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		<title>The Pew Center for Arts &amp; Heritage : Blog</title>
		<link>http://www.pcah.us/blog/</link>
		<dc:language>en</dc:language>
		<dc:date>2014-01-17T17:30:06+00:00</dc:date>
		
		
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			<title>Questions of Practice: Seth Siegelaub in Conversation with Teresa Gleadowe</title>
			<link>http://www.pcah.us/blog/entry/questions-of-practice-seth-siegelaub-in-conversation-with-teresa-gleadowe/</link>
			<description><![CDATA[Editor&#39;s note: Seth Siegelaub was among the first curators to radically re-think the contemporary art exhibition context. In the late 1960s and early 1970s, he organized exhibitions outdoors as well as in the pages of magazines. The following&nbsp;excerpt is taken from a longer interview with Siegelaub,&nbsp;commissioned by The Pew&nbsp;Center for Arts &amp; Heritage in 2012 for inclusion in a forthcoming book on structural innovation in exhibition-making. We are grateful to British art historian Teresa Gleadowe and Seth Siegelaub for the time they invested in this conversation over a several in-person meetings and numerous follow-ups. Sadly, Seth Siegelaub passed away in the summer of 2013, before this text was published. Raven Row, April 19, 2012 Teresa Gleadowe: So what do you see in the fact that your curatorial practice has become a kind of foundational text for the teaching of curating? You are part of the literature of curating, like it...]]></description>
			<dc:date>2014-01-02T18:46:55+00:00</dc:date>
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			<title>The Artist Song ErRui on Collaboration</title>
			<link>http://www.pcah.us/blog/entry/the-artist-song-errui-on-collaboration/</link>
			<description><![CDATA[Song ErRui, the daughter of Beijing-based artists Song Dong and Yin Xiuzhen, talks about her contribution to her parents&#39; exhibition The Way of Chopsticks at the Philadelphia Art Alliance, her life as a young artist, and artistic collaboration. We present this short interview as part of the Center&rsquo;s sustained inquiry into co-authorship. The exhibition was funded by The Pew Center for Arts &amp; Heritage. About The Way of Chopsticks: Inspired by the Philadelphia Art Alliance&#39;s (PAA) history as a private residence, Song Dong and Yin Xiuzhen have collaborated with their 11-year-old daughter, Song ErRui, on an installation that has turned the historic Wetherill mansion into a three-story, multimedia exploration of modern family life in China. The exhibition traces the evolution of family dynamics from the 1960s and &#39;70s China of the artists&#39; youth, when large families were the norm, to the increasingly globalized present day where only children, like their...]]></description>
			<dc:date>2013-11-21T21:50:30+00:00</dc:date>
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			<title>Putting Jason Back Together Again</title>
			<link>http://www.pcah.us/blog/entry/putting-jason-rhoades-back-together-again/</link>
			<description><![CDATA[A conversation with Rick Baker on reconstructing Jason Rhoades&rsquo; installations One of the most ambitious artists of his generation, Los Angeles-based Jason Rhoades burst onto the scene almost fully formed just after receiving a graduate degree in 1993. He died only 13 years later, leaving behind a number of massive installations. Four of these works are included in the Center-funded exhibition Jason Rhoades, Four Roads, on view at the Institute for Contemporary Art, University of Pennsylvania (ICA) through December 29, 2013. In October, Peter Nesbett, The Pew Center for Arts &amp; Heritage&rsquo;s Associate Director for Programs, sat down with the manager of Rhoades&rsquo; studio, Rick Baker, to talk about the complications of reconstructing the artist&rsquo;s work after his death. &nbsp; Peter Nesbett: Rhoades died unexpectedly in mid-career. You worked in his studio; were you at all preparing for the day when these things would have to be put together in...]]></description>
			<dc:date>2013-11-07T12:34:32+00:00</dc:date>
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			<title>Pigeons Aloft: New Book on Contemporary Curating</title>
			<link>http://www.pcah.us/blog/entry/pigeons-aloft-new-book-on-contemporary-curating/</link>
			<description><![CDATA[Pigeons on the Grass, Alas: Contemporary Curators Talk about the Field A new book from The Pew Center for Arts &amp; Heritage Featuring contributions from Carlos Basualdo, Peter Eleey, Helen Molesworth, Hou Hanru, Rita Gonzalez, Jens Hoffmann, Valerie Cassel Oliver, Ralph Rugoff, Robert Storr, Ingrid Schaffner, Claire Tancons, Nato Thompson, and many more Distributed by D.A.P. / Artbook / TO ORDER: See instructions below "Wide-ranging, unprejudiced, repeated, protracted, and in-depth looking constitutes the bare essentials of the curator&rsquo;s craft." &mdash;Robert Storr "I&#39;m not interested in perpetuating the increasingly artificial distinction between curators and artists." &mdash;Claire Tancons "Working in the public sphere can allow projects to escape the bracket of art, and often they can simply exist as unexplained phenomena in the world." &mdash;Nato Thompson In October 2013, The Pew Center for Arts &amp; Heritage (the Center) published this pocket-size book, which gathers together interviews with 41 curators to talk about...]]></description>
			<dc:date>2013-10-31T13:47:09+00:00</dc:date>
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			<title>Paul Schimmel: On Curating and Theater</title>
			<link>http://www.pcah.us/blog/entry/paul-schimmel-on-curating-and-theater/</link>
