DOCSLIB.ORG

Curatorial Archives in Curatorial Practices

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Curatorial Archives in Curatorial Practices CURATORIAL ARCHIVES IN CURATORIAL PRACTICES MICHELA ALESSANDRINI contents 4 34 64 INTRODUCTION: THE RESEARCH-TOOL THE KNOWLEDGE-SEEKER THE CURATOR IN ABSENTIA, OR WHAT ARCHIVE ARCHIVE CURATORIAL ARCHIVES REVEAL ABOUT Vincenzo de Bellis Massimiliano Gioni CURATORIAL PRACTICES Michela Alessandrini 42 71 THE ORPHAN ARCHIVE THE MEMORY-KEEPER 11 Vasıf Kortun ARCHIVE PREFACE: Hou Hanru THE ART OF ARCHIVING 47 Philippe Artières THE NON-INSTITUTIONAL 77 ARCHIVE THE AFFECTIVE ARCHIVE Abdellah Karroum Cornelia Lauf INSTITUTIONAL CURATORIAL ARCHIVES 83 PERSONAL CURATORIAL THE VISUAL ARCHIVE 17 ARCHIVES Jean-Hubert Martin THE INBOX ARCHIVE Ferran Barenblit 54 93 THE INVISIBLE ARCHIVE THE INTIMATE ARCHIVE 22 Chiara Bertola Viktor Misiano THE POLITICAL ARCHIVE Manuel Borja-Villel 59 100 THE TIME-AND-SPACE-CONSUMING HARALD SZEEMANN’S 29 ARCHIVE ARCHIVE THE LEFTOVER ARCHIVE Giovanni Carmine Pietro Rigolo Charles Esche contents EXHIBITIONS’ REACTIVATION 136 AND EXHIBITED ARCHIVES POSTFACE: THIS, FOR THE SAKE OF 107 EXHIBITIONS THE POLYPHONIC ARCHIVE Meriç Öner Hans Ulrich Obrist 141 113 ACKNOWLEDGMENTS THE REACTIVATING ARCHIVE Lorenzo Benedetti 118 THE COLLECTED ARCHIVE Susan Hapgood 124 THE SYMPATHETIC-MAGIC ARCHIVE Francesco Manacorda 131 THE CONSCIOUS ARCHIVE Barbara Vanderlinden INTRODUCTION: The curator in absentia, or what curatorial archives reveal about curatorial practices Michela Alessandrini SALT023-CURATORIAL ARCHIVES IN CURATORIAL PRACTICES-004 CURATORIAL ARCHIVES IN CURATORIAL PRACTICES It was back in 2013 that I first heard about the archives are primarily used as documentation acquisition of Harald Szeemann’s archives by the by specialists, definitely not as independent sites Getty Research Institute (GRI) in Los Angeles. mirroring and contributing to the world’s—and I had known very little about his archives until not just the art world’s—organization. I came across the book Individual Methodology: Harald Szeemann1 by Session 16 of the École du A curatorial2 archive is much more than a Magasin. As a participant of the same curatorial curator’s archive; it is also an instrument and program in Grenoble, I remember the discovery working place for the curator and/or the institution of this publication in the students’ library as that hosts the archive. This publication aims to fundamental for the research on curatorial archives promote the idea that curatorial archives should I embarked on right after, and that is still ongoing. be considered not only as resources for objective research, but also as systems or operational Having access—albeit indirectly—to Szeemann’s structures where curatorial visions are set out. personal notes, sketches, and correspondence, In other words, a place where practice is expressed initially gave me a glimpse of his personality and and takes shape; a salon where it is possible intentions as a curator, which eventually led me to enter into discussion with individual and to a much wider and richer understanding of collective methodologies. Here I intend to consider the man and his work. Considering the growing curatorial archives as extensions of the curator and number of studies and publications on the his/her methodology. The potential of these para- history of exhibitions and curatorial discourse, curatorial tools lies in the fact that they are both the increased attention given to archives as a tool the origin and the resulting witness of a complex to understand curatorial methodologies comes process3 and could be used as an apparatus to as no surprise. Nevertheless, at present, these better understand wider curatorial dynamics. SALT023-CURATORIAL ARCHIVES IN CURATORIAL PRACTICES-005 CURATORIAL ARCHIVES IN CURATORIAL PRACTICES An archive exists between two places; it is this series of interviews hoping to contribute to a crossroads where personal and professional, filling this gap and finding connections between subject and object, past and future, undefined a curator’s personal approach to archives and and definitive inexorably merge. Exhibition exhibitions, i.e. in terms of building structures views, plans, sketches, notes, correspondence and conceiving the display of various materials with artists and art professionals, speeches, and works. administrative files all gather together for a yet- to-be-told story that intertwines the curator’s Curatorial Archives in Curatorial Practices is private life and professional practice. An archive not intended to give a comprehensive overview, is a space where the curator thinks, works, and but an accurate one based on the experience of puts fragments together in order to create new curators I have come across in the last five years. narratives. Yet, like a ghost, it somehow lingers in Some of them I know well; others I wanted to meet time. To be in this archive is to think alongside the because I felt their understanding of archives curator, through—and despite—his/her absence: would add valuable reflections to this project. in absentia. The outcome of