The Next Documenta Should be Curated by an Artist
| Author | : Jens Hoffmann |
| Publisher | : Spotlight Poets |
| Total Pages | : 100 |
| Release | : 2004 |
| Genre | : Art |
| ISBN | : |
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Biennials, Triennials, and Documenta
| Author | : Anthony Gardner |
| Publisher | : John Wiley & Sons |
| Total Pages | : 306 |
| Release | : 2016-05-16 |
| Genre | : Business & Economics |
| ISBN | : 1444336657 |
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This innovative new history examines in-depth how the growing popularity of large-scale international survey exhibitions, or 'biennials', has influenced global contemporary art since the 1950s. Provides a comprehensive global history of biennialization from the rise of the European star-curator in the 1970s to the emergence of mega-exhibitions in Asia in the 1990s Introduces a global array of case studies to illustrate the trajectory of biennials and their growing influence on artistic expression, from the Biennale de la Méditerranée in Alexandria, Egypt in 1955, the second Havana Biennial of 1986, New York’s Whitney Biennial in 1993, and the 2002 Documenta11 in Kassel, to the Gwangju Biennale of 2014 Explores the evolving curatorial approaches to biennials, including analysis of the roles of sponsors, philanthropists and biennial directors and their re-shaping of the contemporary art scene Uses the history of biennials as a means of illustrating and inciting further discussions of globalization in contemporary art
The Culture of Curating and the Curating of Culture(s)
| Author | : Paul O'Neill |
| Publisher | : MIT Press |
| Total Pages | : 195 |
| Release | : 2016-09-02 |
| Genre | : Art |
| ISBN | : 0262529742 |
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How curating has changed art and how art has changed curating: an examination of the emergence contemporary curatorship. 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 cultural producer. In The Culture of Curating and the Curating of Culture(s), Paul 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 Paris 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 Culture of Curating and the Curating of Culture(s) documents the many ways in which our perception of art has been transformed by curating and the discourses surrounding it.
Globalizing Contemporary Art
| Author | : Lotte Philipsen |
| Publisher | : Aarhus Universitetsforlag |
| Total Pages | : 214 |
| Release | : 2010-10-31 |
| Genre | : Art |
| ISBN | : 8779343481 |
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Today, contemporary art is a global phenomenon. Biennales, museums, art fairs, galleries, auction houses, academies and audiences for contemporary visual art are all institutions whose presence on a global scale has widened tremendously during the past two decades. Thus, by including contemporary art from non-Western regions, these traditional Western art institutions have not only broadened their scope to a greater extent, but have also been challenged themselves by the new cultural, economic and media world order of globalization. How contemporary art is made 'international' is the subject of this book, tracing as it does developments during the past two decades, while focusing particularly on the mechanisms of 'globality' which are at work in the art world today. The book critically investigates fundamental questions like: What is 'New Internationalism' in contemporary art, and how it affected the art world? How does New Internationalism relate to concepts like ethnicity, aesthetics, standard art history, and new media? And how is New Internationalism, rather paradoxically, furthered to a greater extent by global capitalism than it is by seemingly progressive art projects?
Art + Archive
| Author | : Sara Callahan |
| Publisher | : Manchester University Press |
| Total Pages | : 277 |
| Release | : 2022-01-25 |
| Genre | : Art |
| ISBN | : 1526156849 |
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Art + Archive provides an in-depth analysis of the connection between art and the archive at the turn of the twenty-first century. The book examines how the archive emerged in art writing in the mid-1990s and how its subsequent ubiquity can be understood in light of wider social, technological, philosophical and art-historical conditions and concerns. Deftly combining writing on archives from different disciplines with artistic practices, the book clarifies the function and meaning of one of the most persistent artworld buzzwords of recent years, shedding light on the conceptual and historical implications of the so-called archival turn in contemporary art.
Martha Rosler
| Author | : Rosalyn Deutsche |
| Publisher | : Yale University Press |
| Total Pages | : 257 |
| Release | : 2018-01-01 |
| Genre | : Art |
| ISBN | : 0300230273 |
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The politically engaged work of Martha Rosler is fascinating and provocative; this wide-ranging survey brings timely insights at a moment of resurgence for political activism and feminism.
