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A curadoria de exposições de arte também pode ser uma forma de arte? Esta é a questão principal deste livro, analisada através de argumentos teóricos, históricos, bem como de exemplos práticos, com ricas referências visuais de obras e montagens de exposições contemporâneas nacionais e estrangeiras. Em 2a. edição, revista e atualizada, este livro de Sonia Salcedo é um raro estudo do gênero em língua portuguesa e abre uma nova discussão sobre o lugar da curadoria nas práticas artísticas contemporâneas. Este é um ensaio teórico-reflexivo, repleto de imagens, que nos convida a pensar a prática curatorial e a rever conceitos envolvidos no trabalho de organização de exposições de arte.

Exhibitionary spaces and curatorial strategies ideologically frame the encounter between art and its publics. For more than forty years, feminist art curating, as a practice of art interpretation and a politics of display, has intersected with the diverse area of feminist art historical research and feminist artistic practices. It is only recently, however, that a theorization of feminist art curating and feminist exhibition histories as a specific field of knowledge has emerged.Curating Differently is a collection of essays that offers critical perspectives on, and analyses of, the intersections of feminisms, art exhibitions, and curatorial spaces from the 1970s onward. It brings together case studies from Australia, Israel, Europe, and North America that critically account for diverse strategies and interventions in curatorial space. The essays contribute with historical perspectives on feminist exhibition practices and curatorial models and first-hand accounts of feminist interventions within the art museum, as well as timely analyses of current intersections of feminisms within curating in the contemporary global art world.As a major contribution to the ongoing scholarly debate on the institutionalization of feminisms in art and its relative success, or failure, Curating Differently will provide new insights and provoke further discussion on the history and theory of feminist art exhibitions and curatorial spaces.

In recent years, the museum and gallery have increasingly become self-reflexive spaces, in which the relationship between art, its display, its creators and its audience is subverted and democratised. One effect of this has been a growing place for artists as curators, and in The Artist as Curator Celina Jeffery brings together a group of scholars and artists to explore the many ways that artists have introduced new curatorial ways of thinking and talking about artistic culture. Taking a deliberately multidisciplinary and cross-cultural focus, The Artist as Curator will fill a gap in museum and curatorial studies, offering a thorough and diverse treatment of various approaches to the historical and changing role of the artist as curator that should appeal to scholars, curators and artists alike.