considering this I visited and went through many of their archives, accumulation of material is significant for the others I have only seen in pictures or glanced future history of art and exhibitions, possibly an briefly. In this publication, theory interweaves open and plural one, especially as it reveals a lot with practice, and memories mingle with ideology about our society and its mechanisms. Curatorial and conjectures. Different generations of curators archives appear to be fundamental in shaping a regularly encounter curatorial and archival tools, curatorial discourse. Nevertheless, a methodology which they use and question accordingly. The for their exploration has yet to be imagined, and variety of content and approaches inevitably reflects a cohesive bibliography on this specific matter the constellation of personalities and practices that was still missing when I started this research. If helped me map out this issue. In fact, when I look at much has been said about artists’ and art critics’ the ensemble of interviews gathered here, I picture archives, serious consideration of curatorial a chorus of ethical viewpoints and behaviors. This archives is still lacking at present. I embarked on colorful and multifaceted landscape is reflected in SALT023-CURATORIAL ARCHIVES IN CURATORIAL PRACTICES-006 CURATORIAL ARCHIVES IN CURATORIAL PRACTICES the heterogeneity of archive types that have been political strategies that this mechanism implies or portrayed and crystallized in each interview’s reveals. Interestingly, however, interviews began heading. If some of the current trends related with the question “Do you have an archive?”, to curatorial archives emerged in a natural way and most of the curators answered “No, I don’t” during our discussions, analysis of the similarities without hesitation. I then realized that what I and differences among the curators’ reactions is meant by archive was something different to what complicated. Generally speaking, most of them they had in mind. In fact, most of them did not were reluctant to the idea of taking care or simply have a systematic archive of their professional keeping their own archives. Others had a clear activities, but I was not looking for that either. In sense of how pivotal the archive is to their practice my opinion, only what is unclassified, transitory, and the reason for this. Some of them were keen to ambiguous, and left behind can truly speak of show their emotional attachment to it. Basically, what remains unspoken. Consciously dealing one would be tempted to say that curators who with the past and doing so with respect for the care more about their archives are those who have ephemerality of a curator’s activity is as rare a strong sense of authorship of their exhibitions as it is precious. Indulging in archival study, and a clearly defined, individual, creative position. contemplation, and reactivation while these On the other hand, curators who are relieved ensembles are still fluid and alive appears to to let go of the archive’s weight by entrusting be a suitable approach, in contrast to the heavy it to art institutions, appear to be those with establishment-run, traditional idea of how to keep greater focus on collective action than personal an archive, collect the past, and freeze the present behaviors. Going through curators’ archives and by conveying static forms of representation. engaging in a conversation with them felt like an anthropological journey, one that ends where it QUESTIONS began: at the core of our times, caught up with the obsession to document the ephemeral; in the need A response in the negative was also a clue to order, to take care, to curate the huge amount to understanding that most curators do not of data that we produce; and, in the social and have time to archive. Most do not even have an SALT023-CURATORIAL ARCHIVES IN CURATORIAL PRACTICES-007 CURATORIAL ARCHIVES IN CURATORIAL PRACTICES assistant to deal with it, at least not in a way that researchers, and intellectuals? How can we would go beyond merely storing and classifying. benefit from the sensitive elements that can What would be the point of letting someone else be found in archives while they are still active archive one’s professional life, losing the intimate and in the form that their owner and creator connection with data? Or maybe this work should imagined for them? Should we be afraid of be done by someone else in order to be legitimate talking about emotions when discussing and not self-representative? Both positions seem curatorial archives? (C. Bertola, C. Lauf, valid. Their conjunction proposes a sketch for an P. Rigolo, M. Borja-Villel) emerging professional figure yet to be instated: • What is the role of art institutions in this the curatorial archive’s curator—a hybrid position process of meaning creation? How can the intersecting research, storytelling, curating and ephemeral nature of the curatorial media archiving, challenging the traditional role of the be translated into a non-static tool within gatekeeper, and guaranteeing flexibility to these the private and public archival system? And combined structures.
