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artists [visual artists] --- Museology --- Art --- artist's intent --- Artists as art museum curators --- exhibition curators --- Artistes --- Muséologie --- Vingtième siècle. --- Expositions

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Curator Jens Hoffman s Theater of Exhibitions considers the plight of art afterthe end of art and asks whether inherited frameworks of making, theorizingand exhibiting art still apply to contemporary practice. Are exhibitions still anappropriate form of assembly and embodied ritual in our 21st-century globalsociety? Drawing from his formation in theater and his own curatorial work, Hoffmannreflects on the current spaces of contemporary art the gallery, the institutionand the biennial. Ultimately he positions the discipline of curating in the contextof a larger cultural sphere one shaped by the political, social and economicconditions and demanding new attitudes and new thinking. The book alsoconsiders the commodification of the art industry and the distribution of imagesin the digital age and posits the exhibition as an anthropological endeavor, withcurator as agent.

art criticism --- Art --- philosophy of art --- exhibition curators --- Curatorship. --- Art, Modern --- Conservation. --- preserving. --- preservation (function). --- conservation (process). --- conservation (discipline). --- curating. --- Art, Modern. --- Exhibition techniques. --- History --- Techniques d'exposition. --- Histoire --- 1900-2099.

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"Marcel Duchamp made exhibition practice an important part of his work. Curatorial gestures and concepts that determined the staging of his works and allowed him to move away from canonical definitions of the artist; publications and photographic documentations and of his New York studios; themes, contributions and layout drafts for art magazines; his activity as a consultant, juror and staging curator for exhibitions in the contexts of American Modernism, Dada and Surrealism; the notable influence on important private collections of his time--every conceivable aspect of curating, exhibiting and collecting have gained a qualitatively new artistic dimension in Duchamp's work. While deliberately distancing himself from given structures of artistic work, he approached a concept of curatorial practice as an aesthetic medium that is today well established. According to the pointed thesis of the symposium and the publication here, he was one of the first 'artist curators' and, thus, decisively influenced the reception of his own work as well as the art historical development of exhibition practice. Duchamp gave a new conceptual direction to the multiple possibilities for perception and open perspectives of interpretation of his oeuvre, via the staging, reproduction and multiplication of his own and others' works, which subsequently defined a turn in contemporary art. Principles of exhibition practice became decisive factors in the constitution of a work. This volume compiles the contributions of a symposium at Daimler Art Collection (25./26. April 2017), and is probably the first substantial publication on this subject. It brings together eight essays by renowned authors analyzing the status of Duchamp's varied curatorial gestures"--Publisher's website.

Museology --- Art --- exhibition curators --- Duchamp, Marcel --- Artists as art museum curators --- Muséologie --- Musée --- Exposition --- Duchamp, Marcel, --- Criticism and interpretation --- Artists as art museum curators - Congresses --- Duchamp, Marcel, - 1887-1968 - Criticism and interpretation - Congresses --- Duchamp, Marcel, - 1887-1968

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'Conceptual Art in a Curatorial Perspective : Between Dematerialization and Documentation' focuses on the curatorial practice of exhibiting conceptual art. The fact that conceptual works are not object-based, creates challenges in exhibiting or re-exhibiting them. This book offers various perspectives on how to handle conceptual art in the context of the museum, based on three detailed case studies and an extensive introduction in which the paradox of conceptual art is analyzed. It also elaborates on the history of exhibiting conceptual artworks, and on the influence of curators in their canonization.

Conceptual art --- Art --- Exhibition techniques. --- exhibiting --- Conceptual --- exhibition curators --- Exhibition techniques --- Art conceptuel --- Exposition --- Muséologie --- Exhibitions --- Techniques d'exposition --- Kunsttentoonstellingen ; 1960-2002 ; mijlpalen --- Moderne en actuele kunst ; conservatie en restauratie --- Kunsttheorie ; dematerialisatie van het kunstwerk --- Conceptuele kunst --- Museologie ; cureren van tentoonstellingen --- Kunst; tentoonstellen --- 069.53 --- Museologie ; collecties ; techniek van het tentoonstellen --- Conceptual art - Exhibitions --- Conceptual art - Exhibitions - Case studies --- Art - Exhibition techniques

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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 the creative work of curator-auteurs. The proliferation of new biennials and other large international exhibitions in the 1990s created a cohort of high-profile, globally mobile curators, moving from Venice to Paris to Kassel. In the 1990s, curatorial and artistic practice converged, blurring the distinction between artist and curator.O'Neill argues that this change in the understanding of curatorship was shaped by a curator-centered discourse that effectively advocated―and authorized―the new independent curatorial practice. Drawing on the extensive curatorial literature and his own interviews with leading curators, critics, art historians, and artists, O'Neill traces the development of the curator-as-artist model and the ways it has been contested. The Culture of Curating and the Curating of Culture(s) documents the many ways in which our perception of art has been transformed by curating and the discourses surrounding it.

tentoonstellingen --- philosophy of art --- exhibitions [events] --- museology --- Sociology of cultural policy --- Museology --- Philosophy and psychology of culture --- Art: persons --- Art --- Art and society. --- Art et société --- Exhibition techniques. --- Techniques d'exposition --- Art and society --- Exhibition techniques --- kunst --- cultuurfilosofie --- biënnales --- kunsttheorie --- 069 --- Art et société --- exhibition curators --- Art exhibition techniques --- Display techniques in art --- Exhibition techniques in art --- Exhibitions --- Art and sociology --- Society and art --- Sociology and art --- Display techniques --- Social aspects --- Exposition --- Musée --- Sociologie de la culture --- Sociologie de l'art --- Art - Exhibition techniques