English translation: (independent) art/design/exhibition curator//museum educator
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German to English translations [PRO] Art/Literary - Art, Arts & Crafts, Painting
German term or phrase:Kulturvermittler
Hi,
I just finished translating a critique of an artist's latest paintings. The word I need (Kulturvermittler) comes after the signature of the person who wrote the critique (sorry, no other context):
Dr. XY
Kunsthistorikerin, Kulturvermittlerin
This has got to be somewhere between a Museumspädagog and an art journalist, someone who conveys/explains/brings art and the meaning of artworks to other people.
Explanation: This person would probably be described as an independent art curator or art critic, depending on what they do with their time. I would tend towards the former. In practical terms that is what they will be doing. Coming up with concepts for exhibitions.
To be precise you will need to know what the individual actually does.
-------------------------------------------------- Note added at 13 mins (2011-02-20 13:32:14 GMT) --------------------------------------------------
They may also be employed by a museum, though generally this is done on a contract basis for the purposes of one particular exhibition or the re-hanging, for instance, of a specific collection.
-------------------------------------------------- Note added at 22 mins (2011-02-20 13:41:12 GMT) --------------------------------------------------
Myriam Blundell is an independent art curator. Through her works she seeks to uncover and exhibit the work of emerging contemporary artists. Her event porfolio includes a wide range of art events, including commercial shows, institutional exhibitions and educational art programmes. http://www.contemporaryartsociety.org/about-us/staff-trustee...
-------------------------------------------------- Note added at 26 mins (2011-02-20 13:45:52 GMT) --------------------------------------------------
Sara Roberts
A Welsh independent exhibition curator, writer and consultant based in Winchester. She previously worked for PACA (Public Art Commissions Agency), The British Council, The Winchester Gallery, Oriel Mostyn and The Imperial War Museum. She has a particular interest in art and landscape.
He has worked as an independent exhibition curator, largely for the Victoria and Albert Museum in London with exhibitions on Minton (1976), Doulton (1979) and Victorian Vision (2001). He set up and ran the Minton Museum in Stoke (now dispersed) and organised travelling exhibitions of historic Doulton items in the USA (1978/79) and has lectured all over the world on 19th and 20th Century ceramics.
Jennifer R. Gross is the Seymour H. Knox, Jr. Curator of Modern and Contemporary Art at the Yale University Art Gallery; Richard Kendall is consultant curator of nineteenth-century art at the Sterling and Francine Clark Art Institute, and an independent exhibition curator and scholar specializing in the work of Edgar Degas; Suzanne Boorsch is curator of prints, drawings, and photographs at the Yale University Art Gallery; Susan P. Casteras is professor of art history at the University of Washington in Seattle; Jill DeVonyar, a former ballet dancer, subsequently trained as an art historian and is now an independent curator; Aruna D’Souza is assistant professor of art history and co-director of the M.A. program in art history, theory, and criticism at Purchase College; Susan D. Greenberg is assistant curator of Modern and Contemporary Art at the Yale University Art Gallery; and Edgar Munhall is curator emeritus at The Frick Collection.
I just received the following message from the horse's mouth:
Meine berufliche Situation hat sich inzwischen geändert. Ich arbeite nicht mehr als Museumspädagogin (für Kinder) bzw. Kulturvermittlerin (für Erwachsene), sondern seit 2008 als Leiterin des Museums XY, erstelle aber nach wie vor (als freiberufliche Kunsthistorikerin) Konzepte für neu zu gründende Museen bzw. bin als Ausstellungskuratorin tätig. Dieses Drei-Job-System ist für eine eindeutige Berufsbezeichnung etwas kompliziert. Ich denke, es genügt, wenn Sie in Ihrer Übersetzung nur Kunsthistorikerin schreiben. Ggf. würde ich exhibition curator passend finden.
I can live with "exhibition curator." Thanks so much for all you input - it was very interesting indeed.
Greetings! I see Vermittler in this sort of context as interpreters first and foremost, which is essentially what the job of a critic or exhibition curator boils down to. And/or your useful suggestion of educator.