			<description><![CDATA[With the expansion of spectacle-driven biennials, issues of staging, sequencing, and audience choreography are now at the forefront of curatorial discourse.&nbsp;Paul Schimmel, who for decades presided over the curatorial department at the Museum of Contemporary Art in Los Angeles, responds to the question: &ldquo;Do you think exhibition-making bears any resemblance to theater directing?&rdquo; &nbsp; For more from Paul Schimmel, see our interview clips with him and Helen Molesworth on&nbsp;the relationship between curating and historiography. Paul Schimmel, chief curator of the Museum of Contemporary Art, Los Angeles from 1990 to 2012, has organized over 52 exhibitions, among them ambitious surveys such as Under the Big Black Sun: California Art, 1974&ndash;1981 (2011), Helter Skelter: L.A. Art in the 1990s (1992), and Destroy the Picture: Painting the Void, 1949&ndash;1962 (2012). Art critic Christopher Knight opined in the Los Angeles Times last June, &ldquo;No curator working in the United States today has a more...]]></description>
			<dc:date>2013-07-11T12:46:14+00:00</dc:date>
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			<title>Braindrop: Sarah Sze</title>
			<link>http://www.pcah.us/blog/entry/braindrop-sarah-sze/</link>
			<description><![CDATA["What a viewer experiences before and after one work is so influential. I think about this all the time. If it&rsquo;s a group show or a biennial, I&rsquo;m always interested in who the artists are before and after me, and how people are going to walk through the exhibition space, because it&rsquo;s always a fluctuating volume of space that you come into." &mdash;Visual artist Sarah Sze, from an interview with The Brooklyn Rail (2010). Sze is currently representing the United States at the Venice Biennale. The Fabric Workshop and Museum will open a major, building-wide installation by Sze in December 2013. &nbsp; CATCH MORE BRAINDROPS &gt;]]></description>
			<dc:date>2013-06-17T09:36:22+00:00</dc:date>
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			<title>Braindrop: Julio Cortazar</title>
			<link>http://www.pcah.us/blog/entry/braindrop-julio-cortazar/</link>
			<description><![CDATA["Once in a while it happens that I vomit up a bunny...It&rsquo;s not reason for one to blush and isolate oneself and to walk around keeping one&rsquo;s mouth shut." &mdash;Argentinian writer Julio Cort&aacute;zar (1914-1984), from the story "Letter to a Young Lady in Paris" &nbsp; CATCH MORE BRAINDROPS &gt;]]></description>
			<dc:date>2013-06-07T10:24:12+00:00</dc:date>
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			<title>Braindrop: bell hooks</title>
			<link>http://www.pcah.us/blog/entry/braindrop-bell-hooks/</link>
			<description><![CDATA["At the conference, I confessed that I have really violent impulses that sometimes listening to some panels I had wanted to come out and shoot people. The audience laughed, but I wasn&rsquo;t being funny, and I wasn&rsquo;t saying it to be cute or exhibitionist. I was acknowledging that the violent impulses don&rsquo;t just exist out there in black youth or in the underclass, but that they reside in people like myself as well&mdash;people who have our PhDs and our good jobs. But that doesn&rsquo;t mean that my life is not tormented by rageful or irrational, violent impulses. It does mean that instead of shooting people, I go home and write a critique." &mdash; Scholar and critic bell hooks, from a 1994 interview in Bomb magazine &nbsp; CATCH MORE BRAINDROPS &gt;]]></description>
			<dc:date>2013-06-06T11:32:23+00:00</dc:date>
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			<title>Braindrop: Pauline Oliveros</title>
			<link>http://www.pcah.us/blog/entry/braindrop-pauline-oliveros/</link>
			<description><![CDATA["The key to multi-level existence is deep listening. Deep listening includes language and its syntax, the nature of its sound, atmosphere and environmental context. This is essential to the process of unlocking layer after layer of imagination, meaning and memory down to the cellular level of human experience. Listening is the key to performance. Responses, whatever the discipline, that originate from deep listening are connected in resonance with being and inform the artist, art and audience in an effortless harmony." &mdash;Composer Pauline Oliveros, quoted in an interview in EST magazine. In 2013, Philadelphia&#39;s Leah Stein Dance Company received a planning grant to work with Oliveros. &nbsp; CATCH MORE BRAINDROPS &gt;]]></description>
			<dc:date>2013-06-03T12:23:45+00:00</dc:date>
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			<title>Talking Exhibitions with Marnie Burke de Guzman, Marketing Specialist</title>
			<link>http://www.pcah.us/blog/entry/talking-exhibitions-with-marnie-burke-de-guzman-marketing-specialist/</link>
			<description><![CDATA[&ldquo;Exhibitions are some of the most dynamic ways of presenting art at this moment because they exist as open-ended platforms for engagement,&rdquo; Marnie Burke de Guzman says. She distinguishes exhibitions from time-based performances that demand considerable, uninterrupted time for their consumption. In this video, the San Francisco-based marketing strategist points out how this &ldquo;open-ended&rdquo; experience&mdash;echoed by the non-linear way we generate and receive content in the digital realm&mdash;provides rich opportunities for marketing and audience engagement. &nbsp; Marnie Burke de Guzman has more than 20 years of experience in strategic branding, marketing, user centered design, program and content development, and community relations for cultural organizations. She was the director of marketing and audience strategy for SFMoma and director of external affairs at the University of California, Berkeley Art Museum &amp; Pacific Film Archive. She is a founding member of the steering committee of the Art Museum Marketing Association and a member...]]></description>
			<dc:date>2013-05-20T13:55:35+00:00</dc:date>
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