The Artist as Curator
An Anthology
By: Elena Filipovic
About This Book
"This is an anthology of essays that first appeared in The Artist as Curator, a series that occupied eleven issues of Mousse from no. 41 (December 2013/January 2014) to no. 51 (December 2015/January 2016). It set out to examine what was then a profoundly influential but still under-studied phenomenon, a history that had yet to be written: the fundamental role artists have played as curators. Taking that ontologically ambiguous thing we call "the exhibition" as a critical medium, artists have often radically rethought conventional forms of exhibition making. This anthology surveys seminal examples of such exhibitions from the postwar to the present, including rare documents and illustrations. It includes an introduction and the twenty essays that first appeared in Mousse, a newly commissioned afterword by Hans Ulrich Obrist, and two additional essays that appear here for the first time."
AI Overview
"The Artist as Curator" is an anthology of essays edited by Elena Filipovic, which first appeared in a series that occupied eleven issues of Mousse magazine. The book explores the intersection of art and curating, delving into the roles and practices of artists who also function as curators. Here is a comprehensive overview of the book:
Key Themes
- Artist-Curator Intersection: The anthology examines the blurring of boundaries between artists and curators, highlighting how artists can adopt the role of curators and challenge traditional exhibition practices.
- Subjective Curating: It discusses the subjective nature of curatorial decisions made by artists, which can lead to subversive and informal display methods that challenge institutional norms.
- Historical Retrieval: The book emphasizes the importance of retrieving and excavating overlooked historical practitioners, particularly female artists, to reshape the narrative of modernism.
- Authorship and Agency: It raises questions about authorship and agency in the context of artist-curating, exploring how the interconnection between artist and curator can redefine creative praxis and institutional boundaries.
Plot Summary
The essays in the anthology explore various instances where artists have taken on curatorial roles, often critiquing the traditional systems of exhibition-making and reception. The book chronicles how artists have employed unique approaches to curating, including digital art practices that necessitate new forms of curating.
Key essays include:
- Sarah Pierce's "In With Practicality Comes a Practice": This essay discusses the early instance of an artist taking on a curatorial role in 1648 France, highlighting the interconnection between the artist and curator as a means of achieving creative praxis.
- Cher Krause Knight's "Both Object and Subject: MoMA’s Burton on Brancusi": This essay examines Scott Burton's approach to bringing a new perspective to Brancusi's work, considering the artist's role in mediating institutional cultures.
- Dew Harrison's essay: This piece chronicles Harrison's computer-mediated practice and its implications for new forms of curating, highlighting the reciprocal relationship between curating as an art practice and digital art.
Critical Reception
The book has received significant attention for its innovative approach to understanding the role of artists in curating exhibitions. Here are some critical perspectives:
- Stephanie Farmer's Review: Farmer, an artist and curator, notes that the subject of artist-curators has been increasingly explored, with the first book-length studies appearing in 2015. She highlights Alison Green's book, "When Artists Curate," which provides a broader overview of artist-curators within a European and American context.
- Elena Filipovic's Introduction: Filipovic's introduction sets the stage for the anthology, emphasizing that the book is not meant to rehearse the mythos of the curator but rather to explore the unique perspectives and practices of artist-curators.
Overall, "The Artist as Curator" offers a nuanced exploration of the intersection of art and curating, highlighting the critical and subversive potential of artists taking on curatorial roles. The anthology has been praised for its innovative approach to exhibition history and its emphasis on subjective, collaborative, and critical curatorial practices.