Thematische Bibliographien / Curatoren

Auswahl der wissenschaftlichen Literatur zum Thema „Curatoren“

Autor: Grafiati
Veröffentlicht am 25. Juli 2024

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Zeitschriftenartikel zum Thema "Curatoren"

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Kiselev, Nikolai N. „Educational Potential of Curatorship in a Pedagogical University“. Journal of Pedagogical Innovations, Nr. 3 (16.10.2022): 25–33. http://dx.doi.org/10.15293/1812-9463.2203.03.

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The purpose of the article is to analyze the educational potential of curatorship in a pedagogical university, and to determine the educational resources of the main activities of student groups’ curators. As a result of the theoretical analysis of curatorship as a subject of the educational space of a pedagogical university, various educational possibilities of the curatorʼs position are determined; the pool of roles and qualities in which the curator acts are analyzed. The article also presents the results of a broad study at Novosibirsk State Pedagogical University of the qualitative characteristics of curatorship in general, including its educational potential. The students and curators of academic groups’ relationship, the differences in the positions of an instructor curator and an undergraduate curator, the curator’s educating influence on various aspects of student life were investigated. In addition, the article presents an analysis of the regulations on curatorial activities in various universities in Russia, and the most common curator’s responsibilities are identified.
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Meesterman, S. A. „De omgangswijze van curatoren met boedelschuldeisers bezien vanuit het verbintenissen- en faillissementsrecht“. Maandblad voor Vermogensrecht 32, Nr. 11 (Dezember 2022): 390–97. http://dx.doi.org/10.5553/mvv/157457672022032011003.

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3

Wyse Jackson, P. N. „Silver Pages: 25 years of the Newsletter of the Geological Curators' Group and The Geological Curator“. Geological Curator 7, Nr. 3 (Juni 2000): 95–99. http://dx.doi.org/10.55468/gc436.

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Soon after its inception in 1974 the Geological Curator's Group established the publication Newsletter of the Geological Curators' Group. In the following years it has undergone several changes not only in style, but also most notably in name to The Geological Curator. This reflected an evolution of an original newsletter-style into a journal-style publication. In 1980 the newsletter Coprolite was first published. The publications of the Geological Curators' Group have aided the development of professionalisation amongst geological curators.
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Reidla, Jana. „Curators With and Without Collections : A Comparative Study of Changes in the Curator’s Work at National Museums in Finland and in the Baltic States“. Journal of Ethnology and Folkloristics 12, Nr. 2 (01.12.2018): 115–38. http://dx.doi.org/10.2478/jef-2018-0014.

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Abstract Traditionally, the curator’s work has been in close connection with the main functions of the museum - preservation, research, and communication. The changes that have occurred at museums over the past few decades have also influenced the profession of curator. Specialisation has taken place inside the museum, and so the curator’s functions have also changed. This article focuses on the curator’s field of work at national museums in Finland and in the Baltic states. The analysis is mainly based on interviews conducted with curators and other museum professionals at the Estonian National Museum, the Estonian History Museum, the National History Museum of Latvia, the National Museum of Lithuania, and the National Museum of Finland. Emanating from the PRC model provided by the Reinwardt Academy as well as the global changes induced by the new museology, the focus is on the curator’s connection with museum collections. The analysis shows that the curator’s role is not similar in all the museums under discussion; there are regional differences in structure, curatorial duties, and priorities. While at some museums the curator is regarded as a collection keeper who can also do some research, at others they are rather researchers and have only infrequent contact with collections.
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Kartoningrat, Raden Besse, und Edi Krisharyanto. „Principles of Statutory Duty and Fiduciary Duty in The Responsibility of The Bankruptcy Curator“. Media Iuris 6, Nr. 2 (20.06.2023): 205–30. http://dx.doi.org/10.20473/mi.v6i2.37738.

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AbstractThe curator is a subject of Bankruptcy Law who has complete authority and responsibility for managing and resolving the bankruptcy estate. Curators are required to have integrity and are prohibited from having conflicts of interest with their duties and authorities. The issue raised in this study is the application of the principles of statutory duty and fiduciary duty in the responsibility of the bankruptcy curator. This study aims to identify, understand, and analyze bankruptcy law regarding the curator’s responsibility based on the principles of statutory duty and fiduciary duty. This study employed a normative method by examining the consideration materials to conclude. The results of the analysis in this study indicate that in carrying out the duties of managing and settling, the curator must comply with the principles of statutory duty and fiduciary duty as regulated in Law Number 37 of 2004 on Bankruptcy and Postponement of Debt Payment Obligations and the code of ethics of the curator profession. The curator’s actions that can harm the parties, whether creditors or bankrupt debtors, can be personally accounted for outside the bankruptcy estate by imposing civil, criminal, or administrative sanctions. Keywords: Halal Tourist; Additional Service; Local Economy.
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Schuppert, Mirjami. „Learning to Say No, the Ethics of Artist-Curator Relationships“. Philosophies 6, Nr. 1 (17.02.2021): 16. http://dx.doi.org/10.3390/philosophies6010016.

