Mark Rothko, curated by Jermayne MacAgy for the Contemporary Art Museum, Houston, 1957.

“MacAgy managed to ignore design systems — or tried to work outside of systems of taste for these shows. Early on, here in Houston, when she did a Rothko show, she went out of her way to have beautiful flowers in the entryway — living flowers, planting beds. It was just a general reminder that you don’t start trying to ask why the flowers are some color — you relax and enjoy their beauty. It was a very interesting reminder that viewers should not be upset with the Rothkos if there’s no image there, no subject. What is the image of a flower? It’s just a color, it’s a flower.” — Walter Hopps, interview from A Brief History of Curating, JRP | Ringier, 2008

Ever wondered how MoMA grows its collection? Curatorial assistant Nancy Lim explains the process. Stay tuned over the coming weeks for insights about works recently added to the collection. 

[Basim Magdy. Stills from A 240 Second Analysis of Failure and Hopefulness (With Coke, Vinegar and Other Tear Gas Remedies). 2012. 160 35mm color slides and two synchronized Kodak slide carousel projectors, 4 min. The Museum of Modern Art, New York. Fund for the Twenty-First Century. © 2015 Basim Magdy]

Introducing The Curator’s Code: A Standard for Honoring Attribution of Discovery Across the Web

The great Maria Popova, who curates Brain Pickings, has devised a much-needed best practice for attribution on sites that curate content from around the web (like this one).

The Curator’s Code seeks to balance the magic of the rabbit-hole of web discovery with fair and honest attribution to the sources and creators.

While we have systems in place for literary citation, image attribution, and scientific reference, we don’t yet have a system that codifies the attribution of discovery in curation as a currency of the information economy, a system that treats discovery as the creative labor that it is. 

This is what The Curator’s Code is – a system for honoring the creative and intellectual labor of information discovery by making attribution consistent and codified, the celebrated norm. 

It’s an effort to make the rabbit hole open, fair, and ever-alluring.

It consists of two unicode characters, one () to replace “via”, and the other () to replace “HT” or “hat-tip”. Are you just re-linking and not adding much context? Use the first. Using material as inspiration for something more? Use the second. 

There’s even a bookmarklet to make it super-easy across many platforms, and a how-to video. It’s a few seconds of work that can alter the culture of attribution and sharing on the social web.

I’m on board. It’s this easy …

Curator’s Code

Pleased to share my #ArtPiece for the #PFunk #Tribute #Group #ArtShow: #TheMothershipReturns! The show opens July 29, 2016 at #MeltdownComics in #Hollywood.

The show has got the #Blessing AND #Participation of #GeorgeClinton himself as well as P-Funk #Painters #OvertonLoyd and #STOZO!  Needless to say, I’m extremely #Proud to be a part of this! The Mothership Returns will also be #CrossPromoted with Overton Loyd’s #Museum #Retrospective #Exhibition at the #CaliforniaAfricanAmericanMuseum in #ExpositionPark in #LosAngeles.

#SpecialThanks and #ShoutOut to #GustavoAlbertoGarciaVaca for #Curating and #Inviting me to be a part of the #Mothership! #JeauxJanovsky #TumblrToons #MyArt #Art #ArtWork #Artist #Ink #Markers #PermanentMarkers #ColoredPencils #BabyPrince #Prince #RIPPrince

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