... And: Have spent years & dictionary marginalia on end over '---vermittler'. They're not arbitrators/ombudsmen/-women (ombudspeople sounds awwwful) though they might feel they're in that position at times!... they're agents or promoters of art/the arts - more liaison (as in a ?forgotten? and surely useful sense of "PR") than "Schlichtung".
Phew. In practice, you may find that 'art historian and arts educator' describes what the write-up's author does, 'educator' in the sense of a museum's 'education' &/or 'outreach' department, for which freelancers may very well work as well. Pity some term around the notion of 'champion', 'disseminator', 'spokesperson', 'facilitator' or 'agent' ( alas, already taken for the related specific function analogous to 'literary agent') hasn't become established. (Not that any of these would be viable verbatim *at all*). Best wishes all round / S.
... I knew this wasn't an easy term, but I had no idea things would reach quite such a fevered pitch - and that on a Sunday, too!! My sincere thanks to all of you for your very interesting contributions. I've sent an e-mail to the Kulturvermittlerin herself and am very curious to see what she says. As soon as I know, I'll get back to you and let you know. Meanwhile, thanks again and a have a nice Sunday evening, everyone.
Mary
And please understand that the solution I offer is based on the context provided by the Asker, which I encourage you to read instead of going down the cul-de-sac of trying to find an exact equivalent of Kulturvermittler, which does not exist.
I do not agree and, yet again, for the last time, I suggest the Asker finds out, which she no doubt has long since done, what the person involved actually does. If you actually read what I have argued, you would see that I have made it extremely clear that Kunstvermittlung and Kulturvermittlung are larger in remit than any of the terms used in the UK/US, and that it will be necessary to list what this person actually does. There is a cultural difference and we have to deal with it, not come up with some nonsensical compromise just for the sake of it.
I take your point entirely as regards the concept of Kulturvermittlung and the absence of its direct equivalent in UK or US vocabulary. The problem is whether the term you are discussing is so important that the translator is required to "reflect the reality" or whether she can afford to offer a word that the recipient or reader will readily accept without much thinking because it sounds familiar. However, by no stretch of imagination is "Kulturvermittler" the same as "curator" for reasons stated, inter alia, by Hermann here, and Prof. Dr. Birgit Mandel und Thomas Renzand on the website I have cited. I think some sort of compromise has to be reached.
The problem is, Adam, as you probably realise, that such a course does not exist in the EN-speaking world. Typically someone working in this field will have come to it via art history, art theory, visual culture, history or many other routes. I would also not limit it to art, but I would suggest it relates to material culture in some way, since that is what is being explained. The product may be an exhibition, it may be an article, it may be a review or other kind of criticism. In the UK/US, these things are broken down into their constituent parts and generally people will list two or more of them, making it very clear how they are involved in the field.
Generally, when a person does the same role but is employed by a museum they refer to themselves as 'Kustos'. I myself work in this field. As an exhibition curator, I can imagine calling myself a Kunstvermittlerin (or Kulturvermittlerin if the subject matter extends beyond art), but I could not call myself a Kustos (or whatever the female version is) since I am not employed full-time by a museum. Kuratorin tends also to be used interchangably by museum employees. An independent art specialist may include art criticism in his/her remit; I do not happen to do so. It depends on the person.
I don't follow or agree with your logic. I have provided extensive references; please do the same (UK EN ones, not translations). The Asker will then make up her own mind.
The distinction is in the 'independent'. One works for a museum, one is independent and typically will include other areas of activity in his/her portfolio. Therefore, it is important to find out what this particular person actually does. As Lonnie has stated, even your own original reference link cites 'independent curator'.
I think it is also important to note that this is not Kunstvermittler, hence my suggestion of exhibition curator rather than just art curator. I would be surprised if it were just 'art critic', since I would expect the equivalent GER term to be used. It must be something wider or a combination, but quite what will be specific to the person concerned.
Independent art curator or art critic? I tend toward art critic, actually, or even publicist. But I agree, we need to know what the individual actually does.
