the Observer newspaper, Sunday 9 March 2003.
• 'Career Curating' article on curating contemporary design, the Guardian newspaper, Saturday 14 July 2001.
• California College of the Arts
• Critical Curatorial Cybermedia - Geneva Switzerland
• CRUMB - Curatorial Resource for Upstart Media Bliss
• International Curators Program / Antwerp
• The Exhibitionists — geared towards children, an interactive guide to how an exhibition is put together
• Tate staff preparations for the Turner Prize 2008 (blog), Tate, UK.
• UMsystem.edu - University of Missouri Board of Curators
• Interview with Agustín Pérez-Rubio, current director and former chief curator of the MUSAC
• Exhibition Design & Management, Department for Image Science, Danube University Krems
• Master of Art Curatorship, The University of Melbourne
• USC Roski School of Fine Arts, M.A. Art and Curatorial Practices in the Public Sphere, University of Southern California, Los Angeles, California.

This article has multiple issues. Please help improve it or discuss these issues on the talk page. It includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Tagged since September 2009. Its use of external links may not follow Wikipedia's policies or guidelines. Tagged since February 2011.

Christopher Melissinos
Christopher Melissinos
Citizenship	American
Fields	Computer gaming Computer science
Institutions	Sun Microsystems
Known for	Chief Gaming Officer at Sun Founder of Javagaming.org Host of SHIFT Radio show

Christopher Robert Melissinos is a leading figure in the Java community.^[1] He serves as Sun Microsystems' Chief Evangelist and Chief Gaming Officer. During his tenure at Sun, he was responsible for the creation of their Game Technologies Group and was a driving political force behind the formation of several open source Java gaming technologies including Project Darkstar, and Java bindings for OpenGL, OpenAL and input.

Melissinos is a prolific speaker, regularly speaking at conferences such as the Consumer Electronics Show, Electronic Entertainment Expo, Game Developers Conference, Harvard's Cyberposium, Java^TM Conference in Milan, Italy, and Ziff-Davis's Electronic Gaming Summit.^[2] He was also the host of JavaOne 2009.

Past Pixels[link]

In 2009, Chris Melissinos founded the Past Pixels organization that is dedicated to the preservation of video games.

• Past Pixels website: www.PastPixels.com

The Art of Video Games Exhibition[link]

Past Pixels is leading "The Art of Video Games" exhibition that will be held at the Smithsonian American Art Museum from March 16, 2012 to September 30, 2012.^[3] The exhibit aims to demonstrate the influence of art and popular culture on video games, and the subsequent reflection of video games on culture with titles spanning over four decades of gaming. Chris Melissinos is the exhibit curator and he has created an advisor board made up of experts, developers, and journalists in the interactive entertainment industry.^[4]

• Smithsonian American Art Museum "The Art of Video Games" Exhibit Information
• The Art of Video Games voting site

External links[link]

• Interview with Sun's Chris Melissinos, LWN.net
• Podcasts by Chris Melissinos
• Twitter feed
• Executive biography
• Host of 2009 JavaOne

References[link]

This biographical article relating to a computer specialist in the United States is a stub. You can help Wikipedia by expanding it. v t e

Pierre Bonnard (3 October 1867 – 23 January 1947) was a French painter and printmaker, as well as a founding member of Les Nabis.

Biography[link]

Bonnard was born in Fontenay-aux-Roses, Hauts-de-Seine. He led a happy and carefree youth as the son of a prominent official of the French Ministry of War. At the insistence of his father, Bonnard studied law, graduating and practising as a barrister briefly. However, he had also attended art classes on the side, and soon decided to become an artist.

In 1891 he met Toulouse-Lautrec and began showing his work at the annual exhibition of the Société des Artistes Indépendants. His first show was at the Galerie Durand-Ruel in 1896.

In his twenties he was a part of Les Nabis, a group of young artists committed to creating work of symbolic and spiritual nature. Other Nabis include Édouard Vuillard and Maurice Denis. He left Paris in 1910 for the south of France.

Bonnard is known for his intense use of color, especially via areas built with small brushmarks and close values. His often complex compositions—typically of sunlit interiors of rooms and gardens populated with friends and family members—are both narrative and autobiographical. His wife Marthe was an ever-present subject over the course of several decades. She is seen seated at the kitchen table, with the remnants of a meal; or nude, as in a series of paintings where she reclines in the bathtub. He also painted several self-portraits, landscapes, and many still lifes which usually depict flowers and fruit.

