“Curator” became a Status Word.
Oh, and this one is in English!
For a long time, a Curator was a highly specialized role:
Researcher, archivist, storyteller, caretaker of collections, thinker, editor of meaning….
But over the past decade, the title escaped the museum and entered the lifestyle world. Suddenly:
Someone arranging three candles on a shelf is “curating a space.”
Someone choosing five songs is “curating a playlist.”
Someone picking artworks for an IG post is “curating a show.”
The word signals “taste, authority, and cultural capital” so people love claiming it.
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Backdrop…
From what I’ve been witnessing in the art world lately, this trend has become genuinely agitating; not because criticism is unwarranted, but because the misuse of the word curator risks flattening the value of those who have shaped our cultural landscape with real depth and rigor.
The Arab world, and Jordan in particular, has produced a very few, of truly distinctive curators whose contributions have left remarkable imprints locally and internationally. These individuals have curated biennales, shaped narratives, built platforms, and expanded the region’s cultural presence in ways that make us proud. My criticism stems from this appreciation: we should not allow the brilliance of such figures to be overshadowed by a wave of superficial self-labeling. They deserve recognition and protection as anchors of our cultural development.
Take for example Rana Beiruti, an independent curator and consultant based in Amman, whose practice spans curated exhibitions, installations, collections, cultural programs, publications, and residency spaces that support pedagogy and experimentation. Most notably, she co-founded and directed Amman Design Week, a major design and architecture biennial that introduced large-scale exhibitions, commissioned installations, talks, workshops, and cultural programming to the city. Her work extends further across numerous projects, including Arab Design Now (Design Doha 2024) and significant contributions in Riyadh and across the region; and I invite you to visit her website to explore the spectrum of her practice. Beyond exhibitions, Beiruti’s contributions include editorials, essays, research papers, and publications that continue to shape regional discourse on art, design, architecture and cross cultural engagement.
And she is not alone. The region continues to be shaped by influential curators such as Raneen Bukhari (Saudi Arabia), Lara Khaldi (Palestine), and Salma Tuqan (Palestine) among others; (yes I'm focusing on the women only, and where are the men anyway?) whose work embodies what curatorship truly demands: insight, research, narrative construction, institutional knowledge, and the ability to translate complex cultural histories into accessible yet profound experiences.
It is in the presence of such figures that the casual, careless use of the word curator becomes not only inaccurate but almost insulting. This is the backdrop against which my criticism is formed.
Why the attraction?
Because “Curator” suggests:
Power and Authority: Having the right to select and reject.
Expertise: Even when it’s not really there
Cultural Sophistication
A sense of authorship without actually creating anything
It became a shortcut to sounding important without carrying the responsibility that real curators actually shoulder.
What’s funny is…
The more inflated and misused the title becomes, the more actual curators hate it! Because real curating is months of research, conceptual structure, writing, conservation concerns, and intellectual framing.
But Instagram turned it into:
“I hung two paintings → I am now a curator.”
Meaning of a Curator
A curator is a manager or overseer of a collection, derived from the Latin wordcura, meaning "to care". The role has evolved from a traditional "keeper" of artifacts to a multifaceted professional who acquires, manages, interprets, and presents collections and exhibitions for the public. This is Google’s definition of A Curator.
A Curator's responsibilities are diverse and blend scholarly expertise with practical management skills.
Key roles and duties include:
Collection Management and Acquisition: Curators are responsible for developing and building collections. This involves researching potential items, negotiating purchases or loans, evaluating authenticity and condition, and maintaining detailed documentation and records.
Preservation and Conservation: They work closely with conservators to ensure the proper physical care, storage, and preservation of delicate artifacts and artworks, protecting them for future generations.
Research and Scholarship: A significant part of the role involves conducting in-depth research to provide historical context and scholarly interpretation of items. This research often informs publications, catalog essays, and public talks.
Exhibition Planning and Design: Curators conceptualize and organize exhibitions, developing compelling themes and narratives. They select which items to display, determine their arrangement, and collaborate with designers and educators to create engaging, accessible, and visually appealing displays for diverse audiences.
Public Engagement and Education: Curators act as storytellers and educators, bridging the gap between historical items and contemporary society. They write wall labels and educational materials, give guided tours, organize lectures, and develop educational programs to enhance public understanding and appreciation.
Administration and Fundraising: Curators often have administrative duties, including managing budgets, logistics, writing grant proposals to secure funding, and coordinating staff and volunteers.
Ethical Stewardship: They navigate complex ethical considerations, such as ensuring legal and ethical acquisition of items (provenance) and addressing issues of cultural representation and inclusivity in exhibitions.
“علّقت لوحتين أصبحتُ منسقاً.”
I do not own the rights to this photo. Please contact me for credit, rights, or removal.