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The article suggests that the perceived ethics of curatorial practice are not often in balance with operative ethics, and analyses the problem by focusing on the curator-artist relationship. Contemporary art curators constantly find themselves in a situation where they have to choose between the needs of the few and the many. Counter-hegemony theory is used to examine the curator’s duty toward the many, while the reading of Jacque Derrida’s concept of responsibility toward an individual and Alain Badiou’s ‘singularity of situations’ suggest that the few are to be considered first. In this article, I suggests that curators could learn to say no in order to be able to balance these different demands.
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Bizeleva, Anna A. „The Role of the Curator in the Professional Self-Determination of First-Year Students of the University in the Humanitarian Areas of Training“. Economic Strategies 144, Nr. 3 (25.06.2021): 130–33. http://dx.doi.org/10.33917/es-3.177.2021.130-133.

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The article reveals the role of university curators in the professional self-determination of first-year students in humanitarian areas of training. The concept of “professional self determination” is being clarified. Possible directions of professional orientation work with students are indicated. The relevance of the topic of obtaining a humanitarian education in society is substantiated, the reasons for the emergence in society of the need for professions of a social and humanitarian orientation are indicated. The works of research scientists studying the areas of professional self-determination are analyzed. The dynamics of personal changes that occur with firstyear students as a result of their professional orientation are analyzed. The meaning and tasks of curatorial work are presented, as well as problems that university curators may face today: possible mistakes of the curator in working with first-year students, namely lack of experience, lack of conscientiousness, incompetence. The main directions of the curator's work with first-year students are revealed. The directions of activity of the university curators in conjunction with the psychological and pedagogical service are proposed. The conditions for the successful implementation of the curator's activities with students in the direction of professional self-determination, such as planning, organization, control, motivation, are noted.
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Yuhelson, Yuhelson, und Muhamad Adystia Sunggara. „The Curator Responsibility of the Loss of Wealth Bankrupt Limited Company“. Proceeding of Community Development 2 (21.02.2019): 37. http://dx.doi.org/10.30874/comdev.2018.74.

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Curators can be personally liable if they make a mistake or negligence outside the provisions of the Bankruptcy Act and PKPU which causes losses to bankrupt assets. If the curator has carried out his duties in accordance with the provisions of the Bankruptcy Act and PKPU, then if a loss arises from bankruptcy, he does not have to be personally liable and the loss will be charged to the bankrupt assets. In connection with the personal responsibility of the curator, in addition to being able to be held accountable civilly it is possible for the curator's actions to be held criminally accountable. In addition, administrative sanctions can also be imposed on the curator. It should be borne in mind that as long as the curator carries out his duties and authorities in accordance with the provisions of the Bankruptcy and PKPU Law, he should not be sued either civilly, criminally or subject to administrative sanctions even if his actions cause losses to bankrupt assets.
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Reidla, Jana. „Who Is Leading the Project? A Comparative Study of Exhibition Production Practices at National Museums in Finland and the Baltic States“. Museum and Society 18, Nr. 4 (30.10.2020): 368–85. http://dx.doi.org/10.29311/mas.v18i4.3456.

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This paper presents research into exhibition-production practices at five national museums of four Baltic Sea region countries. The focus is the changes wrought by the expansion of exhibition teams, and how researchers in the curatorial role perceive their position, especially in relation to designers and project leaders. The analysis of semi-structured interviews with museum professionals showed exhibition production at museums comprise two models: A) curator-driven, and B) manager-driven. In Model A, the curator’s knowledge of museum collections is dominant. The curator creates the concept, and subsequently leads the exhibition project. The curator is the decision maker. In Model B, the field of communication is dominant. Managers are in charge of the design concept and fulfilling the exhibition. Managers are the decision makers. Curators feel their credibility as experts suffers and their competencies are underexploited, as they no longer have either authorship or leadership responsibilities.
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Nenastina, T., K. Berezhna und S. Bugaevskyi. „Curator's work during the adaptation period of students at the Kharkiv National Automobile and Road University“. New Collegium 1, Nr. 110 (28.03.2023): 59–64. http://dx.doi.org/10.30837/nc.2023.1-2.59.