Beyond Objecthood
| Author | : James Voorhies |
| Publisher | : MIT Press |
| Total Pages | : 287 |
| Release | : 2017-02-24 |
| Genre | : Art |
| ISBN | : 0262035529 |
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The rise of the exhibition as critical form and artistic medium, from Robert Smithson's antimodernist non-sites in 1968 to today's institutional gravitation toward the participatory. In 1968, Robert Smithson reacted to Michael Fried's influential essay “Art and Objecthood” with a series of works called non-sites. While Fried described the spectator's connection with a work of art as a momentary visual engagement, Smithson's non-sites asked spectators to do something more: to take time looking, walking, seeing, reading, and thinking about the combination of objects, images, and texts installed in a gallery. In Beyond Objecthood, James Voorhies traces a genealogy of spectatorship through the rise of the exhibition as a critical form—and artistic medium. Artists like Smithson, Group Material, and Michael Asher sought to reconfigure and expand the exhibition and the museum into something more active, open, and democratic, by inviting spectators into new and unexpected encounters with works of art and institutions. This practice was sharply critical of the ingrained characteristics long associated with art institutions and conventional exhibition-making; and yet, Voorhies finds, over time the critique has been diluted by efforts of the very institutions that now gravitate to the “participatory.” Beyond Objecthood focuses on innovative figures, artworks, and institutions that pioneered the exhibition as a critical form, tracing its evolution through the activities of curator Harald Szeemann, relational art, and New Institutionalism. Voorhies examines recent artistic and curatorial work by Liam Gillick, Thomas Hirschhorn, Carsten Höller, Maria Lind, Apolonija Šušteršič, and others, at such institutions as Documenta, e-flux, Manifesta, and Office for Contemporary Art Norway, and he considers the continued potential of the exhibition as a critical form in a time when the differences between art and entertainment increasingly blur.
Curating in a Time of Ecological Crisis
| Author | : Felicity Fenner |
| Publisher | : Routledge |
| Total Pages | : 107 |
| Release | : 2022-01-31 |
| Genre | : Art |
| ISBN | : 1000555739 |
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Curating in a Time of Ecological Crisis reaffirms the relevance and impactful role of art, revealing how contemporary art exhibitions can capture the zeitgeist and advance new and collaborative approaches to a more sustainable inhabitation of Earth. The book is largely focused on biennales, which it argues are the contemporary exhibition models with the greatest capacity to offer new perspectives and propose alternative ways of connecting with our social and natural environments. Felicity Fenner demonstrates this by showing how curators of these high-profile exhibitions are responding in creative and engaging ways to the issues that preoccupy artists and society more broadly, of which the ecological crisis is paramount. Drawing on case studies from different parts of the world, the author reveals how biennales can make a constructive contribution to debates and attitudes around climate change, and how the role of the curator has evolved to re-embrace a duty of care not just to art but to the natural world as well. Curating in a Time of Ecological Crisis investigates how large-scale exhibitions of contemporary international art can become agents of change. As such, the book will be essential reading for scholars, students, and practitioners with an interest in exhibitions, curating, contemporary art, and environmental sustainability.
The Studio
| Author | : Jens Hoffmann |
| Publisher | : National Geographic Books |
| Total Pages | : 0 |
| Release | : 2012-03-02 |
| Genre | : Art |
| ISBN | : 0262517612 |
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The evolution of studio—and “post-studio”—practice over the last half century. With the emergence of conceptual art in the mid-1960s, the traditional notion of the studio became at least partly obsolete. Other sites emerged for the generation of art, leading to the idea of “post-studio practice.” But the studio never went away; it was continually reinvented in response to new realities. This collection, expanding on current critical interest in issues of production and situation, looks at the evolution of studio—and “post-studio”—practice over the last half century. In recent decades many artists have turned their studios into offices from which they organize a multiplicity of operations and interactions. Others use the studio as a quasi-exhibition space, or work on a laptop computer—mobile, flexible, and ready to follow the next commission. Among the topics surveyed here are the changing portrayal and experience of the artist's role since 1960; the diversity of current studio and post-studio practice; the critical strategies of artists who have used the studio situation as the subject or point of origin for their work; the insights to be gained from archival studio projects; and the expanded field of production that arises from responding to new conditions in the world outside the studio. The essays and artists' statements in this volume explore these questions with a focus on examining the studio's transition from a workshop for physical production to a space with potential for multiple forms of creation and participation.
Art of the Deal
| Author | : Noah Horowitz |
| Publisher | : Princeton University Press |
| Total Pages | : 400 |
| Release | : 2014-08-31 |
| Genre | : Art |
| ISBN | : 1400836441 |
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An eye-opening look at collecting and investing in today’s art market Art today is defined by its relationship to money as never before. Prices have been driven to unprecedented heights, conventional boundaries within the art world have collapsed, and artists think ever more strategically about how to advance their careers. Art is no longer simply made, but packaged, sold, and branded. In Art of the Deal, Noah Horowitz exposes the inner workings of the contemporary art market, explaining how this unique economy came to be, how it works, and where it's headed. In a new postscript, Horowitz reflects on the market’s continued ascent as well as its most urgent challenges.