Bonnard did not paint from life but rather drew his subject—sometimes photographing it as well—and made notes on the colors. He then painted the canvas in his studio from his notes.^[1]

In 1938 there was a major exhibition of his work along with Vuillard's at the Art Institute of Chicago. He finished his last painting, The Almond Tree in Blossom, a week before his death in his cottage on La Route de Serra Capeou near Le Cannet, on the French Riviera, in 1947. The Museum of Modern Art in New York City organized a posthumous retrospective of Bonnard's work in 1948, although originally it was meant to be a celebration of the artist's eightieth birthday.

Two major exhibitions of Bonnard's work took place in 1998: February through May at the Tate Gallery in London, and from June through October at the Museum of Modern Art in New York City.

Gallery[link]

Notes[link]

References[link]

• Hyman, Timothy (1998) Bonnard. London: Thames & Hudson. ISBN 978-0-500-20310-1
• Cowling, Elizabeth; Mundy, Jennifer (1990). On Classic Ground: Picasso, Léger, de Chirico and the New Classicism 1910-1930. London: Tate Gallery. ISBN 1-85437-043-X
• Frèches-Thory, Claire, & Perucchi-Petry, Ursula, ed.: Die Nabis: Propheten der Moderne, Kunsthaus Zürich & Grand Palais, Paris & Prestel, Munich 1993 ISBN 3-7913-1969-8 (German), (French)

External links[link]

Wikimedia Commons has media related to: Pierre Bonnard

• A tribute to Pierre Bonnard
• Pierre Bonnard at the Museum of Modern Art
• Biography and some pictures
• Guggenheim museum
• Met Exhibition - Pierre Bonnard: The Late Interiors January 27, 2009–April 19, 2009
• "Complicated Bliss" by Jed Perl, The New Republic, 1 April 2009
• Works by Pierre Bonnard (public domain in Canada)

Bill Frisell
Background information
Birth name	William Richard Frisell
Born	(1951-03-18) March 18, 1951 (age 61) Baltimore, Maryland United States
Genres	Jazz, jazz fusion, grindcore, americana, world, experimental rock, soundtrack
Occupations	Musician, composer, arranger
Instruments	Electric guitar, bass, clarinet, tenor saxophone
Years active	1973-present
Labels	Savoy Label Group, Nonesuch, ECM
Website	www.billfrisell.com
Notable instruments
Fender Telecaster, Steve Klein Electric

William Richard "Bill" Frisell (born March 18, 1951) is an American guitarist, composer and arranger.

One of the leading guitarists in jazz since the late 1980s, Frisell's eclectic music touches on progressive folk, classical music, country music, noise and more. He is known for using an array of effects to create unique sounds from his instrument.

Biography[link]

Early life and career[link]

Frisell was born in Baltimore, Maryland, but spent most of his youth in the Denver, Colorado area. He studied clarinet with Richard Joiner of the Denver Symphony Orchestra as a youth, graduated from Denver East High School, and went to the University of Northern Colorado to study music.

His original guitar teacher in the Denver-Aurora metropolitan area was Dale Bruning, with whom Frisell released the 2000 duo album Reunion. After graduating from Northern Colorado, where he studied with Johnny Smith, Frisell went to the Berklee College of Music in Boston where he studied with Jon Damian and Jim Hall.

The ECM Records years[link]

Frisell's major break came when guitarist Pat Metheny was unable to make a recording session, and recommended Frisell to Paul Motian who was recording Psalm (1982) for ECM Records.^[1] Frisell became ECM's in-house guitar player, and worked on several albums, most notably Jan Garbarek's 1981 Paths, Prints. Frisell's first solo release was In Line featured solo guitar and duets with bassist Arild Andersen.

New York City era[link]

Frisell's first group to receive much acclaim was a quartet with Kermit Driscoll on bass, Joey Baron on drums, and Hank Roberts on cello (later slimmed down to a trio when Roberts left). Many other albums with larger ensembles were recorded with this group as the core.

