{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"d1c31cd8-6afd-4ea5-b7b0-085c26a4e406","title":"Curation in the Age of Platform Capitalism  The Value of Selection, Narration, and Expertise in New Media Cultures","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9781032023007","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"d1c31cd8-6afd-4ea5-b7b0-085c26a4e406","id":"d1c31cd8-6afd-4ea5-b7b0-085c26a4e406","uuid":"d1c31cd8-6afd-4ea5-b7b0-085c26a4e406","title":"Curation in the Age of Platform Capitalism  The Value of Selection, Narration, and Expertise in New Media Cultures","normalized_title":"curationintheageofplatformcapitalismthevalueofselectionnarrationandexpertiseinnewmediacultures","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9781032023007","isbns":["9781032023007","9781032023014","9781003182801"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":177,"navigation_url":"https://workshop.closeclaw.top/ai/book/d1c31cd8-6afd-4ea5-b7b0-085c26a4e406","title_url":"https://workshop.closeclaw.top/ai/title/Curation%20in%20the%20Age%20of%20Platform%20Capitalism%20%20The%20Value%20of%20Selection%2C%20Narration%2C%20and%20Expertise%20in%20New%20Media%20Cultures","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/d1c31cd8-6afd-4ea5-b7b0-085c26a4e406/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/d1c31cd8-6afd-4ea5-b7b0-085c26a4e406/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/d1c31cd8-6afd-4ea5-b7b0-085c26a4e406","page_url":"https://workshop.closeclaw.top/api/ai/books/d1c31cd8-6afd-4ea5-b7b0-085c26a4e406/page","search_url":"https://workshop.closeclaw.top/api/ai/books/d1c31cd8-6afd-4ea5-b7b0-085c26a4e406/search"},"page":{"printed_page":44,"pdf_page":54,"physical_index":54,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"2497a5eac9b0d2a6666ff47508d0710cd15e7fdf1f39c42f269b3d8c3ae40f8b"},"chapter":"CURATION IN THE AGE OF PLATFORM CAPITALISM","content":"2.6 Conclusions\n\nThis genealogical reading of curators as professionals and curating as a socialized activity places the curatorial imperative in the context of a globalizing aspirational imaginary. From the 2000s onwards and especially after the 2010s, the title of the “curator”, through the symbolic capital it gained in art contexts as an expert of good taste, has opened up to explicitly embrace market actors, that is, actors who pursue economic capital. Curating in the post-2010s context has pivoted to a neoliberal rationality of individuals seeking to “galvanize and publish their passions and knowledge in a way that will create value from personal passions and niche expertise”, as the curation guru puts it (Rosenbaum, 2011: Ch.1). Curators are now the countless micro-experts of a new world of information abundance and creativity, personas who mediate value production via their own CVs, networks, and cultural capital and who can organize their passions as business endeavors.\n\nI argue that the ascent of the media curator is not a simply a result of misappropriation nor is it irrelevant to the historical development of the museum curator, but instead, it is specific to how the art field has been both commodified and dematerialized in capitalist modernity. The very usage of the term curator and its linguistic derivatives is a vehicle of artifying a social relation, that is to say, adding value to a product or service by associating it with art-related tropes. The necessity to touristify cities through art events, grabbing the audience’s attention in an attention economy, and making “every business a stage” (Pine and Gilmore, 1999, see also Chapter 5), is a market imperative capitalizing on creative-sounding language; this is not only linguistic appropriation by market actors but part of the historical development of consumer society (see also Baudrillard, 1998 and Featherstone, 1987). Caught at these crossroads, the ideal of the contemporary art curator assembles an inspirational, sophisticated, and well-traveled persona in contemporary culture: the curator boyfriend as the “hottest accessory”, the sophisticated curator-protagonist of the Square, and Obrist’s nomadic persona are some of the archetypes of this crisscrossing between art and neoliberalism, creativity and business.\n\n44\n\nHomo Curatorius","previous_page":43,"next_page":45}