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How curating has changed art and how art has changed curating: an examination of the emergence contemporary curatorship.

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 The Culture of Curating and the Curating of Culture(s), Paul O'Neill examines the emergence of independent curatorship and the discourse that helped to establish it.

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 th

The Culture of Curating and the Curating of

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    A Paperback / softback by Paul O'Neill

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      Publisher: MIT Press Ltd
      Publication Date: Publication Date: 02/09/2016
      ISBN13: 9780262529747, 978-0262529747
      ISBN10: 0262529742
      Also in:
      History of art Museology and heritage studies

      Description

      Book Synopsis
      How curating has changed art and how art has changed curating: an examination of the emergence contemporary curatorship.

      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 The Culture of Curating and the Curating of Culture(s), Paul O'Neill examines the emergence of independent curatorship and the discourse that helped to establish it.

      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 th

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