In the 1980s Frisell lived in New York City and was an active participant in the city's music scene. He forged an early partnership with John Zorn—including as a member of quick-change band Naked City—and performed or recorded with many others. He also became known for his work in drummer Paul Motian's trio, along with saxophonist Joe Lovano.

The Seattle years[link]

In 1988 Frisell left New York City and moved to Seattle, Washington.^[2] In the early 1990s Frisell made two of his best-reviewed albums: first, Have a Little Faith, an ambitious survey of Americana of all stripes, from Charles Ives and Aaron Copland (the entirety of Billy the Kid) to John Hiatt (the title song), Bob Dylan ("Just Like a Woman") and Madonna (a lengthy, psychedelic rock-tinged version of "Live to Tell"); and second, This Land, a complementary set of originals. During this time he performed with many musicians, including the more up and coming, such as Douglas September on album 10 Bulls. He also branched out by performing soundtracks to silent films of Buster Keaton with his trio, and contributed to Ryuichi Sakamoto's album Heartbeat.

In the mid-1990s, Frisell disbanded his trio. He continued the trend marked by Have a Little Faith by more explicitly incorporating elements of bluegrass and country music into his music. His friendship with Gary Larson led him to provide music for the TV version of The Far Side^[3] (released on the album Quartet along with music written for Keaton's Convict 13). Since the late 1990s Bill Frisell has lived in Bainbridge Island, Washington, near Seattle.

2000s[link]

Several of Frisell's songs, including his recording of "Over the Rainbow" and "Coffaro's Theme", were featured in the movie Finding Forrester (2000).

In 1999, Frisell was commissioned by the Walker Art Center in Minneapolis, Minnesota to compose Blues Dream, which he premiered on November 15, 1999. He later recorded the work for a 2001 release on Nonesuch.

Also in 1999, he released The Sweetest Punch which featured a seven-piece jazz ensemble reworking the tunes written and recorded by Elvis Costello and Burt Bacharach on Painted from Memory.^[4]

Between 2003 and 2005 Frisell acted as musical director for Century of Song, a series of concerts at the German arts festival RuhrTriennale (produced by Lee Townsend). Frisell invited artists including Rickie Lee Jones, Elvis Costello, Suzanne Vega, Arto Lindsay, Loudon Wainwright III, Vic Chesnutt, Van Dyke Parks, Buddy Miller, Ron Sexsmith and Chip Taylor to perform their favorite songs in new arrangements.

In 2003, Frisell's The Intercontinentals was nominated for a Grammy award; he won the 2005 Grammy Award for Best Contemporary Jazz Album for his album Unspeakable. His 2008 album, History, Mystery was nominated for a 2009 Grammy award for Best Jazz Instrumental Album, Individual or Group. Frisell was also a judge for the 6th annual Independent Music Awards to support independent artists' careers.^[5]

Frisell has united with Matt Chamberlain, Tucker Martine, and Lee Townsend in the Floratone band, and they have released an album on Blue Note (2007), featuring guest performance of Viktor Krauss, Ron Miles, Eyvind Kang.

In 2008, Frisell performed as a featured guest on Earth's album The Bees Made Honey in the Lion's Skull.

In 2009, Frisell featured in a duet rendition of Leonard Cohen's "Hallelujah" with singer-songwriter, Sam Shrieve. The recording was released on Shrieve's debut album Bittersweet Lullabies.

In 2010, Frisell started working with the Savoy Jazz label and released Beautiful Dreamers in August 2010, then a second release of Sign of Life in April 2011. Also, on January 25, 2011, Bill Frisell and Vinicius Cantuária released Lágrimas Mexicanas on the E1 label.

In September 2011, Frisell released All We Are Saying, a full-length offering of his interpretations of John Lennon's music. Frisell's quintet includes violinist Jenny Scheinman, pedal steel and acoustic guitarist Greg Leisz, bassist Tony Scherr, and drummer Kenny Wollesen.

