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The Defining and Shaping of the Contemporary Art Curator

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The Defining and Shaping of the Contemporary Art Curator THE DEFINING AND SHAPING OF THE CONTEMPORARY ART CURATOR THE DEFINING AND SHAPING OF THE CONTEMPORARY ART CURATOR Susan Ostling DipArt Lond BA Syd MA (Visual Arts) QUT Queensland College of Art, Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy February 2013 2 Abstract Curators have come to figure quite prominently in the cultural landscape of late, such that the concept of a curator is now applied in a wide variety of contexts from art to shopping. It is said curators are now far more linked to the internet and social networks, than to the interiors of museums; and most accounts see the contemporary art curator as caught in the flux of global cultural economies. Why should this be? It is in this volatile terrain I have situated my research on the contemporary art curator. I ask how has the role of the curator been shaped, defined and constrained by competing discourses? Were there other influences, I ask beyond the global market place that may have contributed to the defining and shaping of the contemporary curator? I undertake this study in two ways. Firstly, I conduct an historical overview to explore whether there were precedents of curatorial practice that might lead to a greater understanding of the contemporary curator. Here, following Foucault, I consider the transformations in dominant discourses that have effected the assembling and interpretation of collections of significant objects. Secondly, using interviews conducted with three ‘independent’ curators—Seth Siegelaub, Juliana Engberg and Charles Esche—I undertake discourse analyses, identifying a number of fields of discourse, which I argue have impacted and shaped their curatorial practices. What has emerged through this study has been recognition of how across time there is a duality of discourses at the core of curatorial activities. And far from undermining or weakening the curatorial practice, I suggest this duality plays a dynamic and regenerative role in forming the relationships produced between place, ideas, objects, artists, viewers and capital. i Statement of Originality This work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by any other person except where due reference is made in the thesis itself. Susan Ostling ii Table of Contents Abstract i Statement of Originality ii Acknowledgements vii Chapter 1: Introduction 1.1 Background and Context 1 1.2 Purpose of the Study 9 1.3 Methodology 14 1.4 A Gap in the Literature 17 1.5 Research Questions 22 1.6 Structure of the Thesis 23 Chapter 2: Early Forms of Object Collections 2.1 Overview 29 2.2 The Church and Power, Ritual and the Agency of Objects 31 2.3 The Social Influence of New Actors and a New Class of Objects 34 2.4 Power in New Forms of Collection and Display 38 2.5 Collections Replace Public Art Patronage 45 2.6 The Church Reconciles Pagan Antiquities 47 2.7 Curators as Go-Betweens: The Typology of Social Leverage 49 2.8 Conclusion 50 iii Chapter 3: New Sites of Power and Knowledge 3.1 Overview 53 3.2 The Kunstkammer becomes the Symbolic World of Knowledge, Reflection and Display 54 3.3 The Kunstkammer: ‘An All Encompassing Theater’ of the World 58 3.4 Reformed Learning Leads to a Restructuring of Knowledge 65 3.5 Professionalisation of Knowledge 68 3.6 Conclusion 71 Chapter 4: The Formation of Public Museums 4.1 Overview 73 4.2 The British Museum: A Site of Knowledge Production and an Institution of Modernity 73 4.3 The British Parliament and the Economy of Government Reason 75 4.4 Curators’ Work: Arranging Systems of Arrangement and Display 78 4.5 Rules of Formation, Museum Restrictions and Structures 81 4.6 Taxonomy and the New Epistemology 84 4.7 The Museum: A Restricted and Inward-Looking Space 89 4.8 Liberalising the Rules 90 4.9 The Louvre Becomes the Exemplar Modern National Art Museum 95 iv 4.10 The Place of ‘History’ 97 4.11 Political Compromise and the Development of Curatorial Connoisseurship 98 4.12 Contextualising the Modern Curator 103 4.13 Conclusion 109 Chapter 5: The Model of the Connoisseur-Curator-Scholar 5.1 Overview 111 5.2 Barr’s Education and Preparation for the Museum of Modern Art 112 5.3 Barr and European Modernism 118 5.4 Exhibition-Making and Display 122 5.5 Education and Communication 125 5.6 Scholarship and Art History 127 5.7 Business and the Market Economy 129 5.8 Connoisseurship 131 5.9 Conclusion 132 Chapter 6: Seth Siegelaub—Art World Outsider and Exhibition Innovator 6.1 Overview 137 6.2 Siegelaub as an Art World Outsider 138 6.3 Discourses of Institutional Critique Affect New Exhibition Practices 142 6.4 Individuality and Collaboration 158 6.5 Entrepreneurial Creativity 163 6.6 