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(Curating) from A to Z
(Curating) From A to Z offers a summary of the development of curatorial practice over the last two decades seen through the eyes of curator Jens Hoffmann. In this publication each letter of the alphabet evokes a particular word related to the world of exhibition making: From A (as in Artist) and B (as in Biennial) to R (as in Retrospective) and W (as in White Cube).Employing a diarist style, the curator presents his personal curatorial alphabet with a similar transparency and the same idiosyncratic character revealed in many of his exhibitions. The entries are not only stimulating and intellectually rigorous, but also emotionally engaging.Jens Hoffmann is a writer, exhibition maker, and edu...
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"This book explores the recent history of exhibition-making, looking at the radical shifts that have taken place in the practice of curating contemporary art over the last 20 years. Through its most innovative shows, renowned curator Jens Hoffmann selects the 50 key exhibitions that have most significantly shaped the practice of both artists and curators. Each exhibition reviewed here has triggered profound changes in curatorial practice, and reanimated the potential of contemporary art. An international roster of curators, and exhibition venues that span the globe, from the USA, Mexico, Brazil and South Africa to France, Germany, the Netherlands, Turkey and Spain. Nine themed sections, incl...
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Jens Hoffmann's survey of groundbreaking exhibitions since 1989 explores the radical shifts that have taken place in the practice of curating contemporary art over the last 25 years. Nine thematic sections focus on a huge variety of exhibitions - 53 in total - including those that have explored public space; reflected on globalization; engaged audiences in revolutionary ways; and brought into the gallery other disciplines such as theatre and architecture. Five new exhibitions have been added: 'Living as Form' (New York, 2011), the first large-scale survey of 'social practice'; '55th Venice Biennale' (Venice, 2013), the first time that 'outsider art' was presented alongside 'fine art' in the most prestigious art exhibition of them all; 'When Attitudes Become Form: Bern 1969 / Venice 2013' (Venice, 2013), a remake of arguably the most important exhibition of the last 50 years; 'The Other Story' (1989-90, London), interesting as a critical response to the iconic exhibition 'Magiciens de la Terre'; 'artevida' (Rio de Janeiro, 2014), the first overview of artistic practices emerging in the 1960s and 1970s to focus on the Global South.
The Exhibitionist
The Exhibitionist: Journal on Exhibition Making' is an anthology of the first 12 issues of the journal about contemporary curating that bears the same name. Established in 2009 as a forum for critical reflection on exhibition-making and curatorial practice, 'The Exhibitionist' has always defined itself as ?by curators, for curators.? Modeled after the iconic French film journal 'Cahiers du cinéma', 'The Exhibitionist' has served a critical role in examining current curatorial practices by focusing specifically on the exhibition format as a site of experimentation and inquiry. 'The Exhibitionist' has historicized, analyzed and critiqued a phenomenon it is itself symptomatic of?the rise of the curator since the 1960s, the ensuing explosion of curatorial creativity and the growing fascination with the discipline of curating.
Ten Fundamental Questions of Curating
It has become almost obligatory to introduce a book on curating by noting the plethora of recent publications on the subject. How, in just a few short years, did we reach this point of saturation? What questions, exactly, do all these books address? Many attempt to offer an overview of the curatorial field as it exists today, or attempt to map its historical trajectory. Others propose a series of case studies under a common curatorial theme. All are hoping to contribute to this relatively new discipline and its accompanying canon. Edited by Jens Hoffmann, Ten Fundamental Questions of Curating offers a real critique of existing publications and modes of thinking by explicitly asking the quest...
The Studio
The evolution of studio—and “post-studio”—practice over the last half century. With the emergence of conceptual art in the mid-1960s, the traditional notion of the studio became at least partly obsolete. Other sites emerged for the generation of art, leading to the idea of “post-studio practice.” But the studio never went away; it was continually reinvented in response to new realities. This collection, expanding on current critical interest in issues of production and situation, looks at the evolution of studio—and “post-studio”—practice over the last half century. In recent decades many artists have turned their studios into offices from which they organize a multiplici...
Thinking Contemporary Curating
"'Thinking contemporary curating' is the first publication to comprehensively explore what is distinctive about contemporary curatorial thought. In five essays, art historian, critic, and theorist Terry Smith surveys the international landscape of current discourse; explores a number of exhibitions that show contemporaneity in present, recent, and post art; describes the enormous growth world-wide of exhibitionary infrastructure and the instability that haunts it; re-examines the phenomenon of artist-curators and curator-artists; and assesses a number of key tendencies in curating - such as the reimagined museum, the expanded exhibition, historicization and recuration, infrastructural activism, and engaged spectatorship - as responses to contemporary conditions." -- book cover.
Theater of Exhibitions
Curator Jens Hoffman s Theater of Exhibitions considers the plight of art after the end of art and asks whether inherited frameworks of making, theorizing and exhibiting art still apply to contemporary practice. Are exhibitions still an appropriate form of assembly and embodied ritual in our 21st-century global society? Drawing from his formation in theater and his own curatorial work, Hoffmann reflects on the current spaces of contemporary art the gallery, the institution and the biennial. Ultimately he positions the discipline of curating in the context of a larger cultural sphere one shaped by the political, social and economic conditions and demanding new attitudes and new thinking. The book also considers the commodification of the art industry and the distribution of images in the digital age and posits the exhibition as an anthropological endeavor, with curator as agent
Curating Subjects
Edited by Paul O'Neill. Introduction by Paul O'Neill, Annie Fletcher.