Load more

Recommended publications
  • Press Release P
    M�M�M�M�M� M�M�M�M�M�M� �M �M �M �M �M M��M �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M Rasheed Araeen, A Retrospective Vaclav Pozarek We Began by Measuring Distance Cabinet d’arts graphiques Julije Knifer Opening: May 29, 6 pm 10, rue des Vieux-Grenadiers, 1205 Geneva � � � � � � � p. 3 Press release p. 5 Rasheed Araeen, A Retrospective (1st floor ) p. 10 Vaclav Pozarek (2nd floor) p. 12 We Began by Measuring Distance (3rd floor) p. 13 Julije Knifer (2nd floor) p. 15 Cabinet d’arts graphiques: Yūichi Yokoyama (2nd floor) Other exhibitions p. 17 A Collection of Spaces (4th floor) p. 19 L’ Appartement (3rd floor) p. 21 Timothée Calame, Prix culturel Manor 2018 (4th floor) p. 23 PiQasso p. 24 Informations and Partners M�M�M�M�M� M�M�M�M�M�M� �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M � � � � � � � � � � � � � Rasheed Araeen, A Retrospective Vaclav Pozarek We Began by Measuring Distance Cabinet d’arts graphiques Julije Knifer Opening: May 29, 6 pm Press Conference: May 29, 11 am This summer, on occasion of the retrospec- spectators, who can sometimes alter their tive devoted to the Pakistani artist Rasheed arrangements. The retrospective, spanning a Araeen, MAMCO is inaugurating the first 60 years’ career, leads the visitors through phase of its reflections concerning the five chapters, from the works of the 1950s, internationalization of its exhibition corpus through the sculptures of the 1960s and and the emergence of a world art history.
    [Show full text]
  • Participatory Art and Creative Audience Engagement
    University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies Legacy Theses 2011 Practices of Fluid Authority: Participatory Art and Creative Audience Engagement Smolinski, Richard Smolinski, R. (2011). Practices of Fluid Authority: Participatory Art and Creative Audience Engagement (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/22585 http://hdl.handle.net/1880/48892 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Practices of Fluid Authority: Participatory Art and Creative Audience Engagement by Richard Smolinski A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ART CALGARY, ALBERTA DECEMBER 2011 Richard Smolinski 2011 i The author of this thesis has granted the University of Calgary a non-exclusive license to reproduce and distribute copies of this thesis to users of the University of Calgary Archives. Copyright remains with the author. Theses and dissertations available in the University of Calgary Institutional Repository are solely for the purpose of private study and research. They may not be copied or reproduced, except as permitted by copyright laws, without written authority of the copyright owner. Any commercial use or re-publication is strictly prohibited. The original Partial Copyright License attesting to these terms and signed by the author of this thesis may be found in the original print version of the thesis, held by the University of Calgary Archives.
