The Culture of Curating and the Curating of Culture s #pdf by O Neill

MIT Press MA | ISBN:0262017725 | File Type: PDF, 192 pages | File size: 47.Mb | Aug. 10th, 2012
Art Study and Art Teaching: Once considered a mere caretaker for collections the curator is now widely viewed as a globally connected auteur Over the last twenty five years as international group exhibitions and biennials have become the dominant mode of presenting contemporary art to the public curatorship has begun to be perceived as a constellation of creative activities not unlike artistic praxis The curator has gone from being a behind the scenes organizer and selector to a visible centrally important ctural producer In The Cture of Curating and the Curating of Cture s a O Neill examines the emergence of independent curatorship and the discourse that helped to establish it O Neill describes how by the 1980s curated group exhibitions large scale temporary projects with artworks cast as illustrative fragments came to be understood as the creative work of curator auteurs The proliferation of new biennials and other large international exhibitions in the 1990s created a cohort of high profile globally mobile curators moving from Venice to aris to Kassel In the 1990s curatorial and artistic practice converged blurring the distinction between artist and curator O Neill argues that this change in the understanding of curatorship was shaped by a curator centered discourse that effectively advocated and authorized the new independent curatorial practice Drawing on the extensive curatorial literature and his own interviews with leading curators critics art historians and artists O Neill traces the development of the curator as artist model and the ways it has been contested The Cture of Curating and the Curating of Cture s documents the many ways in which our perception of art has been transformed by curating and the discourses surrounding it