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Cameron Art Museum THE HUMAN BODY is revitalized on an 26 WBM february 2017 ongoing basis by the vascular system. That’s the role played by Bob Unchester and Holly Tripman Fitzgerald at the Cameron Art Museum (CAM). They are the heart of the museum, keeping the arterial pathways fresh by curating the exhibits that educate and entertain the public. They are the team responsible for generating and rotat-ing the displays at the CAM, using their experience, instincts and creativity to navigate the complexities of curation. “From finding the artwork, finding the artists, arrang-ing for shipment or going to do it ourselves, to the actual unpacking, the condition reports, the installation, the light-ing, the vinyl lettering, the labels …” Fitzgerald finishes the sentence: “We are the team.” While visiting New York, executive director Anne Brennan saw a piece of an exhibition called “A Humument,” London artist Tom Phillips’ lifetime project that includes 300 pieces of art. She wanted to bring the full exhibit to Wilmington, and tasked Unchester and Fitzgerald with mak-ing it happen. The work, featuring pages of “A Human Document,” a little-known book published in 1892, occupied an entire wall and hung on 300 nails, each individually installed by Unchester. “That’s one of the things I think that maybe makes us dif-ferent from other places,” he says. Phillips’ work was part of an exhibition called “UnBound Narrative,” which ran from August 2016 through January 15. After securing “A Humument,” Unchester and Fitzgerald began looking for artists with similarly themed pieces to flesh out the display. “We knew we were starting with Tom Phillips, so we researched other artists creating or using books as their medium,” Fitzgerald says. “The Internet was very helpful, and that’s how we started.” With all of their collaborations, the duo bounces ideas off each other until the work appears as singular as they first imagined it. “In the research we do, we are constantly coming across things, or styles we didn’t know were out there, like sand-blasting encyclopedias into the Grand Canyon,” Unchester says. Curation takes more than knowledge and research. It can also involve experimentation. Unchester wanted to add life to the work of Cuban artist Diana Fonseca Quiñones. He developed a clever video instal-


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