The evolving role of the curator in contemporary art
The article examines the shifting role of curators in contemporary art, from the rise of independent curators in the 1990s to the proliferation of biennials and the expansion of curatorial practice into social and political realms. It highlights the distinction between 'curation' (organizational skills) and 'the curatorial' (critical knowledge production), as defined by Irit Rogoff and Beatrice von Bismarck. The text references Andrea Fraser's concept of 'service-oriented' curating and cites Jeremy Deller's 'The Battle of Orgreave' as an example of artist-as-curator. The author, Anna Detheridge, argues for a redefinition of curatorial roles in light of globalized art worlds and the need for counter-narratives that challenge hegemonic histories.
Key facts
- Independent curators emerged as protagonists in the 1990s, organizing collective exhibitions and long-term projects.
- Andrea Fraser's 2006 book 'Institutional Critique and After' described these curatorial roles as 'service oriented'.
- The Biennale di Venezia, founded in 1895, is cited as a key biennial that globalized art but also decontextualized works.
- Paul O'Neill edited 'Curating Subjects' (2007), and Hans Ulrich Obrist conducted historical interview projects on curating.
- Irit Rogoff and Beatrice von Bismarck's 'Cultures of the Curatorial' (2012) distinguishes 'curation' from 'the curatorial'.
- Jeremy Deller's 'The Battle of Orgreave' reenacts the 1984 miners' strike, blending art and curatorial direction.
- The article references L'École des Annales and Marc Bloch's historiography as influences on curatorial counter-narratives.
- Anna Detheridge is the author of the article, published on Artribune.
Entities
Artists
- Andrea Fraser
- Jeremy Deller
- Hans Ulrich Obrist
- Irit Rogoff
- Beatrice von Bismarck
- Paul O'Neill
- Marc Bloch
- Anna Detheridge
Institutions
- Artribune
- Biennale di Venezia
- L'École des Annales
- Amazon
Locations
- Venice
- Italy
- United Kingdom