    [Show full text]
  • Maurizio Nannucci Undisclosed Recipients
    NANNUCCI_COVER_12.indd 1 onestar press maurizio nannucci undisclosed recipients 1998 / 2002 onestar press 2002 / 1998 Recipients Undisclosed Nannucci Maurizio 05/05/09 15:44 Maurizio Nannucci Undisclosed Recipients 1998 / 2002 onestar press nanucci_int_150_OK.indd 2 8/02/08 16:12:26 nanucci_int_150_OK.indd 3 8/02/08 16:12:26 Renzo Piano Building Workshop, 27-01-1998, 16:59, Re: Genova Porto... 5 From: "Renzo Piano Building workshop"<[email protected]> To: [email protected] Date: Tue, 27 JAN 1998 16:59:47 -0400 Subject: Re: Genova porto antico Abbiamo pensato con Renzo Piano di chiederti una proposta per una tua opera, una scritta luminosa, per l’edificio dei magazzini del cotone nel porto antico. Ti prego di contattarmi telefonicamente. saluti Venanzio Truffelli MessageMessage for [email protected] [email protected] (Maurizio (Maurizio Nannucci) Nannucci) nanucci_int_150_OK.indd 4 8/02/08 16:12:26 nanucci_int_150_OK.indd 5 8/02/08 16:12:27 John Goodwin, 5-2-1998, 10:15, Re: saluti & news 66 Robert Rainwater, 18-02-1998, 17:58, Meeting at New York Public Library 7 X-Lotus-FromDomain: ACTORONTO Date: Wed, 18 Feb 1998 17:58:21 -0500 From: "John Goodwin"<[email protected]> From: [email protected] (rrainwater) To: [email protected] Subject: Meeting at NYPL Date: Tue, 5 Feb 1998 10:15:47 -0400 To: [email protected] Subject: Re: saluti & news Dear Mr. Nannucci, Hi Maurizio, Just yesterday I finally put together the balance of my 10% deposit for my loft - this amount has to be paid on 1 March 1998 - so now I can Thank you very much for writing to let me know that you will be visiting New York stop worrying about paying for my loft as I have no other costs until I move in from Feb.
    [Show full text]
  • Press Release NEW SCULPTURE at the PEGGY GUGGENHEIM
    Palazzo Venier dei Leoni 701 Dorsoduro 30123 Venezia, Italy Telephone 041 2405 411 Telefax 041 5206885 Press release NEW SCULPTURE AT THE PEGGY GUGGENHEIM COLLECTION July 4--presentation by Giovanni Carandente and Luca Massimo Barbero of works by Alexander Calder, Maurizio Nannucci, Isamu Noguchi, David Smith, Giuseppe Spagnulo Five new sculptures, including works by the greatest American sculptors of the 20th century, have been installed in the outdoor spaces of the Peggy Guggenheim Collection, Venice. The Collection is the major venue for Modernist sculpture in Italy, and the only museum where sculptures, from Alberto Giacometti and Jean Arp to Jenny Holzer and Fabrizio Plessi, from Henry Moore to Marino Marini and Anthony Caro, can be seen together. The new arrivals are by Americans David Smith, Isamu Noguchi and Alexander Calder, and by Giuseppe Spagnulo and Maurizio Nannucci, two of Italy’s leading living Italian sculptors. On 4 July 2004, 11.30 am, at the Peggy Guggenheim Collection, Giovanni Carandente, formerly director of the 1962 Fourth Spoleto Festival of Two Worlds and of the 1988 and 1990 Venice Biennales, and Luca Massimo Barbero, Associate Curator of the Peggy Guggenheim Collection, will present the works to the public and to the press. Over the years, outdoor sculpture at the Peggy Guggenheim Collection has come to be one of its main attractions. As early as 1985 Luciano Minguzzi donated Two Figures (1950-1952) and in 1989 Mario Merz installed a neon sculpture on the principal garden wall, If the Form Vanishes, Its Root is Eternal (1982-89). In 1995 an agreement was signed with the Patsy and Raymond Nasher Foundation whereby sculpture from the Nasher Collection would be loaned for display in what is now known as The Nasher Sculpture Garden.