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Due to the transition to the new generation of educational standards and the increase in hours for independent work, there is a need to train a creative, active person who can independently choose his own life path. The educational process in the life of the university is planned and organized along with studies and scientific activities. The curator of the academic group is usually assigned an experimental teacher, since this position includes responsible and thorough work, which should take into account the profile of training of specialists and the specifics of the faculty. Students' problems related to the educational process at the university, interpersonal conflicts and relations in the group, and the question of the student group participation in the public and cultural mass activities of the university are resolved by the curator. The effectiveness of the educational work of the curator of the academic group is largely determined by its planning. Based on the analysis of theoretical studies and the experience of modern pedagogues-practitioners, the roles and functions of the curator in working with the group are defined, the curator's duties are described, and an approximate plan for the work of curators in universities is proposed. The views on the organization of educational work in higher education are presented. The creation of new mechanisms related to the selectivity of some disciplines makes it necessary to carry out additional explanatory and advisory work of curators regarding the formation of individual study plans for applicants. It is shown that the curator uses various forms of educational work in his activities, which contribute to the formation of the personality of the future specialist as a patriot citizen, who cares about the fate of the Ukrainian state, law, and order, education, and culture.
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Dissertationen zum Thema "Curatoren"

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Larsson, Camilla. „Curatorns ordning : En diskursanalys av curatorns yrkesroll utifrån 15 curatorutbildningar“. Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-18473.

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This study departs from the observation that since the late 1980´s educational programmes for curators have been established and since then expanded greatly. The programmes are part of a process of institutionalization and professionalization of the role of the curator within the international contemporary art field where the role as such has gained much power. Even though many statements have been made about this relatively new phenomenon of curatorial studies, there is a lack of sufficient research. The intention of this study is therefore to examine the educational programmes as such. The selection of 15 programmes has been made with the purpose to include early as well as newly established and to cover a wide geographic area. The starting point has been to ask what kind of knowledge and role of the curator the programmes are given prominence to. Using Michel Foucault´s and Norman Fairclough´s theory and methods on discourses I examine the programmes as a discursive practice. The analysis shows that there is a strong coherence within the field of the programmes and certain ideals, conventions and procedures are shared among them. The programmes are highly dependent on the professional field of curators – individuals as well as institutions are frequently being invited to lecture and support the students. The application procedures make sure that students who are willing to adopt to given ideals and norms, are being accepted. Furthermore the ideal role of the curator has been defined with the following concepts – new institutionalism, an expanded working field and discursive curating. The curator is highlighted as creative, critical and independent. These concepts have been singled out and made explicitly unique for the role of the curator by the programmes although aspects have clearly been taken from the role of the artist and the critics. The result has been a stronger competition between these positions. The programmes are institutions that promote the curator as an important and irreplaceable agent and to claim even a stronger position new assets have been singled out in the form of a theoretical and academic capital.         Educational programmes included in the study: École du Magasin, Grenoble, Whitney Independent Study Program, New York, Curating Contemporary Art, Art Royal College of Art, London, De Appel Curatorial Programme, Amsterdam, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York, MFA Curating, Goldsmiths, London, CuratorLab - Curatorial Program for Professionals in Arts, Crafts and Design, Konstfack, Stockholm, Curating Art - International Master Programme in Curating Art, including Management and Law, Stockholm university, Curatorial practice, California College of the Arts, San Francisco, Post-graduate Programme in Curating, Zürich University of the Arts, PhD-programme Curatorial/Knowledge, Goldsmiths, London, Cultures of the Curatorial, Academy of Visual Arts Leipzig, CuMMA - Curating, Managing and Mediating Art, Aalto University, Helsinki, PhD-programme Curating, Zürich University of the Arts in collaboration with the university of Reading, Praxis Master’s Programme, Finnish Art Academy, Helsinki.
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Spiller, Elena <1989&gt. „La responsabilità penale del curatore fallimentare“. Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/6411.

