What is the future of curatorial practice? How can the relationships between Indigenous people in the Pacific, collections in Euro-American institutions and curatorial knowledge in museums globally be (re)conceptualised in reciprocal and symmetrical ways? Is there an ideal model, a ‘curatopia’, whether in the form of a utopia or dystopia, which can enable the reinvention of ethnographic museums and address their difficult colonial legacies? This volume addresses these questions by considering the current state of the play in curatorial practice, reviewing the different models and approaches operating in different museums, galleries and cultural organisations around the world, and debating the emerging concerns, challenges and opportunities. The subject areas range over native and tribal cultures, anthropology, art, history, migration and settler culture, among others. Topics covered include: contemporary curatorial theory, new museum trends, models and paradigms, the state of research and scholarship, the impact of new media and current issues such as curatorial leadership, collecting and collection access and use, exhibition development and community engagement. The volume is international in scope and covers three broad regions – Europe, North America and the Pacific. The contributors are leading and emerging scholars and practitioners in their respective fields, all of whom have worked in and with universities and museums, and are therefore perfectly placed to reshape the dialogue between academia and the professional museum world.
The archive has assumed a new significance in the history of sex, and this book visits a series of such archives, including the Kinsey Institute’s erotic art; gay masturbatory journals in the New York Public Library; the private archive of an amateur pornographer; and one man’s lifetime photographic dossier on Baltimore hustlers. The subject topics covered are wide-ranging: the art history of homoeroticism; casual sex before hooking-up; transgender; New York queer sex; masturbation; pornography; sex in the city. The duality indicated by the book’s title reflects its themes. It is an experiment in writing an American sexual history that refuses the confines of identity sexuality studies, spanning the spectrum of queer, trans, and the allegedly ‘normal’. What unites this project is a fascination with sex at the margins, refusing the classificatory frameworks of heterosexuality and homosexuality, and demonstrating gender and sexual indecision and flexibility. And the book is also an exploration of the role of the archive in such histories. The sex discussed is located both in the margins of the archives, what has been termed the counterarchive, but also, importantly, in the pockets of recorded desire located in the most traditional and respectable repositories. The sexual histories in this book are those where pornography and sexual research are indistinguishable; where personal obsession becomes tomorrow’s archive. The market is potentially extensive: those interested in American studies, sexuality studies, contemporary history, the history of sex, psychology, anthropology, sociology, gender studies, queer studies, trans studies, pornography studies, visual studies, museum studies, and media studies.
old masks and carved
headpieces to be renewed, and they also wanted to forge relations of alliance and responsibility with the museum, in the midst of ongoing struggles
to thrive as a people in a complex, dangerous postmodernity. Indigenous
The times of the curatorcurating has made me think again about the difficult, essential work of
cultural politics: the relational, power-charged, processes of sustaining difference through relationships: keeping while sharing.
Around the world we see examples of current experiments and signs of
the changing times I have
Spieker, The Big Archive, pp. 192–3.
45 G. Minissale, ‘Performing the curator, curating the performer: Abramović’s
Seven Easy Pieces’, in C. Jeffery (ed.), The Artist as Curator (Bristol, 2015), ch. 7.
46 N. Goldin, The Ballad of Sexual Dependency (New York, 1996).
47 N. Goldin and T. Kawachi (eds), Nan Goldin: Couples and Loneliness (Tokyo,
1998), p. 58.
48 M. Brynntrup, ‘Loverfilm’, in Comay (ed.), Lost in the Archives, pp. 464–80,
quote at p. 467; R. Curtis, ‘From the diary to the webcam: Michael Brynntrup
and the medial self ’, in R. Halle and R