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<article xsi:noNamespaceSchemaLocation="http://jats.nlm.nih.gov/publishing/1.1/xsd/JATS-journalpublishing1-mathml3.xsd" dtd-version="1.1" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"><front><journal-meta><journal-id journal-id-type="publisher-id">IEF</journal-id><journal-title-group><journal-title>International Education Forum</journal-title></journal-title-group><issn>3083-4902</issn><eissn>2981-8605</eissn><publisher><publisher-name>Bio-Byword Scientific Publishing Pty. Ltd.</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.26689/ief.v2i11.9118</article-id><article-categories><subj-group subj-group-type="heading"><subject>Article</subject></subj-group></article-categories><title>The Role Positioning and Survival Status of “Contractor” Style Curators in Contemporary China</title><url>https://artdesignp.com/journal/IEF/2/11/10.26689/ief.v2i11.9118</url><author>LiYuanyuan</author><pub-date pub-type="publication-year"><year>2024</year></pub-date><volume>2</volume><issue>11</issue><history><date date-type="pub"><published-time>2024-12-23</published-time></date></history><abstract>In the context of the thriving development of contemporary art, the curators’ authority in exhibitions is increasingly strengthened, leading to a growing demand for professionals in art curation. The number of curators continues to rise, and their status and role within the art ecosystem are widely acknowledged. However, the working environment and conditions for contemporary art curators in China are not optimistic. Their development has not been as ideal as expected, with both subjective and objective issues and contradictions present. In light of the various problems and contradictions facing the curator community in China, it is essential to conduct an in-depth analysis of these issues to gain a clear understanding of the art curation industry and to truly respect the work of art curators.</abstract><keywords/></article-meta></front><body/><back><ref-list><ref id="B1" content-type="article"><label>1</label><element-citation publication-type="journal"><p>Zheng Y, 2024, What Curators Want to Say to Museums. World of Middle School Students, 18: 10.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B2" content-type="article"><label>2</label><element-citation publication-type="journal"><p>Huang Y, 2021, A Review and Reflection on the Definition of “Curator” in China. Museum Studies, 3: 83.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B3" content-type="article"><label>3</label><element-citation publication-type="journal"><p>Peng W, 2021, The Concept of “Curator” in the Chinese Context. The Palace Museum Journal, 5: 14.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B4" content-type="article"><label>4</label><element-citation publication-type="journal"><p>Chen T, 2020, Trends of Strong Curation in Painting Exhibitions under the Mission of Knowledge Production and Cultural Dissemination: A Comparative Study between Art Museums and Museums. Southeast Culture, 2: 181.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B5" content-type="article"><label>5</label><element-citation publication-type="journal"><p>Gu Z, 2009, Curation and the Development of Contemporary Art Museums in China. Art Review, 4: 51.</p><pub-id pub-id-type="doi"/></element-citation></ref></ref-list></back></article>
