However faithful to the materials, the curators choosing, arranging, describing, emphasis or de-emphasis of items creates a new context out of the original.
Museums benefit from their curators’ participation in conferences, seminars, and other educational opportunities. Many pay fees and membership dues for professional organizations and are open for coaching, advising and experimentation.
“I create an avatar, the collection’s face to the world, doing my best to amplify its voice “
Curators are conscious whenever possible, of the value of intellectual property. They know that the author of significant discoveries or ideas should be always credited and are urged especially vigilant to avoid plagiarism while balancing with the free exchange of information.
“My work is a gesture toward the whole, a guide to suggest further conclusions and inspire further examination. “
Curators be expected to make presentations to prospective corporate or individual sponsors; they support grant writers to compose grant applications and are often called upon to participate in donor cultivation events as well.
Curators often engage trustees through their recommendations for acquiring and deaccessioning of works, committees of the board of trustees routinely call upon curators for their advice and opinions.
In the broadest sense, curators represent the collection, they are the leading advocates for it in the context of their institution’s mission. Curators have a responsibility to mentor the staff in the appreciation of works, their care, the importance of providing broad access, and the value of its impact for the audience.
The curator listens to the materials—and by extension to their creator—to learn what is trying to be told.
The curator’s relationship at other institutions is important to shaping projects. It is often the curator who initiates contacts between the community directly involved in making the collections broadly available for viewing and research.
Curators often interact with the various constituencies of the communities served by the institution. A museum curator actively seeks the opportunity to work closely with living artists and to bring them into the institution to be exposed with their audience.
“As soon as I disrupt the original order, I may destroy delicate threads that would have told a story I did not anticipate “
About the author
Fernando is currently head of Aspen Institute education program in Mexico and Partner at Global Impact Edtech Alliance. He was formerly President McGraw-Hill Education, Latin America. He is a recognized senior executive, entrepreneur, speaker and board level leader with international background. He has founded and led successful enterprises in Latin America for over 25 years. He holds a Degree in Computer Science from the Universidad Iberoamericana, and an MBA in International Business by the University of Miami. Active member of Wharton Fellows, ENOVA Network of Latin America CEOs, Center for Hemispheric Policy and Council of the Americas, and board member at Inroads. He was most recently President at Cengage Learning / National Geographic Learning Latin America and founder of LINNEA the First Laboratory for Innovation in Learning Experiences in Latin America. There Fernando lead the transformation of the educational models and creating high value learning experiences by engaging students with technology.Website LinkedIn