Contemporary art curating news and views from Michelle Kasprzak and team

Questions: VAGA International Research Enquiry (for UK-based curators)

Posted by Michelle Kasprzak • Monday, February 21. 2011 • Category: Questions & Conversations

Commissioned by Creative Scotland, managed by VAGA (Visual Arts and Galleries Association) and led by independent curators Kirsteen Macdonald (Glasgow) and Ellen Blumenstein (The Office, Berlin) the VAGA International Research Enquiry (VIRE) aims to benefit the visual arts sector as a whole by identifying opportunities available to curators at all stages of their careers.

VIRE is investigating existing curatorial work in an international context, that presents the potential to promote exchange, foster partnerships and develop programmes in the future for curators working both in institutions and independently.

This survey is aimed at curators based in the UK or whose work is closely linked to the UK. There are 21 questions and it should take around 20 minutes to complete. The survey closes on 11 April 2011. Click here to take the survey.

All responses will be kept securely and the results will feed into the VIRE research project. At the end of the survey there is an opportunity for you to leave comments and suggestions as well as your email address. Your email address will not be passed to any third parties and will only be used, with your permission, to keep you informed about the VIRE project and may include individual follow up in response to your answers/comments.

We thank you in advance for your contribution.
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Answers: Results of the Netherlands Media Art Institute's survey

Posted by Michelle Kasprzak • Wednesday, October 27. 2010 • Category: Questions & Conversations

Thanks to everyone who was able to assist the Netherlands Media Art Institute by responding to their survey targeted at curators, which I posted here. The NIMk received 172 responses, and have collated the results into a report that you can download in PDF format at the Culture Vortex website.
I encourage you to browse the whole report, but thought I'd point out findings that I think are interesting:
- only 20% of the respondents use online video sites (Vimeo, YouTube) to scout for new work.
- 67% of respondents listed UbuWeb as one of their most visited websites, however, suggesting that curators appreciate a resource that is already heavily curated.
- there is no interest in a printed catalogue of NIMk's works for distribution, but heavy interest in being able to save selections in NIMk's online catalogue.
- several needs were identified, including access to full-length works online, access to non-Western work, and access to performance work.
Get the whole report here.

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Questions: A Survey by the Netherlands Media Art Institute

Posted by Michelle Kasprzak • Tuesday, August 24. 2010 • Category: Questions & Conversations

The Netherlands Media Art Institute has developed an online survey specifically designed for professional curators and programmers of exhibitions, screenings and festivals. The questionnaire was developed by the distribution department of the Netherlands Media Art Institute, in which they seek to learn about ways to improve their services.

The questions are good and got me thinking about how I search for new work and artists. It takes just a few minutes, follow this link: to give your point of view to NIMk.

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Pick 'N Mix - December 2009

Posted by Michelle Kasprzak • Friday, December 11. 2009 • Category: Pick 'N Mix
Welcome to the last Pick 'N Mix of 2009!

- Here is yet another art world power list, listing several curators, many of whom are "household names" of a sort (Birnbaum, Bonami, Obrist, etc). We're a society obsessed with lists and awards it seems!

- Andy Warhol was all over the news this past month, and one of the major news items referred back to a situation in 1990 involving well-known and respected curator Pontus Hulten. According to reports, some of Warhol's famous Brillo boxes were replicated after the artist's death and passed off as originals, which has resulted in a sticky situation for everyone involved. The details, including some information on Hulten's role in the story, is available at More potential Warhol fakes were discovered, in London-based art dealer Anthony d'Offay's collection, prompting Tate Modern Director Sir Nicholas Serota to hold off on buying the self-portrait on the taxpayer's dime. Full coverage at the Guardian. Of course, it is not hard to imagine that our late Uncle Andy would have had a huge laugh about the complications surrounding a desire for verified authenticity.

- While we're thinking about money, value, and authenticity, here's a good read: The British Council has been holding lectures by leading thinkers such as Dambisa Moyo, Amartya Sen, Muhammad Yunus, and others. In early November Benjamin Barber gave a lecture on art, money and democratic change and it's available to watch or read at the British Council website.

- Here's a handy research tip: If you use Twitter, send a tweet with your research interests to Mute Magazine, and they'll dig up something relevant for you from their archives! I asked them for articles on curating and public art, and was promptly sent links to two great articles: Curating Self-Consciously, and Airing Dirty Laundry in Public Art. Give it a try!

