expanded infrastructure that constitutes the art world within global social, political, and cultural frameworks. Recognizing the drive for contemporary curatorial practices to destabilize common assumptions or positions, as well as rethink geographic and political representations, Smith also weaves case studies of key exhibitions, debates, and propositions in recent history that have set precedents from which we can build.
This is the first book in a series entitled Perspectives in Curating that will be published by Independent Curators International (ICI) to provide sustained analysis on topics that are pressing for curators now. This initiative follows a number of others that ICI has established since 2010 to support curatorial research and development in various forms: The Curator’s Perspective—a talks series in New York that periodically travels across the U.S.—provides a platform for curators from around the world to present their observations on social and political situations that are impacting their practice, the projects they understand to be important to curatorial developments, and the artists who are making them think; DISPATCH—a quarterly online journal with each issue guest-produced by a different curator around a topic of their choice that relates to where they live and work—provides a flexible format for sharing information and ideas-in-progress; and The Curatorial Intensive—a short-term program for working professionals from around the world held twice annually in New York and in collaboration with institutional partners internationally—enables the exchange of knowledge and expertise while developing a new project with all-too-rare peer feedback. While each of these programs, together with conference and fellowship initiatives, offers curators the opportunity to test ideas, think out loud, and develop an international network, the imperative for the book series is to take research to a deeper level. By dedicating resources and attention to a single topic in each volume and building the issues explored over time, Perspectives in Curating is intended to be responsive to the rapid developments in the field while recognizing the need to slow down in understanding what is at stake in the questions we ask of the practice.
Although a new initiative, the precedent for Thinking Contemporary Curating was established in 2001, when ICI published its first book on curatorial practice, Words of Wisdom: A Curator’s Vade Mecum on Contemporary Art. Markedly different in its approach, the book included short texts offering advice to a new generation of curators from sixty professionals who were playing a crucial role in shaping the field. (These included Lynne Cook, Bice Curiger, Thelma Golden, Hou Hanru, Vasif Kortun, Lucy R. Lippard, Maria Lind, Jean-Hubert Martin, Gerardo Mosquera, Hans Ulrich Obrist, Seth Siegelaub, and Harald Szeemann.) It’s hard to imagine today, but just over ten years ago there was only one Curatorial Studies Masters program in the United States (five worldwide), and barely six publications available on the subject. Now the need is not an increased quantity of material but the publishing of more internationally widespread and comprehensive research that enables the field to gain a shared history and language from which to grow. Terry Smith’s incredible work in Thinking Contemporary Curating ensures its place as the first of such titles and a key reference for years to come.
This book would not have been possible without the help and support of a number of people and organizations: Chelsea Haines, ICI’s Public Programs Manager, has steered the project from start to finish with great dedication and style as always; editor extraordinaire Audrey Walen and ICI’s ever-creative designer Scott Ponik have made production a pleasure; and Jessica Gogan has been the quiet force behind ensuring images and facts are all there.
Thanks go to Claire Bishop and Eungie Joo, my partners in crime in conceiving of and programming The Now Museum conference, and Okwui Enwezor, Annie Fletcher, and Massimiliano Gioni, Terry Smith’s fellow panelists in the discussion that caused this book. To reiterate Smith’s acknowledgment, special thanks also go to the participants of the “Contemporary Art: World Currents” curatorial roundtable at ICI on October 20, 2011, for their perspectives and insight that gave the book its form.
Perpetual thanks go to ICI’s staff, especially Renaud Proch, Deputy Director, who gives ICI its wings, Fran Wu Giarratano, Exhibitions Manager, who guided this project, and Mandy Sa, Communications Manager, who always ensures our books get out there.
Crucial to the development of Thinking Contemporary Curating was the confidence in ICI from Ray Graham III, and the very generous funding from the Elizabeth Firestone Graham Foundation for the production of our new publications. Important support has also come from the Robert Sterling Clark Foundation, especially Margaret Ayers and Roslyn Black, whose deep commitment to international exchange enables ICI to develop meaningful programming and research around the world. For the first time, ICI has also had the benefit of the new International Forum, whose members are pioneers in recognizing the importance of ICI’s global networks. As ever, I extend my warmest appreciation to the ICI Board of Trustees for their ongoing support and enthusiasm.
Finally, my deepest gratitude goes to Terry Smith, who has been inspiring to work with and learn from. I hope this is just the beginning of our research. This book is an amazing gift. Thank you.
Acknowledgments
These essays were initially developed as talking points for the “Contemporary Art: World Currents,” seminar with Terry Smith, held at Independent Curators International, New York, October 20, 2011. Following discussion during the seminar, and later reflections, they have been revised and considerably expanded. Many thanks to the seminar participants: Leeza Ahmady, Kalia Brooks, Doryun Chong, Sarah Demeuse, Ruba Katrib, Olga Kopenkina, Diana Nawi, and Sofía Olascoaga. Thanks to Jessica Gogan for deeply informed and careful research assistance with both the text and images. I am grateful to Robert Bailey, Brianne Cohen, Izabel Galliera, Boris Groys, Peter S. Myer, Nicole Pollentier, Mari Carmen Ramírez, João Ribas, and Hilary Robinson for their comments on the draft text, and my curatorial colleagues in Pittsburgh, Sydney, New York and elsewhere for useful informal discussions. I thank, too, everyone at ICI, especially Chelsea Haines, who have worked tirelessly on this publication. Most thanks go to Kate Fowle for her inspirational work at ICI and for our ongoing dialogue on matters curatorial.
To Okwui
Nick Waterlow. A Curator’s Last Will and Testament, 2009. Video still from A Curator’s Last Will and Testament, 2012. Juliet Darling in collaboration with Father Steve Sinn S.J., DVD or Blu-ray, 11.5 min., continuous loop
The Lure
When it comes to showing art, do curators think in ways that are unique to their profession? Can curatorial thought be distinguished from the thinking processes within the myriad of closely related practices—especially art criticism, art history, and art making—and from curating within other kinds of museum or display spaces, public and private? Every exhibition demonstrates that curators reflect on circumstance, wrestle with ideas, develop research programs, and spark insights. Yet the discourse of art curators about curating—curatorial talk—while passionate and committed, seems routinely satisfied with rhetorical gestures, knowing asides, and ostensive demonstrations. For a profession driven by the desire to communicate with art’s publics, its enabling dialogue is surprisingly inner- directed. Why is the substance of curatorial thinking so rarely articulated? It seems to me that this question has surfaced (become public) within a vast, rapid, and quickening change in the conditions within which curating is now undertaken. These changes require a different kind of thinking than that which served during modern times. They lead to a key question, to the exploration of which these essays are devoted: What is contemporary curatorial thought?
I raise this question at a time when curating is everywhere being extended, encompassing every kind of organizing of any body of images or set of actions. The title of curator is assumed by anyone who has a more than minimal role in bringing about a situation in which something creative might be done, who manages the possibility of invention, or even organizes opportunities for the consumption of created objects or orchestrates art-like occasions. Google invites us to curate our profile, Picasa our very own image gallery. Certain restaurants proudly display menus curated by a food expert. A leading department store boastfully