Culture of Curating and the Curating of Culture(s) - (Mit Press) by Paul O'Neill (Paperback)
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<b>How curating has changed art and how art has changed curating: an examination of the emergence contemporary curatorship.</b><p>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 <i>The Culture of Curating and the Curating of Culture(s)</i>, Paul O'Neill examines the emergence of independent curatorship and the discourse that helped to establish it.</p><p>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. </p><p>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. <i>The Culture of Curating and the Curating of Culture(s)</i> documents the many ways in which our perception of art has been transformed by curating and the discourses surrounding it.</p>
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