Conclusion 168 v Chapter 7: Juliana Engberg—Independent Thinker and Nurturer of Artistic Practice 7.1 Overview 171 7.2 Engberg’s Introduction to the Art World 173 7.3 National Identity versus International Aspirations 176 7.4 Impact of Institutional Critique and new Institutionalism 195 7.5 The Power of Working Closely with Artists 203 7.6 To Be an Entrepreneur 209 7.7 Conclusion 215 Chapter 8: Charles Esche—Optimism, Pragmatist and Agent of Change 8.1 Overview 219 8.2 Career Synopsis 220 8.3 Early Curatorial Work 222 8.4 Art and Politics 227 8.5 The Gwangju Biennale 239 8.7 The Instanbul Biennial 243 8.8 Rooseum Malmö 247 8.9 Van Abbemuseum 254 8.10 Conclusion 262 Chapter 9: Conclusion 265 Appendix Ethics Clearance Details 274 Interview Questions 274 References 276 vi Acknowledgements I would like to thank my supervisors Dr Craig Douglas and Assoc Professor Ian Woodward for support and discerning comment and advice throughout my candidature. Also, thank you to Professor Ross Woodrow for always being able to see the big picture. I would like to thank Professor Paul Cleveland and Griffith University in giving me support to manage teaching and study concurrently. I wish to thank Seth Siegelaub, Juliana Engberg and Charles Esche who generously agreed to be interviewed and have given careful comment to the draft chapters. I also wish to thank wonderful colleagues and friends Dr Patsy Hely, Dr Felicity McArdle, Karen Laird, Margie Maddison and Glen Henderson for vigorous encouragement at all the right moments. Thank you to my colleagues in Fine Art at QCA for being forever understanding. Many thanks to Penny Gordon and Leah Cencig for wise counsel. Finally, a huge thanks to soul mates Lucy and Tom for living and working around me very graciously. vii Chapter 1: Introduction 1.1 Background and Context This thesis considers the changing domain of the art curator, and its overarching research question is: how is the role of the curator shaped, defined and constrained by competing discourses? Current opinion links the idea of the ‘curator’ as being inextricably linked to today’s cultural values (Rosenbaum 2011b, Apostola 2012) and yet the concept of the curator has a much longer history that will be eked out in this thesis. Further, I will show that the contemporary curator’s role is caught fully in the flux of global cultural economies and its application is extended well beyond museums. Hans Ulrich Obrist, co-director of Exhibitions and Programmes and director of International Projects at the Serpentine Gallery, London, states: ‘Lately, the word “curate” seems to be used in a greater variety of contexts than ever before, in everything from prints by Old Masters to the contents of a concept store’ (2011, p. 4). He goes onto to say that ‘curate’ has ‘ever-wider application’ because of the ‘incredible proliferation of ideas, information, images, disciplinary knowledge, and material products’ around us, and with this proliferation comes the need to filter, enable, synthesise, frame and remember, which are all the contemporary curator’s tasks (Ulrich Obrist 2011, p. 4). No longer is the curator … the person who fills a space with objects but the person…who brings different cultural spheres into contact, invents new display features, and makes junctions that allow unexpected encounters and results. (Ulrich Obrist 2011, p. 4) Elsewhere, Ulrich Obrist (2010 p. 34) says: [w]hat I can say is this: the whole curatorial thing has to do not only with exhibitions, it has a lot to do with bringing people together. That is a large part of my work. 1 Another source describes the curatorial method ‘as a genuine method of generating, mediating and reflecting experience and knowledge’.1 Olga Fernandez, lecturer in Curatorial Strategies at the Royal College of Art, London, considers that this ‘new understanding of curating’ (2011, p. 40), which is less about display and more about knowledge production and mediation, has been strongly influenced by the recent emergence of curatorship courses in academia. But this has not occurred in isolation; it is evident of the way research has become central in ‘the knowledge art economy’, enabling exhibitions to be seen as a legitimate mode of inquiry and research (Fernandez 2011, p. 40). Furthermore, the curator is also seen to be ‘a producer of immaterial knowledge’ (Fernandez 2011, p. 40). As Andrew Apostola (2012), co-founder of the Curators Conference,2 commented at the launch of the online creatives site, ‘the new breed of curator is more likely to be bound by internet browsers and social networks’ than by any museum interior. This has occurred through the links made between new technologies (the introduction of a range of online tools) and the human desire in a globalised world to know more and have more.
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