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L'elaborato tratta il tema della responsabilità penale del curatore fallimentare. Nello specifico vengono esaminati gli articoli 228, 229 e 230 l. fall., e le loro implicazioni di carattere teorico e pratico. Partendo dallo studio dei principali precetti penali su cui poggia la materia fallimentare, è stato possibile giungere ad una completa analisi della norma e della sua applicabilità. Dall'approfondita trattazione della particolare terminologia utilizzata dal legislatore, e delle similitudini riscontrabili mediante il confronto con la disciplina penale, si è giunti alla piena comprensione degli interessi tutelati dalla norma, nonché alla condivisione delle ragioni che hanno fondato la struttura dell'attuale previsione sanzionatoria, imposta nelle diverse tipologie di reato. Inoltre, successivamente all'aver affrontato una funzione spiegazione dello specifico ruolo del curatore, e delle responsabilità derivanti dallo svolgimento delle sue funzioni nel contesto della procedura fallimentare, si è potuto estendere lo studio ad un'osservazione più ampia circa le implicazioni che scaturiscono dalla condotta dei suoi coadiutori. Perseguendo questo approccio si è ottenuto la visione di un quadro normativo completo, capace di non trascurare anche i fattori più importanti che interferiscono con il corretto operato del curatore. Conseguentemente a questa logica, si è ritenuto indispensabile considerare il particolare caso del concorso nel reato, richiamando la norma che ne disciplina la fattispecie. La tesi si completa con lo studio dell'estensione delle disposizioni penali al caso di concordato preventivo e di liquidazione coatta amministrativa.
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Padoan, Anna <1992&gt. „Il programma di liquidazione del curatore fallimentare“. Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/8745.

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Una delle novità più rilevanti introdotte dalla riforma fallimentare consiste in una razionalizzazione dell’attività liquidatoria, la quale non deve più avvenire tramite operazioni diversificate e non rientranti in una strategia unitaria, ma attraverso il programma di liquidazione. Quest’ultimo costituisce l’atto di pianificazione e di indirizzo in ordine alle modalità e ai termini previsti per la realizzazione dell’attivo. Il programma di liquidazione diviene il fulcro attorno al quale ruota la fase di liquidazione. Dalla riforma attuata nel 2006, si riscontra l’occorrenza di adeguare la disciplina ai rapporti mutuati tra gli organi fallimentari, tanto che si verifica uno slittamento del fulcro dagli organi di natura pubblicistica a quelli di natura privatistica. Lo scopo della tesi consiste nel capire se gli interventi del Legislatore in merito alla liquidazione, specificatamente al programma disposto dall’art. 104 - ter L. Fall., hanno adempiuto alle finalità preposte, consistenti in un maggior coinvolgimento dei creditori, collaborazione sistematica fra gli organi, trasparenza, celerità e conservazione dell’integrità aziendale. Lo studio si svolge partendo dalle informazioni introduttive, relative ai criteri utilizzati durante la fase di redazione e alla funzione dell’istituto, per poi analizzare il contenuto e le fasi di esecuzione, considerando le questioni di interpretazione dottrinali e giurisprudenziali.
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Bertolin, Alessandro <1989&gt. „AZIONI DI RESPONSABILITA' DEL CURATORE AI SENSI DELL'ART. 146 L.F“. Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/5386.

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Meier, Dominicus M. „Der Curator im kanonischen Prozeßrecht /“. Essen : Ludgerus-Verl, 1998. http://www.gbv.de/dms/spk/sbb/recht/toc/274215608.pdf.

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Marinaki, Irini. „Nicolas Calas : critic and curator“. Thesis, Birkbeck (University of London), 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.600386.

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Boscarato, Alex <1994&gt. „Trattamento fiscale delle operazioni poste in essere dal curatore nel fallimento“. Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15292.

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La normativa tributaria in ambito fallimentare è da sempre oggetto di discussione a causa della mancanza di una correlazione tra la normativa tributaria stessa e quella fallimentare. Sebbene il Legislatore abbia cercato e cerchi tuttora di fare chiarezza sui nodi più spinosi, rimangono ancora oggi perplessità legate ad alcune tamatiche. In questo eleborato si cerca di illustrare i vari passi compiuti dal Legislatore attraverso le riforme compiute, con riguardo particolare alle operazioni rilevanti ai fini fiscali compiute dal curatore nel fallimento, al fine di creare una certa continuità tra le due normative. Nella prima parte inoltre si descrive quella che è la figura del curatore, illustrando funzioni, poteri e responsabilità ad esso associate.
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D'Ambros, Chiara. „I Curatori, tra Biografia, Formazione e Riconoscimento“. Doctoral thesis, Università degli studi di Padova, 2009. http://hdl.handle.net/11577/3426470.

