Help us rehabilitate curating

Liz Hide, Issue 114/11, p14, 01.11.2014
We all agree that museums need curators, but do we all agree on what it is that curators do? Are they holders of specialist collections knowledge? Cultural programmers? Custodians? Facilitators? Communicators? All of these, or none?

Through the Art and Science of Curation project, we are beginning to map the rich and diverse landscape of curation. We are exploring areas of common ground and difference, with the aim of improving and enhancing our understanding of the curator, and to raise awareness of the diversity of the curatorial role.

We hope this will enable more effective partnerships, and strengthen and stimulate cross-disciplinary working.

By looking at the role of curation, I hope that it will enable our audiences to better understand what museums are about, and enable us all to advocate more powerfully for the role of museums in the wider cultural and social landscape.

Our starting point is a growing set of short essays by curators from different disciplines and museums, in which they outline their personal view of their role as a curator.

These vary from practical descriptions of day-to-day tasks to more reflective articles about curation within a particular discipline. They all contribute to capturing and building our understanding of the diversity of the curatorial role.

These essays become the starting point for debate and discussion, both online and through events such as the Art and Science of Curation session at the Museums Association conference.

In Cardiff, three curators from different backgrounds and disciplines spoke about their roles. Katy Barrett, a historian from National Museums Greenwich, reflected on her journey to become a curator and how her view of the role has changed.

She suggested that a curator should be an expert in people as much as in objects, creating and developing networks and a robust personal identity, and that time spent on the front desk of the museum is as important as time spent in the stores.

Jenny Powell, from Kettle’s Yard in Cambridge, outlined the challenges of curating a static collection, reflecting the vision of one man, a collection that includes found pebbles and objects alongside important works of 20th-century art.

Mark Carnall, from the University College London’s Grant Museum of Zoology, challenged us with a robust defence of the importance of science curators, and their effectiveness in breaking down barriers and stimulating engagement with visitors.

Do art and science curators operate in different worlds, meeting only to battle out their differences? The debate is not just about the two cultures – art against science – but about capturing a far richer and diverse field of views.

Comments from the floor during the session, via Twitter and in discussions afterwards, remind us that curators of social history collections, for example, have a different approach and emphasis. Curators in small museums have little time for scholarly research, as they struggle to keep their museum open, but they are no less curators.

Should diversifying the curatorial workforce be a priority? And how do we feel about the appropriation of the word by those outside the sector – curated fashion collections, music events and restaurant menus?

These questions help challenge assumptions that curation is a fixed and homogenous phenomenon. We need to rehabilitate curating, and curators, as a rich and diverse thing, and I invite you all to get involved in the discussion.

Liz Hide is the museums officer at the University of Cambridge


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MA Member
06.11.2014, 10:11
Not everyone agrees that museums need curators. Some people are getting rid of theirs. I would suggest this is short-sighted in the extreme and indicative of inverted snobbery at best and a criminal lack of understanding of what curators do in this day and age. There is no point in giving increased access to collections if no-one knows enough about the collections to bring them to life and open them up. To my mind curators' priority is to have in-depth knowledge of the collections and the subject area but also, crucially, to be able to communicate that knowledge, clearly and accessibly and be able to angle what we know towards the needs of different audiences, while remaining accurate, not sloppy or dumbed-down, nor obscure or rambling. Oh and sometimes we have to be good at sweeping floors, painting plinths and moving furniture too...