    [Show full text]
  • Press Release Jonathan Monk
    Press Release Three Ball Total Equilibrium Tank and other problems JONATHAN MONK 15 June – 25 July 2020 Monday, June 15, 2020 at 6:00 pm, after the long pause caused by Covid-19 pandemic, Quartz Studio is pleased to present Three Ball Total Equilibrium Tank and other problems, an edition by Jonathan Monk (Leicester, UK, 1969), purposely conceived for the Turin non-profit space. The project of this edition, following the one of Poster (Manifesto), realized in collaboration with Maurizio Nannucci in 2014, was pending since the exhibition Cool Your Jets (2016), resulting from a dialogue between Liam Gillick and Jonathan Monk on the topics of soccer and economy. Now, within the expanded time of the health emergency, that idea finally takes shape in order to support Quartz through the production of an edition of 10 (+1 AP). On the occasion, three installations have been produced. Each of them is composed by seven hexagonal cement tiles replicating the colors of the original Quartz floor cement tiles and three balls realized in Germany in 2016, thanks to the technical advice of Giulia Mainetti from Altofragile studio, Milan. The original project for the exhibition Cool Your Jets - writes the critic Marco Scotti – was born from a conversation between Jonathan Monk and Liam Gillick, in which to the questions posed by the latter related to themes of contemporary sociology, the former replied with quotations from the world of football. In Monk’s continuous interactions between conceptual art and autobiography, this sport regularly recurs, starting
    [Show full text]
  • William Leavitt & Bas Jan Ader
    M�M�M�M�M� M�M�M�M�M�M� �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M William Leavitt, Retrospective General Idea, Photographs (1969-1982)–extended Narrative Art Fictional Artists Gordon Matta-Clark, Food Adrian Piper, The Mythic Being Martha Rosler, House Beautiful: Bringing the War Home Allen Ruppersberg, The Never Ending Book Opening : Tuesday October 10, 2017 – 6pm 10, rue des Vieux-Grenadiers, 1205 Geneva William Leavitt, Theme Restaurant, 1986. Oil on canvas. 116,84 x 182,88 cm, Collection Richard S. Massey, Miami (FL) � � � � � � � p. 3 Press Release–Fall exhibitions Main exhibitions p. 4 William Leavitt, Retrospective p. 7 General Idea, Photographs (1969–1982)–extended Other exhibitions p. 9 Narrative Art p. 11 Fictional Artists p. 14 Gordon Matta-Clark, Food p. 15 Adrian Piper, The Mythic Being p. 16 Martha Rosler, House Beautiful: Bringing the War Home p. 17 Allen Ruppersberg, The Never Ending Book p. 18 A Collection of Spaces Collections p. 20 L’ Appartement p. 21 William Leavitt & Bas Jan Ader: Landslide p. 22 Informations and partners M�M�M�M�M� M�M�M�M�M�M� �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M � � � � � � � � � � � � � William Leavitt, Retrospective General Idea, Photographs (1969–1982)–extended Narrative Art Fictional Artists Gordon Matta-Clark, Food Adrian Piper, The Mythic Being Martha Rosler, House Beautiful: Bringing the War Home Allen Ruppersberg, The Never Ending Book Exhibitions from October 11, 2017 until February 4, 2018 Press conference Tuesday October 10, 2017, 11 am This fall, MAMCO is organizing the first “Narrative Art” or the fictional dimension pre- European retrospective of William Leavitt sent in the practice of General Idea, whose (born in 1941, Washington, USA), an histo- exhibition is extended until the beginning of ric figure of the Los Angeles art scene.
    [Show full text]
  • Guide to the Maria Lind Manifesta Papers MSS.005 Finding Aid Prepared by Ann Butler; Collection Processed by Lydia Aikenhead in Summer 2011
    CCS Bard Archives Phone: 845.758.7567 Center for Curatorial Studies Fax: 845.758.2442 Bard College Email: [email protected] Annandale-on-Hudson, NY 12504 Guide to the Maria Lind Manifesta Papers MSS.005 Finding aid prepared by Ann Butler; Collection processed by Lydia Aikenhead in Summer 2011. This finding aid was produced using the Archivists' Toolkit July 14, 2015 Guide to the Maria Lind Manifesta Papers MSS.005 Table of Contents Summary Information..................................................................................................................................3 Biographical/Historical note.........................................................................................................................4 Scope and Contents note........................................................................................................................... 4 Arrangement note....................................................................................................................................... 7 Administrative Information...........................................................................................................................7 Controlled Access Headings.......................................................................................................................8 Collection Inventory...................................................................................................................................10 Series I: Manifesta 2...........................................................................................................................10
