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Artists Call the Shots When Gustave Courbet Organised an Exhibition, It Was a Radical Act—But Now Artist-Curators Are Everywhere

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Artists Call the Shots When Gustave Courbet Organised an Exhibition, It Was a Radical Act—But Now Artist-Curators Are Everywhere 8 THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION Thursday 4 December 2014 FEATURE Artists call the shots When Gustave Courbet organised an exhibition, it was a radical act—but now artist-curators are everywhere. By Pac Pobric conquer freedom; I was foundational. Courbet’s unwill- had nine offerings in its “Artists 2015), which pairs his work with narrative” for us to appeal to. save the independence ingness to collaborate was, as the Choice” series since 1989, the most pictures by the French Impressionist “I don’t think there is a defini- of art.” So Gustave art historian Yve-Alain Bois once put recent edition organised by Trisha painter. Ligon is currently at work on tion of high art,” says the painter Courbet, the self-pro- it, “the first avant-garde act”. It was Donnelly in late 2012). “Encounters and Collisions”, which Eric Fischl, who organised “Disturb- “ claimed “proudest and the first deed of curatorial refusal: At the Hayward Gallery in includes his art and that of contem- ing Innocence” at the Flag Art Foun- most arrogant man meddling bureaucrats be damned. London in February, seven artists poraries like Chris Ofili and Robert dation in New York (until 31 January in France”, described his decision including Richard Wentworth Gober (at Nottingham Contemporary 2015). “There are just well-executed I Something to talk about to skirt participation in the French and Hannah Starkey will curate a in the UK, opening in April 2015). and creative things.” His show state-sponsored Exposition Univer- The issue of the artist as curator is section of an exhibition focusing on How did artist-curated shows speaks to the prevalence of plural- selle in 1855 and install, instead, an under scrutiny in Miami this week. British history in the past 70 years, become so widely accepted? The ism today: it includes work by 50 independent tent full of his own As part of the Art Basel Miami Beach covering topics such as feminism. first step was the collapse of central artists as diverse as Roy Lichtenstein paintings just outside the expo’s Conversations programme, panellists and Alberto Giacometti, and each doors on the Champs-Élysées in including the Beijing-based artist “Artists have the benefit of being influenced piece in the show includes figures of Paris. For 20 sous, visitors could enter and curator Liu Ding, and the New dolls, toys or mannequins. (Fischl’s Courbet’s “pavilion of Realism” and York- and Berlin-based artist Rirkrit by work that is not mainstream” art is also on view.) Today, “artists browse 40 pictures hung to the art- Tiravanija will examine the phenom- have the benefit of being influenced ist’s liking, without the interference enon on Sunday, 7 December. The show is part of a trend at the art institutions like the one that by work that is not mainstream, or of troublesome state curators. Indeed, artist-curated exhi- Hayward Gallery; in 2009, the Courbet had to contend with in his that is not considered high, great But Courbet’s pavilion was a bitions are everywhere, from Turner Prize-winner Mark Wall- day. Today, there is no organisation art”, Fischl says. disappointment. The crowds never expansive biennials (in November, inger organised an eclectic exhi- that has anything near the govern- Shows like these generally came. Critics took little notice. Christian Jankowski was named bition there called “The Russian ing power of the French Beaux-Arts emphasise an artist’s individual Ticket prices were halved by the the curator of the forthcoming Linesman” (above). regime, which had the unilateral sensibility, rather than a suppos- time Eugène Delacroix came to Manifesta 11); to commercial gallery Artists as unalike as Ellsworth ability to arbitrate and display art. edly objective historical chronicle. see the show in August. It was not, shows (“Peter Blake: Slide Show”, at Kelly and Glenn Ligon are even Instead, we have just the opposite: Artist-organised exhibitions tend even, strictly speaking, the first the Paul Stolper gallery in London organising shows of their own art, a commonplace sensibility that to be “clearly editorial, as opposed self-organised show. Jacques-Louis until 10 January 2015, is organised just as Courbet had done 160 years no single authority has a monopoly to reportorial”, says Ann Temkin, David had already put together a by Blake himself); through to insti- ago. Kelly recently put together on art history. No one institution the chief curator of painting and show of his own work in 1799. Yet tutional exhibitions (the Museum “Monet Kelly” for the Clark Institute can tell the whole story; there is sculpture at New