Summer School: Curatorial Masterclass

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Start Date:

Jul 07, 2009 - Jul 21, 2009

From the Bookstore

Recipes for an Encounter functions as a literary extension to the 2008 group exhibition "Kits for an Encounter" at Vancouver's Western Front, which consisted of work that actively engages the viewer by providing the necessary components for instigating or troubling the notion of an encounter. This collection of texts, diagrams, and illustrations provides further "how-to" instruction for relational projects in the manner of a recipe book.

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Eyebeam Summer School: Curatorial Masterclass Day 3

Day 3: Tues., July 14, 3–5PMNetworking and Collaboration New media tools seem to make remote working and networking easier, but do they facilitate curating? How is the time-frame of collaboration—between artists and curators or producers, or between the art and its audience—different when adopting open source methodologies (such as iterative or modular methods, sometimes called bootstrapping)? Discussions of the different shapes of collaboration and the tried and tested “rules” of good collaboration were ascertained. Guests: Amanda McDonald Crowley (Executive Director, Eyebeam) ; Patrick Lichty (Curator, Artist).Eyebeam respondent: Jon Cohrs (Resident, Eyebeam). Videography: Rus Garofalo

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Eyebeam Summer School: Curatorial Masterclass Day 5

Day 5: Tues., July 21, 2009Evaulation and Audience Engagement The last session of the curatorial masterclass series asked, who is participating in open curatorial projects? Why? How do we know what they’re getting out of it? What can be learned from the revisions/lifelines used in open source software generation and how can that way of thinking be applied to consideration of the “lifeline” of a curatorial project? What are other evaluation strategies that can be applied to curating, such as comment boxes or feedback forms? Obvious and proposed benchmarks of success were interrogated.

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Eyebeam Summer School: Curatorial Masterclass Day 4

Day 4: Thur., July 16, 2009Curating in the public domain Curating is often a private activity with a very public outcome, but recent hype about the term in relation to “filtering” online content (from videos and photos to tweets and urls) have made “curating” something people now think of as a very public process. What can we learn from public art models of curatorial practice? How do we cater for passerby audiences? What are the lessons to be learned from open submission projects online and offline? The ideal conditions for creating a platform for participation were dreamt up. Guest: Steve Dietz (Curator).Eyebeam respondent: Amanda McDonald Crowely (Eyebeam, Exectutive Director), Taeyoon Choi (Eyebeam Alumni Resident Artist) Videography: Rus Garofalo

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