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The focus of the present research is “healers”, as figures who do healing practices using personal and innate endowment or “gift”. It is a survey based on a qualitative methodology. The sample: 40 interview in depth supplemented with ethnographic observations. G.A.Gilli model has been taken as reference to interpret this phenomenon. Looking to ancient greek society through ancient littereture he points out the existence of “téchne bearer”, where “techne” means original endowment that existed beyond the society. The “techne bearer often find difficulties to be included in the society as he/she doesn’t fit into the social structure and so that is difficult to be controlled. The research also explores the links between healers and popular medicine, and healers and Comparative and Alternative Medicine environment. Some “healer costallations” have been pointed out as healers used different “methodology”; some of them use manipulation tecnique, others use specific rithuals, others use energy. To the subject of energy has been reserved some space to clarify its meaning in this contest. The formative paths that the healers have done, have been explored to better understand how they manifest their endowment and how they develop it. Often the main system doesn’t recognize their formative paths as it is out of the istitutional system. Much space has been given to the subject of “recongnition”. It has been noticed that self recognition is the most important element for healer to manifest their gifts and practice. External recognition has its importance afterwards. It has been observed how these figures are included or excluded and if their practice could be considered professional or not. Also the money matter (means if they charge or not money for what they do) has been observed. This point has revealed to be interesting as there are no conventional rules which legitimate or not their practice. In the end it has been described that healers have different cosmogony which they take as point of reference for their activity. Some of them refer to religious cosmogony, some other to “spiritual” one, some other to a system of meaning that appeals to a “rational point of view” and open to a multidimentional interpretation of reality. The present research doesn’t mean to enter on the efficacy of healr practices of healers but to point out their “presence” in the society, how they live their gift/endowment/techne and their practicing.
Il tema della ricerca è la figura del “curatore” inteso come soggetto che opera pratiche di cura non convenzionali sulla base di doti personali e innate. Si è svolta un’indagine di tipo qualitativo su un campione di quaranta interviste in profondità e integrata in diversi casi da osservazioni etnografiche. Si è indagata la presenza nel contesto sociale di portatori di tali caratteristiche originarie rifacendosi tra l’altro al modello proposto da G.A.Gilli (1988), basato sull’analisi della struttura sociale delle polis greche, secondo cui in ogni società vi sarebbero dei soggetti “portatori di techne”, ossia di doti originarie presocietarie che trovano spesso difficoltà di inclusione societaria in quanto sono difficilmente inseribili nella struttura e controllabili. Si sono indagati i legami che questi soggetti hanno con la medicina popolare, con altri ambiti di cura quale ad esempio quello della cosiddetta medicina non convenzionale. Si sono riscontrare delle “costellazioni” di curatori che sono state mappate alla luce delle caratteristiche delle pratiche da loro utilizzate alcune più legate alla manipolazione, altre alla cura con le erbe e altre ancora all’energia, tema quest’ultimo che è stato oggetto di approfondimento. Per poter comprendere più a fondo la loro origine e come le loro doti si manifestano, vengano scoperte e sviluppate si sono esplorati i percorsi formativi intrapresi da questi soggetti; percorsi spesso sottoposti a critiche/perplessità/scetticismi e mancati riconoscimenti da parte del sistema dominante. Al tema del riconoscimento si è dato largo spazio. Si è osservato che è fondamentale l’autoriconoscimento affinché i curatori manifestino le proprie doti, mentre il riconoscimento esterno diventa rilevante in seconda battuta. Si sono esplorate varie forme di inclusione ed esclusione a cui questi soggetti sono sottoposti, e quindi come la loro pratica venga o meno considerata professionale, o in che senso, eventualmente, potrebbe esserlo. Si è anche analizzata come la questione del denaro è legata a questi soggetti che praticano cure “non convenzionali” data la non chiara esistenza di tariffari o parametri di remunerazione. Si sono esplorate, infine, le cosmogonie evocate dai soggetti intervistati, la cui rilevazione permette di meglio comprendere la loro spinta a fare ciò che fanno e il senso che essi attribuiscono a loro agire. Essi si riferiscono ad ambiti religiosi, spirituali o anche appartenenti a sistemi di senso che riconducono a parametri razionali, che aprono ad una interpretazione della realtà multidimensionale. Con la presente ricerca non si è inteso entrare nel merito dell’efficacia delle cure di questi curatori quanto mettere in evidenza la loro presenza nella società, come essi vivono il loro dono, la loro techne e quindi il loro mestiere.
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Lonardi, Anna <1980&gt. „I curatores riparum et alvei Tiberis: uno studio storiografico, prosopografico ed epigrafico“. Doctoral thesis, Università Ca' Foscari Venezia, 2009. http://hdl.handle.net/10579/382.

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Massini, Chiara <1980&gt. „Il mestiere del curatore. Teorie e pratiche dagli anni Novanta ad oggi“. Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3687.