    [Show full text]
  • Nanucci Int 150 OK.Indd 1 8/02/08 16:12:26 Nanucci Int 150 OK.Indd 2 8/02/08 16:12:26 Maurizio Nannucci Undisclosed Recipients 1998 / 2002
    nanucci_int_150_OK.indd 1 8/02/08 16:12:26 nanucci_int_150_OK.indd 2 8/02/08 16:12:26 Maurizio Nannucci Undisclosed Recipients 1998 / 2002 onestar press nanucci_int_150_OK.indd 3 8/02/08 16:12:26 nanucci_int_150_OK.indd 4 8/02/08 16:12:26 Renzo Piano Building Workshop, 27-01-1998, 16:59, Re: Genova Porto... 5 From: "Renzo Piano Building workshop"<[email protected]> To: [email protected] Date: Tue, 27 JAN 1998 16:59:47 -0400 Subject: Re: Genova porto antico Abbiamo pensato con Renzo Piano di chiederti una proposta per una tua opera, una scritta luminosa, per l’edificio dei magazzini del cotone nel porto antico. Ti prego di contattarmi telefonicamente. saluti Venanzio Truffelli MessageMessage for [email protected] [email protected] (Maurizio (Maurizio Nannucci) Nannucci) nanucci_int_150_OK.indd 5 8/02/08 16:12:27 John Goodwin, 5-2-1998, 10:15, Re: saluti & news 66 X-Lotus-FromDomain: ACTORONTO From: "John Goodwin"<[email protected]> To: [email protected] Date: Tue, 5 Feb 1998 10:15:47 -0400 Subject: Re: saluti & news Hi Maurizio, Just yesterday I finally put together the balance of my 10% deposit for my loft - this amount has to be paid on 1 March 1998 - so now I can stop worrying about paying for my loft as I have no other costs until I move in in June 1998. So now I will proceed with the balls and am currently looking for a nice black box. I have not been to Europe in so long, and I really miss it and my friends - so I would like to consider an exchange some time; I would need to arrange for boarding of my dog, Barney, but that is not difficult.
    [Show full text]
  • Art History: International Art Exhibitions
    FRICK FINE ARTS LIBRARY ART HISTORY: INTERNATIONAL ART EXHIBITIONS Library Guide Series, No. 42 “Qui scit ubi scientis sit, ille est proximus habenti.” -- Brunetiere* What Is an International Art Exhibition? International art exhibitions have a long history that has its roots in the 19th century. Salon exhibitions took place in Paris from 1667 onwards under the auspices of the French Royal Academy of Painting and Sculpture and were held on a biennial basis from 1855 onwards. That same year the Salons were held in the Palais de ‘l’Industrie constructed for the World’s Fair that year. A number of rival salons were established and in 1881 the government withdrew official support from the main Salon and handed over its direction to artists. Afterward, the Salon began to lose its prestige and influence in the face of competition from various independent exhibitions such as the Salon des Independents (1884), the Societe Nationale des Beaux-Arts (1890) and the Salon d’Automne (1903). The end of the 19th century was a time marked by an internationalist spirit that celebrated technological advancement and the accumulation of wealth through global colonial structures. The institution of world’s fairs was one feature of that spirit, the first one being held in London during 1851. Many of the fairs that followed throughout the 19th and 20th centuries included art buildings to display works by the current artists of the day. At times it is difficult to distinguish biennial and triennial art exhibitions from international art festivals, art fairs or trade shows. The first art fair one in the twentieth century was the 1913 Armory Show in New York which was open to progressive painters usually neglected.
    [Show full text]
  • Artists' Books : a Critical Anthology and Sourcebook
    Anno 1778 PHILLIPS ACADEMY OLIVER-WENDELL-HOLMES % LI B R ARY 3 #...A _ 3 i^per ampUcm ^ -A ag alticrxi ' JZ ^ # # # # >%> * j Gift of Mark Rudkin Artists' Books: A Critical Anthology and Sourcebook ARTISTS’ A Critical Anthology Edited by Joan Lyons Gibbs M. Smith, Inc. Peregrine Smith Books BOOKS and Sourcebook in association with Visual Studies Workshop Press n Grateful acknowledgement is made to the publications in which the following essays first appeared: “Book Art,” by Richard Kostelanetz, reprinted, revised from Wordsand, RfC Editions, 1978; “The New Art of Making Books,” by Ulises Carrion, in Second Thoughts, Amsterdam: VOID Distributors, 1980; “The Artist’s Book Goes Public,” by Lucy R. Lippard, in Art in America 65, no. 1 (January-February 1977); “The Page as Al¬ ternative Space: 1950 to 1969,” by Barbara Moore and Jon Hendricks, in Flue, New York: Franklin Furnace (December 1980), as an adjunct to an exhibition of the same name; “The Book Stripped Bare,” by Susi R. Bloch, in The Book Stripped Bare, Hempstead, New York: The Emily Lowe Gallery and the Hofstra University Library, 1973, catalogue to an exhibition of books from the Arthur Cohen and Elaine Lustig col¬ lection supplemented by the collection of the Hofstra Fine Arts Library. Copyright © Visual Studies Workshop, 1985. All rights reserved. Printed in the United States of America. Except in the case of brief quotations in reviews and critical articles, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publisher.
