This book is an interdisciplinary collection of twenty-four essays which critically examine contemporary exhibitions and artistic practices that focus on conceptual and creative aspects of access.
This book is an interdisciplinary collection of twenty-four essays which critically examine contemporary exhibitions and artistic practices that focus on conceptual and creative aspects of access.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Amanda Cachia is an independent curator and critic from Sydney, Australia. She received her PhD in Art History, Theory & Criticism from the University of California San Diego in 2017. Cachia has curated approximately 40 exhibitions, many of which contain social justice themes and content. Her research interests include contemporary art and disability, decolonizing the museum, and accessible curatorial practices.
Inhaltsangabe
Introduction: Committed to Change-Ten Years of Creative Access; Part I: Curatorial Reflections in the Age of COVID-19: Chapter 1: The "Swell": Disability Arts in the Time of COVID-19; Chapter 2: Becoming Indisposable: Curating Disability in a Time of Pandemic; Chapter 3: Connect2Abilities: Staging Virtual Intercultural Collaboration during COVID-19; Part II: Curatorial Reflections: Chapter 4: Disabled Artists, Audience, and the Museum as the Place of Those Who Have No Part; Chapter 5: Generative Forms of Experiential Access; Chapter 6: From Dust to Dust: Hallucinating the Absent Exhibition; Chapter 7: Perspective: Highlighting Disabled Experience through an Interdisciplinary and Socially Engaged Art Project; Chapter 8: Unseen Journeys Made Visible: Using Socially Engaged Art to Cross Boundaries and Create a Universally Enriching Experience; Chapter 9: Human Threads: Altered States; Chapter 10: Incarnate Experiences: Learning to Curate Exhibitions for Disabled Bodies; Part III: Access Critique: Chapter 11: On Brand: When Design Museums Discover Disability; Chapter 12: Accommodating and Enabling Anxiety Disorders and Agoraphobia in Digital Access Systems for Cultural Heritage; Chapter 13: Do You Hear My Point? Addressing Accessibility Issues within Spatial Audio; Part IV: Collaboration & Conversation: Chapter 14: Codesigning Access: A New Approach to Cultures of Inclusion in Museums and Galleries; Chapter 15: Desiring Disruption: Experimental Approaches to Audio Description; Chapter 16: Curating Together: A Tangled, Intergenerational, Interdependent Community of Practice; Chapter 17: Networks of Care: Collectivity as Dialogic Creative Access; Part V: Artistic Access Praxis: Chapter 18: Troublesome Access in Pope.L's Instigation, Aspiration, Perspiration; Chapter 19: "My Practice is Staying Alive": Critique and Care in the Sculptures of Emily Barker; Chapter 20: Considering Amanda Coogan's Performance Art as an Accessible Practice; Chapter 21: Open Access: Accessibility as a Temporary, Collectively Held Space; Chapter 22: Alt Text as Poetry Project; Chapter 23: Disability Access Rider; Chapter 24: A Primer On Working With Disabled Group Members: For Feminist/Activist Groups and Organizations; Index.
Introduction: Committed to Change-Ten Years of Creative Access; Part I: Curatorial Reflections in the Age of COVID-19: Chapter 1: The "Swell": Disability Arts in the Time of COVID-19; Chapter 2: Becoming Indisposable: Curating Disability in a Time of Pandemic; Chapter 3: Connect2Abilities: Staging Virtual Intercultural Collaboration during COVID-19; Part II: Curatorial Reflections: Chapter 4: Disabled Artists, Audience, and the Museum as the Place of Those Who Have No Part; Chapter 5: Generative Forms of Experiential Access; Chapter 6: From Dust to Dust: Hallucinating the Absent Exhibition; Chapter 7: Perspective: Highlighting Disabled Experience through an Interdisciplinary and Socially Engaged Art Project; Chapter 8: Unseen Journeys Made Visible: Using Socially Engaged Art to Cross Boundaries and Create a Universally Enriching Experience; Chapter 9: Human Threads: Altered States; Chapter 10: Incarnate Experiences: Learning to Curate Exhibitions for Disabled Bodies; Part III: Access Critique: Chapter 11: On Brand: When Design Museums Discover Disability; Chapter 12: Accommodating and Enabling Anxiety Disorders and Agoraphobia in Digital Access Systems for Cultural Heritage; Chapter 13: Do You Hear My Point? Addressing Accessibility Issues within Spatial Audio; Part IV: Collaboration & Conversation: Chapter 14: Codesigning Access: A New Approach to Cultures of Inclusion in Museums and Galleries; Chapter 15: Desiring Disruption: Experimental Approaches to Audio Description; Chapter 16: Curating Together: A Tangled, Intergenerational, Interdependent Community of Practice; Chapter 17: Networks of Care: Collectivity as Dialogic Creative Access; Part V: Artistic Access Praxis: Chapter 18: Troublesome Access in Pope.L's Instigation, Aspiration, Perspiration; Chapter 19: "My Practice is Staying Alive": Critique and Care in the Sculptures of Emily Barker; Chapter 20: Considering Amanda Coogan's Performance Art as an Accessible Practice; Chapter 21: Open Access: Accessibility as a Temporary, Collectively Held Space; Chapter 22: Alt Text as Poetry Project; Chapter 23: Disability Access Rider; Chapter 24: A Primer On Working With Disabled Group Members: For Feminist/Activist Groups and Organizations; Index.
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