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Nel mondo dell'arte contemporanea si delinea sempre più la figura del curatore, legata principalmente al mutamento del ruolo di critico d'arte e del concetto di esposizione. La tesi analizza, attraverso una ricognizione storica dell'ultimo ventennio il percorso che ha determinato questo mutamento. La prima parte della ricerca, effettuata su documenti d'archivio, ricostruisce una serie di casi paradigmatici tramite l'analisi dell'operato di alcuni protagonisti di fama internazionale, da Celant a Obrist, con particolare interesse per la scena italiana. La seconda parte del testo approfondisce le esperienze più recenti in materia di esposizione, riportando alcuni casi studio, corredati da una serie di interviste, a partire dalla 50ma Biennale di Venezia. Si tenta infine di restituire una figura di curatore in evoluzione forse priva di solidi apparati teorici ma più spesso legata ad esperienze eterogenee e alle pratiche individuali dei singoli attori.
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Bücher zum Thema "Curatoren"

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Vriesendorp, R. D. Evaluatie garantstellingsregeling curatoren 1999-2005. Den Haag: Boom Juridische Uitgevers, 2006.

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Doorslaer, Rudi van, und Jean-Philippe Schreiber. De curatoren van het getto: De vereniging van de joden in België tijdens de nazi-bezetting. Tielt]: Lannoo, 2004.

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Kalveen, C. A. Van. Inventaris Van Het Archief Van Het College Van Curatoren Van De Rijksuniversiteit Te Utrecht 1815-19154 (1958). Utrecht: Rijksarchief Utrecht, 1986.

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Quatraro, Bartolomeo. Il curatore fallimentare: Adempimenti, doveri, responsabilità : manuale interdisciplinare dell'attività del curatore. Milano: A. Giuffrè, 1990.

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Brown, Susan L. Young curators. Herausgegeben von Council for Visual Education. Toronto, Ont: Council for Visual Education, 1989.

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Desanti, Lucetta. De confirmando tutore vel curatore. Milano: A. Giuffrè, 1995.

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Dobson, Melanie. The Curator's Daughter. Thorndike, Maine: Center Point Large Print, 2021.

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Strauss, Jacques. The curator. London: Jonathan Cape, 2015.

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1948-, Wegner Nicholas, und Batiste Sarah, Hrsg. Curators and collections. Teddington: Cv Pubs., 1993.

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Mauro, Bosco, Hrsg. Il Curatore del fallimento: Ruoli, funzioni, compiti, facoltà, responsabilità del curatore e delle figure affini. 3. Aufl. Milano: Giuffrè, 2000.

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Buchteile zum Thema "Curatoren"

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Jolles, Adam. „Artists into Curators“. In A Companion to Dada and Surrealism, 211–24. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118476215.ch12.

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Cottee, Simon. „Curators and Enthusiasts“. In Watching Murder, 45–76. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003279396-3.

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Bardelli, Laura, Elisa Caporiccio, Ugo Conti, Antonio D’Ambrosio, Carlo Facchin und Martina Romanelli. „Premessa dei curatori“. In Studi e ricerche del Dipartimento di Lettere e Filosofia, XI—XVIII. Firenze: Società Editrice Fiorentina, 2023. http://dx.doi.org/10.35948/dilef/978-88-6032-688-1.02.

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Theisohn, Philipp. „»Carsten Curator« (1878)“. In Storm-Handbuch, 209–12. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-05447-0_59.

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Schlesinger, Philip, Melanie Seife und Ealasaid Munro. „Researching Cultural Enterprise Office“. In Curators of Cultural Enterprise, 1–9. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137478887_1.

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Schlesinger, Philip, Melanie Seife und Ealasaid Munro. „Nation, State and Creative Economy“. In Curators of Cultural Enterprise, 10–37. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137478887_2.

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Schlesinger, Philip, Melanie Seife und Ealasaid Munro. „Origins and Development of CEO“. In Curators of Cultural Enterprise, 38–60. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137478887_3.

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Schlesinger, Philip, Melanie Seife und Ealasaid Munro. „Organisational Values and Practices of Support“. In Curators of Cultural Enterprise, 61–80. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137478887_4.

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Schlesinger, Philip, Melanie Seife und Ealasaid Munro. „Future-Proofing CEO?“ In Curators of Cultural Enterprise, 81–103. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137478887_5.

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Schlesinger, Philip, Melanie Seife und Ealasaid Munro. „Where Next for Cultural Business Support?“ In Curators of Cultural Enterprise, 104–12. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137478887_6.

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Konferenzberichte zum Thema "Curatoren"

1

Pei Wu, Yi, und Chien-Hsu Chen. „Design a Visual Communication Platform for curators and artists to curate an exhibition remotely“. In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002034.