    [Show full text]
  • Issue 22 US Letter.Indd
    ONN CURATING.org Issue 22 / April 2014 Notes on Curating, freely distributed, non-commercial Politics of Display Contributors René Block, Elena Filipovic, Rainer Ganahl, Anke Hoffmann and Yvonne Volkart, Saša Nabergoj, Paul O’Neill, Dorothee Richter, Marco Scotini, Monan Slome and Joshua Simon, Mirjam Varadinis, Anton Vidokle, Rein Wolfs Interviews conducted by Garance Massart-Blum and Milena Brendle-John, Garance Massart-Blum and Amber Hickey, Melanie Büchel and Jeannine Herrmann, Jill Keiser, Nkule Mabaso, Sylvia Ruttimann and Karin Seinsoth, Lindsey Sharman, Katharina Schendl and Ingela Johansson Teresa Diehl, Same Time, Different Landscape (2009) detail, Glicerine soap, filament, Courtesy of the artist Contents 0 4 45 Curating: politics of display, politics The Global White Cube of site and politics of transfer and Elena Filipovic translation Editorial by Dorothee Richter & Nkule Mabaso 64 Saša Nabergoj 07 in conversation with Jill Keiser Revisiting Display: Display and Backstage Dorothee Richter 69 Anke Hoffmann and Yvonne Volkart 16 interviewed by Melanie Büchel Rein Wolfs and Jeannine Herrmann interviewed by Garance Massart-Blum and Amber Hickey 73 René Block 19 interviewed by Sylvia Ruttimann Anton Vidokle and Karin Seinsoth interviewed by Nkule Mabaso 79 23 Re-Staging of an exhibition-concept Le monde est à nous Manon Slome & Joshua Simon Marco Scotini 83 28 Aesthetics of Terror Mirjam Varadinis Manon Slome interviewed by Garance Massart-Blum and Milena Brendle-John 91 Rainer Ganahl 34 interviewed by Katharina Schendl Co-productive
    [Show full text]
  • Front Matter
    Falling from the Grip of Grace The Exhibition as a Critical Form since 1968 Dissertation Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in The Graduate School of The Ohio State University By James T. Voorhies, Jr. Graduate Program in History of Art The Ohio State University 2012 Dissertation Committee: Professor Aron Vinegar, Advisor Professor Lisa Florman Professor Ron Green Bill Horrigan ! ! ! ! ! ! ! ! ! ! ! ! ! Copyright by James T. Voorhies, Jr. Summer 2012 ! Abstract Falling from the Grip of Grace is an analysis of the exhibition as a critical form of art with special consideration to the role of the spectator. It charts a history of exhibitions from 1968 to the present to explore how we arrived at a moment when critical art faces many challenges, not least of which is competing with the art institutions that give it voice. It is the first sustained study to critically analyze connections between late- Modernist artistic strategies engaged with the exhibition form and subsequent dispersal of those strategies into curatorial practices at major institutions and biennials. Artists such as Robert Smithson, Michael Asher and Group Material initially expanded the spectator’s involvement in art to encompass the spatial and temporal contexts of the exhibition. This change signaled a definitive fall from the modernist aesthetic regime of pure visuality, or state of “grace” to use Michael Fried’s term, by placing greater emphasis on integrating engagements between art, spectator and institution. This dissertation interweaves the legacy of work by these artists and that of curator Harald Szeemann to examine contemporary art, institutions and biennials that involve the spectator in exhibition-making processes.
    [Show full text]