Selected discography[link]

Frisell performing in 2010

Albums[link]

References[link]

External links[link]

Wikimedia Commons has media related to: Bill Frisell

• Official site
• Bill Frisell on NoneSuch Records

This article may require cleanup to meet Wikipedia's quality standards. No cleanup reason has been specified. Please help improve this article if you can; the talk page may contain suggestions. (August 2010)

Peter Doig
Peter Doig (2010)
Born	1959 (1959) Edinburgh, Scotland, UK
Nationality	Scottish British
Field	Painting
Training	Wimbledon, St Martin's & Chelsea schools of art

Peter Doig ( /ˈdɔɪɡə/ DOY-gə) is a contemporary artist born in Edinburgh, Scotland, in 1959. In 2007, a painting of Doig's entitled White Canoe sold at Sotheby's for $11.3 million, then an auction record for a living European artist.

Early life[link]

Peter Doig was born in Edinburgh. In 1962 he moved with his family to Trinidad, where his father worked with a shipping and trading company, and then in 1966 to Canada. He moved to London in 1979 to study fine art at the Wimbledon School of Art, St Martin's School of Art (where he became friends with artist Billy Childish^[1]) and Chelsea School of Art, where he received an MA.^[2] In the mid-1980s, he lived and worked in Montreal.^[3]

In 1993, Doig won the first prize at the John Moores exhibition with his painting Blotter. This brought public recognition, cemented in 1994, when he was nominated for the Turner Prize. In 1999, he selected EASTinternational with Roy Arden. From 1995 to 2000, he was a trustee of the Tate Gallery.

Return to Trinidad[link]

In 2002, Doig moved back to Trinidad, where he set up a studio at the Caribbean Contemporary Arts centre near Port of Spain, and also became professor at the fine arts academy in Düsseldorf, Germany.

Artistic practice[link]

Many of Doig's paintings are landscapes, somewhat abstract, with a number harking back to the snowy scenes of his childhood in Canada.^{[citation needed]} His landscapes are layered formally and conceptually, and draw on assorted art historical artists, including: Edvard Munch and Claude Monet to Friedrich and Klimt. His works are frequently based on found photographs (and sometimes of his own), but are not painted in a photorealist style, Doig instead using the photographs simply for reference.^{[citation needed]} In a 2008 interview, Doig referred to his use of photographs and postcards as painting "by proxy" and noted that his paintings "made no attempt to reflect setting."^[4]

Doig is best known for his series of paintings of Le Corbusier’s modernist communal living apartments known as l’Unite d’Habitation located at Briety-en-Foret, in France.^{[citation needed]}. The modern urban structures are partially revealed and hidden by the forest that surrounds them. As Doig explains: “When you walk through an urban environment, you take the strangeness of the architecture for granted”.^{[citation needed]}

Doig's work captures moments of tranquillity, which contrast with uneasy oneiric elements. He uses unusual colour combinations and depicts scenes from unexpected angles, all contributing to give his work a magic realist feel.^[5]

In 2003, Doig started a weekly film club called StudioFilmClub in his studio together with Trinidadian artist Che Lovelace. Doig not only selects and screens the films; he also paints the poster advertising the week's film. He told an interviewer that he finds this ongoing project liberating because it's "much more immediate" than his usual work.^[4] In 2005, he was one of the artists exhibited in part 1 of The Triumph of Painting at the Saatchi Gallery in London. In 2007, a painting of Doig's, entitled White Canoe, sold at Sotheby's for $11.3 million, then an auction record for a living European artist. Paul Schimmel, chief curator at the Museum of Contemporary Art, Los Angeles said in an interview that the sale made Doig go from being “a hero to other painters to a poster child of the excesses of the market."^[4]

In 2008, a retrospective of his work (entitled "Peter Doig") was held at Tate Britain (February–May) and the Paris Museum of Modern Art (June–September)and the Schirn Kunsthalle in Frankfurt (October 8-January, 2009)^[6]

Doig currently teaching at the Kunstakademie Düsseldorf.^[7]

References[link]

Sources[link]

• Hans-Jürgen Tast (Hrsg.) „As I Was Moving. Kunst und Leben“ (Schellerten/Germany 2004) (z.m.a. K.) ISBN 3-88842-026-1;

External links[link]

• Taking the Most Extreme Liberties to Fashion an Alternative World. Lyle Rexer on Peter Doig in Tate Etc. (Issue 12, Spring 2008)
• 1992 monograph from Frieze
• Watercolor, Tate Britain, 2011.
• "Life in Film: Peter Doig", Frieze, Issue 113, March 2008.