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Art is an expression of emotion; art exhibitions bring artists' creations and perceptions to the visitors. International art exhibitions present diverse and high-quality artistic creations through the curator's elaborate exhibition planning, and the connection between artworks and visitors is established to allow visitors to admire and understand; on the contrary, it also challenges the digital communication tools for curators and artists when conducting co-curation remotely. This study utilizes interviews and field study to collect pain points and ultimately provides guidelines and crucial functions for curators and artists to design a visual communication platform during international curation collaboration.
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Chun Wai, Wilson Yeung, und Estefanía Salas Llopis. „THE SPACE BETWEEN US“. In INNODOCT 2020. Valencia: Editorial Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/inn2020.2020.11901.

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This article explores how to integrate the collective creation of contemporary art exhibitions, and how to transform exhibition works into contemporary language and novel visual art materials, thereby generating cultural exchange between Australia and Spain. The Space Between Us (2017- ), co-curated by Australian artist-curator Wilson Yeung and Spanish artist Estefanía Salas Llopis, resolve these questions by examining the contemporary art exhibition. This paper also asks how to transform art exhibitions into laboratories, how artists and curators work together in a collective innovation environment, how collective creation generates new knowledge, and how to develop collective creation among creative participants from different cultures and backgrounds.
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Lynaugh, K. M. „Discussion of the Origins of the Frigate and the Sloop Constellation“. In SNAME 23rd American Towing Tank Conference. SNAME, 1992. http://dx.doi.org/10.5957/attc-1992-038.

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Alleged to have been built in Baltimore, Maryland in 1797, the USS CONSTELLATION was transferred in 1955 to a group of Baltimore citizens for preservation and display. Initiating a protracted, vitriolic and public dispute, some maritime historians have claimed since 1947 that the ship presently exhibited is another warship with the same name built near Norfolk, Virginia in 1855. Has the ship had a continuous identity since 1797 or are those claims a mistake or a hoax? In March 1989 the U.S. Navy's Curator of Ship Models, situated at the David Taylor Research Center, located and identified in the Navy's vast collection, the 1853 designer's half hull model representing the design for a new CONSTELLATION. Further investigation by the Curator's office indicated that essentially all of the historical records cited, clearly substantiating the 1797 origin of the present ship, had probably been forged by a CONSTELLATION employee between 1956 and 1965. 1 (for a copy of the complete report "FOULED ANCHORS").
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Sprengart, Benjamin, Anthony Collins und Judy Kay. „Curator“. In the ACM International Conference. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1731903.1731946.

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Walsh, Greg, und Jennifer Golbeck. „Curator“. In the 28th international conference. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1753326.1753643.

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Dror, Rotem, Daniel Hutchinson, Mason Jones, Victoria Van Hyning und Tsvi Kuflik. „The Curator's Helper“. In UMAP '24: 32nd ACM Conference on User Modeling, Adaptation and Personalization. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3631700.3664905.

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Porcheron, Martin, Andrés Lucero und Joel E. Fischer. „Co-curator“. In AcademicMindtrek'16: Academic Mindtrek Conference 2016. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2994310.2994350.

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Lehmann, Janette, Carlos Castillo, Mounia Lalmas und Ethan Zuckerman. „Finding news curators in twitter“. In the 22nd International Conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2487788.2488068.

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Jiang, Angela H., Zachary S. Bischof und Fabian E. Bustamante. „A cliq of content curators“. In SIGCOMM'14: ACM SIGCOMM 2014 Conference. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2619239.2631470.

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Trielli, Daniel, und Nicholas Diakopoulos. „Search as News Curator“. In CHI '19: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3290605.3300683.

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Berichte der Organisationen zum Thema "Curatoren"

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Lämmli, Dominique. Review of Marquard Smith (ed.), "Research: Practitioner, Curator, Educator". Jar-online.net, Juli 2020. http://dx.doi.org/10.22501/jarnet.0028.

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Hasty, Ashley. From Teacher to Curator: The Power of Intrinsic Motivation in Students. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1526.

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Yonemura, Ann. Art in Context: Aesthetics, Environment and Function in the Arts of Japan. Inter-American Development Bank, März 1995. http://dx.doi.org/10.18235/0007915.

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Rito, Carolina, und Paul Goodwin. The Changing Same? British Black Artists and Visual Arts Organisations in the Midlands. Coventry University, Mai 2023. http://dx.doi.org/10.18552/camc/2023/0001.

