ABSTRACT

This chapter addresses questions of how the subsequent process of the collection of artworks is managed from the perspective of the museum, its audiences, and its conservators. Curators like to believe that the activity of curating art which sometimes includes the collection of art is the necessary precursor to the historicization of art. Art historians, when addressing currently alive art and the newest of art forms, need similarly multiple methodologies and opportunities for analysis. Art history is currently stuck in an ever-widening rift between its modes of scholarship and contemporary artistic practice, which includes curating. While art historians continue to use mostly the same old methodologies considering the artist's biography or the close reading of the discrete object of art, separated from its context artworks continue to evolve, using new technologies, new tools, and enjoining new audiences in their production and dissemination.