York’s Museum of Courbet’s exhibition, in hindsight, of Modern Art in New York has in Massachusetts (until 15 February no longer a dominant “grand Modern Art. “All curatorial work is SE1 LONDON WALLINGER: TEN YEARS NEW DATES PULSE MIAMI BEACH PULSE NEW YORK CONTEMPORARY, ART FAIR CONTEMPORARY ART FAIR DECEMBER 4–7, 2014 MARCH 5–8, , 2015 INDIAN BEACH PARK THE METROPOLITAN PAVILLION 4601 COLLINS AVENUE NEW YORK CITY PULSE-ART.COM MIAMI BEACH 2014_PULSE_ARTNEWSPAPER_DBAN_DAILIES_ToPrint.indd 1 11/20/14 5:38 PM THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION Thursday 4 December 2014 9 ME, MYSELF AND I more and more conscious that you cannot invent something from scratch,” he says. “There is nothing ex-nihilo.” Many artists are now “producing new pathways though 0.10: the Last Futurist Exhibition of Pictures culture and history, and that’s very Dobychina Gallery, Petrograd, 1915 close to curating”. Organised by Ivan Puni and Ksenia Boguslavskaya Yet even in a pluralist world, Around 6,000 people paid one rouble each for admission to the idea of a curator-as-artist rubs this show, which organisers grandly boasted was the “last” some the wrong way. “I think that’s of the Futurist exhibitions. In fact, there was still much left completely foolish,” says the US art to discuss. The ever-warring Kazimir Malevich and Vladimir critic Dave Hickey. “You’re a lot of Tatlin split the 12 other artists included in the show into things, but you’re not an artist. It’s two factions: on the one side, those who grouped around just another way of ‘social relations Malevich’s pursuit of ineffable spiritualism; and, on the other, art’ making the party into the art. those who followed Tatlin’s insistence on hard, physical, It’s a sign of the times, of course, earthly materiality. For at least one critic, both artists were but I don’t think any serious artist at dead ends. “It makes no sense to describe this drivel,” would ever propose that.” he wrote. “Suffice it to say that the insolence of the artists subjective, but with shows curated “Maybe there isn’t a black and knows no boundaries.” by artists, the subjectivity of the H.A. Schult’s white division between an artist’s Crafty curators choices is foregrounded,” she says. Biokinetic at [body of work], strictly speaking, Indeed, some artists have actively And though, today, seemingly all Documenta 5, and the rest of the creative things fought the idea. In 1972, the French ideas about art carry some legiti- in 1972. But is the artist does,” Temkin says. So if artist Daniel Buren censured the mate currency, academic curators Documenta itself artists can be effective curators, it is curator Harald Szeemann for his still face institutional constraints a work of art? only a short jump to the idea that handling of Documenta 5. Buren that artists can simply shrug away. curators can be compelling artists, felt that Szeemann had confused “I’ve seen shows that artists have and that curatorial work is itself a curating and art-making and that put together that seem to have a kind of art-making. Documenta had become one big art liberatory force, where things are Robert Gober’s current piece. “More and more, the subject arranged without obedience to retrospective at the Museum of of an exhibition tends not be the certain categories that I carry with Modern Art (until 18 January 2015) display of artworks, but the exhi- me as an art historian,” says Helen “More includes two galleries arranged by bition of the exhibition as a work Molesworth, the chief curator at the the artist of work by Anni Albers, of art,” Buren wrote. In the hands Museum of Contemporary Art, Los and more, Robert Beck, Cady Noland, Nancy of crafty curators like Szeemann, The First Gutai Exhibition Angeles. This is true of politically the subject Shaver and Joan Semmel. Each was art became “nothing more than a Ohara Hall, Tokyo, 1955 inclined shows, says Jens Hoffmann, included in a show Gober organised decorative gimmick for the survival Organised by Jiro Yoshihara and the Gutai Art the deputy director of the Jewish of an for the Matthew Marks gallery in of the museum”. Association Museum in New York. “I cannot 1999, which Marks hoped to sell Buren wanted to take back the Three years before the American artist Allan Kaprow wrote express my own personal political exhibition as a whole to the Art Institute of narrative, something that the artist “The Legacy of Jackson Pollock”, where he argued that Ab- opinion through an exhibition,” he is the Chicago. As he later recalled in the Dara Birnbaum says is still a concern stract Expressionism led naturally to performance art, a group says. “But an artist can do that.” catalogue for Gober’s retrospective, for many. “A lot of artists try to of Japanese artists led by Jiro Yoshihara had already made the That raises some questions: do exhibition he pitched the idea to the museum curate shows to get back some of the connection.
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