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The Role of Visual Arts Organisations in the British Black Arts Movement in the Midlands’ is a research network funded by the Arts and Humanities Research Council (AHRC). Co-led by Carolina Rito (Coventry University) and Paul Goodwin (University of the Arts London), this project explored the institutional and curatorial strategies of the movement in the 1980s, and the institutional support in promoting and showing Black curators and artists then and today. The publication includes new insights about the process, and interviews with key researchers and practitioners in the field. It presents a series of recommendations and considerations for funders, cultural organisations and the HE sector, and feedback from the cultural partners.
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Burri, Margaret, Joshua Everett, Heidi Herr und Jessica Keyes. Library Impact Practice Brief: Freshman Fellows: Implementing and Assessing a First-Year Primary-Source Research Program. Association of Research Libraries, Juli 2021. http://dx.doi.org/10.29242/brief.jhu2021.

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This practice brief describes the assessment project undertaken by the Sheridan Libraries at Johns Hopkins University as part of the library’s participation in ARL’s Research Library Impact Framework initiative to address the question “(How) do the library’s special collections specifically support and promote teaching, learning, and research?” The research team investigated how the Freshman Fellows experience impacted the fellows’ studies and co-curricular activities at the university. Freshmen Fellows, established in 2016, is a signature opportunity to expose students to primary-source collections early in their college career by pairing four fellows with four curators on individual research projects. The program graduated its first cohort of fellows in spring 2020. The brief includes a semi-structured interview guide, program guidelines, and a primary research rubric.
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Kupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, März 2013. http://dx.doi.org/10.18235/0006215.

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The IDB Cultural Center is proud to host this exhibit honoring the Republic of Panama, host country of the IDB Annual Meeting, which will take place from March 14¿20, 2013. The exhibition highlights the history of modern and contemporary art by Panamanian women and will include paintings, photographs, sculptures, and video art from the 1920s to the present. The 22 artworks, selected by Panamanian curator Dr. Monica E. Kupfer, reveal the ways in which a varied group of female artists have experienced and represented significant geopolitical events in the nation¿s history. Their interpretations also show the position of women in Panamanian society, and their views of themselves through their own and others¿ eyes. Among the artists are: Susana Arias, Beatrix (Trixie) Briceño, Fabiola Buritica, Coqui Calderón, María Raquel Cochez, Donna Conlon, Isabel De Obaldía, Sandra Eleta, Ana Elena Garuz, Teresa Icaza, Iraida Icaza, Amelia Lyons de Alfaro, Lezlie Milson, Rachelle Mozman, Roser Muntañola de Oduber, Amalia Rossi de Jeanine, Olga Sánchez, Olga Sinclair, Victoria Suescum, Amalia Tapia, Alicia Viteri, and Emily Zhukov.
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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.
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A Century of Painting in Panama. Inter-American Development Bank, November 2003. http://dx.doi.org/10.18235/0005898.

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An exhibition of exceptional paintings by 25 outstanding artists selected from a survey of a wide-ranging group of art connoisseurs, historians, critics, professors and art dealers in Panama gave the public an overview of the development of painting in Panama over the 20th century. The selection included early 20th century artists such as Roberto Lewis, Humberto Ivaldi, and Manuel Amador; and painters from Mid-century and end of the 20th century. Dr. Mónica E. Kupfer, Former Curator of the Panama's Museum of Contemporary Art, was invited as Associate Curator for this exhibition.
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Masterpieces of Canadian Inuit Sculpture. Inter-American Development Bank, Dezember 2000. http://dx.doi.org/10.18235/0005924.

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46 sculptures by male and female indigenous artists executed over the last 15 years, depicting Inuit people, animals and legends, among other themes, made this show the most extensive and complete exhibition of Canadian Inuit sculpture of the last 15 years presented in Washington. All works come from private collections in the United States and Canada. Dr. John Burdick acted as Associate Curator for this exhibition which was hailed by The Washington Post as, sculpture that captures a culture.
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Honduras: Ancient and Modern Trails. Inter-American Development Bank, Juni 2001. http://dx.doi.org/10.18235/0006409.

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The exhibition displayed 50 pieces, comprising three types of work: (1) prehispanic-Mayan reliefs from Copán, (2) Lenca ceramics, and (3) paintings by three artists and various other objects. The works were chosen from a number of public and private collections in Honduras, including the Honduran Institute of Anthropology and History (IHAH), PROPAITH, Galería Portales, the President of the Republic of Honduras, His Excellency Carlos Roberto Flores Facusse, Atlántida Bank, Honduran Central Bank, and ACTA. Dr. Olga Joya, General Director of the IHAH acted as Curator for the prehispanic Maya-Copán section.
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