- Independent Curators International (iCI) has a series of lectures planned that looks terrific. Sunday, December 13th Ana Paula Cohen is speaking at the New Museum in New York, USA. Further details here. If you are in the New York area, sign up to their email list to get information on future talks.

- Last but not least, please consider helping a researcher out and filling in this questionnaire for curators developed by Lisa Ladner. I'm sure the results will make for fascinating reading.

Happy holidays!
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Questions: A Survey by Lisa Ladner

Posted by Michelle Kasprzak • Friday, December 11. 2009 • Category: Questions & Conversations

Swiss researcher and consultant Lisa Ladner approached me to assist in the distribution of this fascinating survey for curators. She has been working as a cultural producer and independent curator in Puerto Rico, and with her international experience she found interesting discrepancies in how institutions around the globe work to support curators. She would like you, as a curator, to answer the questionnaire below and return the answers to her as soon as possible to info -at-, so that she can learn from your experience and share the results not only with her Puerto Rican colleagues but with us, too.

The questionnaire is below, please copy and paste it into a new email and send it directly to Lisa: info -at-
Thanks for your help.

QUESTIONNAIRE / Please don't write what you think is good practice, but honestly describe the current practice!

Please mark one:
[ ] I want my answers to be anonymized
[ ] You may quote me using my name
[ ] Please treat my answers this way: ...

Name: ...
Website (or short bio): ...

Institution: ...
The institution's website (if it doesn't have a website, please describe the institution): ...

Position/relation with the institution: ...


1. Number of in-house curators (paid staff / employment percentage): ...

2. Institution works with guest curators:
[ ] yes
[ ] no
[ ] only

3. Guest curators get paid:
[ ] yes, of course, they get an average of USD ..... per exhibition
[ ] no, it's already an honour they can work for the institution

4. How does the institution cover the guest curator's expenses related to an exhibition such as transportation, accommodations, meals?

5. Please describe the collaboration between the in-house curators and the guest curator. Does the in-house curator interfere with the project or just help in its realization?

6. How much help does the institution grant the guest curator (museum staff, technical assistants,...)? Can the guest curator use the same resources as the in-house curator?

7. Let's say a freelance/independent curator presents an idea with a cost estimate and the institution likes it very much. Does the institution now communicate the available budget for the exhibition and the curator adapts the project or must the curator first present an exact budget and then wait for the institution to see, if they can raise the money? Will the curator get paid for budgeting? Does the institution help the guest curator in the budgeting?

8. How many months prior to an exhibition does the institution communicate if it can be done or not (due to economic reasons)?

9. Does the guest curator get a contract and if so: at what moment in the project? Could you send me a sample or actual contract?

10. Does the guest curator only get paid if the exhibition takes place? What if the show is being cancelled because the institution couldn't raise the money?

11. Can the guest curator be asked to help raise money?

12. Does the institution cover all transportation and insurance costs for the artworks (round trip) including wrapping/crating? Or does it ask the artist to cover some of the costs?

13. Who looks for transportation/insurance/customs quotes: the institution or the artist?

14. Are artists being paid for having their work in an institutional show or are they asked to pay for it (for example with the argument that the work's value goes up by being exhibited)?

15. If an artist has to be present for the mounting or opening: does the institution pay for transportation/accommodations/meals? Does it also pay a compensation for the invested time?

16. Regarding the above questions: does it matter if the work comes from the artist, an art dealer/gallery or a collection/collector or from another institution or are they all being treated equally?

17. Do artists receive money to complete a work or is this only the case, if the work was commissioned?

18. Are artists being asked to come up for or provide exhibition equipment such as DVD players, headphones, loudspeakers, cables, beamers, monitors, computers or whatever is needed to exhibit their piece?

19. Does the institution set up a contract with the artist or makes him fill out just a standard form? At what moment? Please send samples or actual documents.

20. Do you ask the artists to provide professional high resolution photos of their work to be used for free in the catalogue?

21. Does your institution have a curatorial guideline/handbook such as Please provide.

22. Are proposals by in-house and freelance/independent curators being treated equally (for example: propose to director, then pass the exhibition committee, then being assigned an in-house curator/committee member to accompany the project)?

23. How many exhibitions does the institution do yearly (average)?

24. If you're a curator: how many exhibitions do you do yearly (average) / how many have you done in your career (approx.)?


Comments: ...

Please mark:
[x] yes, I'd like to get the results from this inquiry
[ ] no, I'm not interested in the results

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