Automatic update in 00:
Answers
4 mins confidence:
art mediator
Explanation: as I see it
Ramey Rieger Local time: 03:57 Works in field Native speaker of: English PRO pts in category: 8
freiberufliche Kulturvermittlerin und Museumspädagogin;
erstellt museumspädagogische Konzepte (zielgruppenspezifische Vermittlungsangebote, Kinderpfade, interaktive Stationen),
bietet Fortbildungen für Museums-, Stadt- und Gästeführer an,
erarbeitet didaktische Ausstellungskonzepte und
erstellt Analysen und Maßnahmenkataloge zur Steigerung der Besucherfreundlichkeit in Museen und Bildungseinrichtungen.
Zusatzqualifikation ''European Cultural Mediator''
-------------------------------------------------- Note added at 1 hr (2011-02-20 14:28:28 GMT) --------------------------------------------------
The project aimed to promote closer contact and integration between adult education providers and cultural institutions. The project was based on the experiences of two former EU projects, which focused on research (AEM) and the analysis of the needs of the public (MUSAEAM). Euroedult formed the third step in the European projects dealing with adult learning in museums and galleries. “Euroedult” aimed to put into practice projects identified by qualified staff working in adult education and/or cultural institutions. Thus, the partners intended to create a new breed of educators – European culture mediators. The project sought to develop basic curricula, put them into practice in local contexts and recognise the achievements of successful learners through EU certification.
CONCLUSIONS
The work of the mediator focuses on the educational programmes and learning activities of museums, in order to ensure that they develop in response to the needs of lifelong learners. On one hand a European Cultural Mediator establishes new programmes for adult learners, building on innovative practices in adult learning, while on the other, brings the practical experiences developed in the museum to the field of adult learning.
Explanation: This person would probably be described as an independent art curator or art critic, depending on what they do with their time. I would tend towards the former. In practical terms that is what they will be doing. Coming up with concepts for exhibitions.
To be precise you will need to know what the individual actually does.
-------------------------------------------------- Note added at 13 mins (2011-02-20 13:32:14 GMT) --------------------------------------------------
They may also be employed by a museum, though generally this is done on a contract basis for the purposes of one particular exhibition or the re-hanging, for instance, of a specific collection.
-------------------------------------------------- Note added at 22 mins (2011-02-20 13:41:12 GMT) --------------------------------------------------
Myriam Blundell is an independent art curator. Through her works she seeks to uncover and exhibit the work of emerging contemporary artists. Her event porfolio includes a wide range of art events, including commercial shows, institutional exhibitions and educational art programmes. http://www.contemporaryartsociety.org/about-us/staff-trustee...
-------------------------------------------------- Note added at 26 mins (2011-02-20 13:45:52 GMT) --------------------------------------------------
Sara Roberts
A Welsh independent exhibition curator, writer and consultant based in Winchester. She previously worked for PACA (Public Art Commissions Agency), The British Council, The Winchester Gallery, Oriel Mostyn and The Imperial War Museum. She has a particular interest in art and landscape.
He has worked as an independent exhibition curator, largely for the Victoria and Albert Museum in London with exhibitions on Minton (1976), Doulton (1979) and Victorian Vision (2001). He set up and ran the Minton Museum in Stoke (now dispersed) and organised travelling exhibitions of historic Doulton items in the USA (1978/79) and has lectured all over the world on 19th and 20th Century ceramics.
Jennifer R. Gross is the Seymour H. Knox, Jr. Curator of Modern and Contemporary Art at the Yale University Art Gallery; Richard Kendall is consultant curator of nineteenth-century art at the Sterling and Francine Clark Art Institute, and an independent exhibition curator and scholar specializing in the work of Edgar Degas; Suzanne Boorsch is curator of prints, drawings, and photographs at the Yale University Art Gallery; Susan P. Casteras is professor of art history at the University of Washington in Seattle; Jill DeVonyar, a former ballet dancer, subsequently trained as an art historian and is now an independent curator; Aruna D’Souza is assistant professor of art history and co-director of the M.A. program in art history, theory, and criticism at Purchase College; Susan D. Greenberg is assistant curator of Modern and Contemporary Art at the Yale University Art Gallery; and Edgar Munhall is curator emeritus at The Frick Collection.
The translation workplace 
peer agreement (net): -1
