When I first looked into this classes description, I was a little skeptical. I had two main reasons for taking this class: it counted towards my DTC major, and it fit within my schedule. At first I thought it would just be another art history class with some basic information on how to create an exhibit. Little did I know…
“In the end, this is what our visitors most want from us: to have access to works of art in order to change them, alter their experience of the world, to sharpen and heighten their sensibilities to it, to make it come alive anew for them, so they can walk away at a different angle to the world.” (What is the Public?, 34)
This quote is from Ten Fundamental Questions of Curating and I believe that this quote really shapes the entire class for me, especially when working on Game Changers. Game Changers was an interesting experience for me considering the only video games I had played prior to the exhibit were on a mobile interface, and I had never had a “behind the scenes” of an exhibit. I was only on the audience side and working on this exhibition really shined a new light on how I appreciate an exhibition. When we had students come in and see the exhibit, I could see in some of their eyes, the disbelief some of them carried while experiencing the video games. Once the docents explained how the games showcased in the exhibit were innovating, I could see the public grasping the concept.
“Things are very often not so linear, and right now schools are becoming so target-oriented: immediately someone goes into architecture to become an architect. That’s why I believe in the type of school where the unpredictability of non-linearity is allowed to happen.” – Hans Ulrich Obrist (Everything You Always Wanted to Know About Curating * But Were Afraid to Ask, A Mad Dinner in Reagan’s War Room p. 76)
I enjoyed the format of Hans Obrist’s book much more than first book. With the interview format, you can learn a lot through what words are bolded and/or crossed out. With the interviews themselves being the chapters, it almost gave a whole new story with each chapter. I felt everything correlated within the book, but each chapter was unique enough in that I learned something every chapter.
I chose to be a DTC major because I did not know what I wanted to be when I grow up, and I still don’t to this day. I have an idea of what I like to do, and what I think would be cool to make a living out of. Would I want to do it all the time? That’s the question. By becoming a DTC major and specifically in taking this class, I had the thought of: Oh they’re going to teach graphic design, video editing and here’s a… Museum class? I learned so much information in regards to what curating actually is and how to apply it in showcasing items in my future and I feel bad for what I thought about this class before I took it.
In the ELO conference, my partner Ellen and I picked Jody Zellen as our artist to converse with. She created the app “News Wheel,” which gives you a new current/live news headline as you spin the wheel on the interface. While interviewing Jody, I learned that she went back to school to learn how to code, but the courses were much to straightforward for her (her example was: was meant for a computer science major), and decided she would collaborate with coders instead. This was an example of linearity. A straight shot from one major to learn one skill in one certain way.
“A curator is the key person for information transmission through objects.” – Yona Friedman (Everything You Always Wanted to Know About Curating * But Were Afraid to Ask, Afterword, pg. 205)
I have learned that if you want to bring out a certain feeling in yourself and show it to an audience, you should do so through curating. What an individual curates can show a lot about them.
Hoffmann, Jens. “What Is the Public?” Ten Fundamental Questions of Curating. N.p.: n.p., n.d. 34. Print.
Obrist, Hans Ulrich., and April Elizabeth. Lamm. Everything You Always Wanted to Know about Curating but Were Afraid to Ask. Berlin: Sternberg, 2011. Print.