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Exhibition
« If the focus of modernist debates was the individual work of art, it is the exhibition that is the prime cultural carrier of contemporaneity. Set against the rise of the curator as an influential force in the contemporary art world, this volume underlines the crucial role of artists in questioning and shaping the phenomenon of the exhibition. The texts encompass exhibition design and form; exhibitions that are object-based, live or discursive; projects that no longer rely on a physical space to be visited in person; artists' responses to being curated; and their reflections on the potential of acting curatorially. »--
How Institutions Think
Reflections on how institutions inform art, curatorial, educational, and research practices while they shape the world around us. Contemporary art and curatorial work, and the institutions that house them, have often been centers of power, hierarchy, control, value, and discipline. Even the most progressive among them face the dilemma of existing as institutionalized anti-institutions. This anthology–taking its title from Mary Douglas's 1986 book, How Institutions Think–reconsiders the practices, habits, models, and rhetoric of the institution and the anti-institution in contemporary art and curating. Contributors reflect upon how institutions inform art, curatorial, educational, and res...
Curating After the Global
What it means to be global—or to be local—in the context of artistic, curatorial, and theoretical knowledge and practice. In this volume, an international, interdisciplinary group of writers discuss what it means to be global—or to be local—in the context of artistic, curatorial and theoretical knowledge and practice. Continuing the discussion begun in The Curatorial Conundrum (2016) and How Institutions Think (2017), Curating After the Global considers curating and questions of locality, geopolitical change, the reassertion of nation-states, and the violent diminishing of citizen and denizen rights across the globe. It has become commonplace to talk of a globalized art world and eve...
Art and Its Worlds: Exhibitions, Institutions and Art Becoming Public Exhibition Histories Vol. 12
An anthology of essays on art's relation to the public realm since 1989 This critical anthology explores the myriad histories and worlds through which art is produced and experienced. It is guided by the following questions: How are the "global" and the "located" shaped and understood in disparate contexts and times? How have artists experimented with modes of exhibition-making and public presentation? Key essays previously published by Afterall are included alongside new image-led presentations, translated material and commissioned texts. The anthology addresses the topic in both theoretical terms and through case studies. Contributors include: Silvia Rivera Cusicanqui, Miguel A. López, Eddie Chambers, Francesca Recchia, Pablo Lafuente, Philippe Pirotte, Ntone Edjabe, Clémentine Deliss, Khwezi Gule, Charles Gaines, David Teh, Ekaterina Degot, Ana Teixeira Pinto, María Berríos, Mujeres Creando, Comunitario del Valle de Xico, Tonika Sealy Thompson and Stefano Harney.
The Curatorial Conundrum
The future of curatorial practice: how education, research, and institutions can adapt to the expansion of the curatorial field. Today curators are sometimes more famous than the artists whose work they curate, and curatorship involves more than choosing objects for an exhibition. The expansion of the curatorial field in recent decades has raised questions about exhibition-making itself and the politics of production, display, and distribution. The Curatorial Conundrum looks at the burgeoning field of curatorship and tries to imagine its future. Indeed, practitioners and theorists consider a variety of futures: the future of curatorial education; the future of curatorial research; the future...
Making Art Global
"The third edition of the Bienal de La Habana, which took place in 1989, extended the global territory of contemporary art and redegined the biennial model. This book examines the project in its historical and international contexts ... Making art global (part 2) will focus on the Paris exhibition 'Magiciens de la Terre' of 1989."--P. [4] of cover.
After Work
The catalogue of the first survey exhibition of pre-eminent artist, educator and publisher Céline Condorelli, held at Talbot Rice Gallery, Edinburgh in 2022.
The Making of Indigenous Australian Contemporary Art
This publication brings together existing research as well as new data to show how Arnhem Land bark painting was critical in the making of Indigenous Australian contemporary art and the self-determination agendas of Indigenous Australians. It identifies how, when and what the shifts in the reception of the art were, especially as they occurred within institutional exhibition displays. Despite key studies already being published on the reception of Aboriginal art in this area, the overall process is not well known or always considered, while the focus has tended to be placed on Western Desert acrylic paintings. This text, however represents a refocus, and addresses this more fully by integrating Arnhem Land bark painting into the contemporary history of Aboriginal art. The trajectory moves from its understanding as a form of ethnographic art, to seeing it as conceptual art and appreciating it for its cultural agency and contemporaneity.
The Artist
All Joseph wants is to be let into Tartuffe's world. All Ettie wants is to escape it. The year is 1920. The place is a remote farmhouse in Provence, home to the reclusive painter Edouard Tartuffe and his niece, Ettie. Into this strange, silent house walks Joseph: a young journalist hoping to write an article about Tartuffe. But the more he entangles himself in the peculiar household, the more Joseph's curiosity grows . . . Ettie cooks and cleans for her uncle. She prepares his studio, scrubs his paintbrushes, and creates the perfect environment for him to work. She has never gone further than the local village. She is sharp-eyed and watchful. But beneath her cool exterior, Joseph senses something simmering. Ettie, Joseph and Tartuffe circle each other throughout the hot, crackling summer, until finally they collide. The Artist is about two people grabbing the other by the hand and pulling each other into life.
Exhibition, Design, Participation
This seventh volume in Afterall's Exhibitions Histories series focuses on the radical project 'an Exhibit' (at the ICA, London in 1957), which emerged from a decade of testing the formats and possibilities of exhibition-making.A collaboration between two
