I’ve found this book to be overly obsessive with details which, for me, are a given. Not because I’m a curator, but because there are some obvious things that make sense with sufficient common knowledge.
Yes, if you plan to print a pamphlet or a book, a graphic designer is a must.
If you plan to shoot a clip, better use a person who knows how to stand in front of a camera. If he doesn’t, send him to a course in it.
Next thing you know the book discusses staples for binding - metal vs threads. Come on.
Who is this book for? I’m not sure. If you’re a curator you probably don’t need this common logic. If you’re not, this book will bore you to death. If you’re an alien that just landed on earth and want to know not only how to breathe and exhale but also what curators do - congrats!
I had to skip several chapters at the end of the book, something I rarely do.
Un libro que debe ser como tal un manual en manos de curadores, museografos, y personas interesadas en los distintos procesos que acompañan el montaje de exposiciones. Este manual nos lleva de la A a la Z en cuanto a las negociaciones, necesidades técnicas, traslado y manejo de obra, publicos, evaluación, hasta la inauguración de la exposición, su cierre y retorno de obras. Termina con una revisión del futuro cercano del curador y la necesidad de adaptarse a las nuevas necesidades y formas de expresión artística. Importante volver a él continuamente.
Great for contemporary art curators, not quite as useful for curators of historical collections or collections of artefacts that aren't art. Useful book overall, practical steps are still fairly useful for any exhibition .
Had to read this book for class and enjoyed reading this book. I thought it was a pretty book and was easy to understand and I thought I can use the information in an archival career.