curated art

thisismyjimmypage  asked:

Unfortunately, I missed my opportunity to ask you a question when you did "answer time" a while back. I'm an aspiring archivist interested in medieval Europe, so you're like rock stars to me! Ultimately, I want to live (er, I mean work) at the MET Cloisters. I was wondering if you could explain how you planned your educations? (Your undergrad majors, masters' programs, internships, etc.) And is it possible to succeed in your profession if one is very, very bad with foreign languages? Thanks!

Thank you for your question! 

Bryan Keene, curator of manuscripts, did a different Q&A with us that is posted on our blog. Take a look! He answers a few questions related to curating as a job, and the path to become a curator. 

“Curatorial work requires many skills, including a background in art history (the broader the better, but also with an area of focus), languages (the more the better), and even digital savvy. There’s no one path: Some have PhDs, some don’t. Some work across materials/media, others focus on a single type of object. More and more, global or cross-cultural and material studies are important, as are expanding our knowledge about an object’s use or historical approaches to race, gender, sexuality, and other topics that are relevant today.”

anonymous asked:

As I am an artist and you are I think an art curator (do I have that correct?) can you describe Ben in art historical terms for me? <3

what a fantastic question but sorry for the delay in replying… ok well in summary, and obv in my view, it’s almost as if BC is the culmination of 2000 years of western art :-)

his body shape particularly reminds me of the mid-Classical (600 - 480 BC) kouros sculptures with their perfectly triangular torso; yet his body to me also has the slightly disproportionate features of Michelangelo’s David. That iconic sculpture has exaggerated hands and face in order to look in proportion when viewed from below. Weirdly BC has almost the same disproportion…(this amazing comparison image courtesy of, and made by @theyankeeanglophiliac

His attenuated hands remind me also of Bronzino; attenuated, almost mannerist. As if they are an artist’s whimsy rather than merely biological.

And his ever-changing face at times seems ethereal and otherworldly; as if he combines the High Renaissance style of Tosini and Botticelli but also with the really modern, quite provocative joli-laid angles of Egon Schiele and Modigliani.

sorry this is hurriedly written and not thought out in a very elegant way but…. that’s my view :-)  

[oh and yes i am an art curator by training, currently a museum director x]

“I think this painting in some ways speaks to what curators do: the gathering of images, the hanging of them, the arranging of them.” New on Whitney Stories, Scott Rothkopf describes the portraits visible in Jasper Johns’s Racing Thoughts, and connects the painting with his work as the Whitney’s chief curator. 


Digging futuristic Artprints by Beeple on society6

Mike Winkelmann is currently a graphic designer living and working in Neenah, Wisconsin, USA. Beeple is the pseudonym for his personal work that includes short films, live visuals, graphic design, music and drawings. Most of his current work focuses on ways to visual music through video. His work has screened at onedotzero, Siggraph, Optronica, the Ann Arbor Film Festival, the Milwaukee Art Museum, the Chicago Underground Film Festival, and many more. He has also released work on Flying Lotus’ Brainfeeder labe.

See more here

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Listen: MoMA curator Jodi Hauptman talks to the Modern Art Notes podcast about Edgar Degas’s experimental monotypes, on view through July 24 in Edgar Degas: A Strange New Beauty.

[Edgar Degas (French, 1834–1917). Forest in the Mountains (Forêt dans la montagne), c. 1890. The Museum of Modern Art, New York]