Download e-book for kindle: A Brief History of Curating by Hans Ulrich Obrist, Anne D'Harnoncourt, Werner Hoffman, Jean

By Hans Ulrich Obrist, Anne D'Harnoncourt, Werner Hoffman, Jean Leering, Franz Meyer, Seth Siegelaub, Walter Zanini, Johannes Cladders, Lucy Lippard, Walter Hopps, Pontus Hulten, Harald Szeemann, Daniel Birnbaum

A part of JRP|Ringer's leading edge Documents sequence, released with Les Presses du Reel and devoted to severe writings, this ebook includes a special selection of interviews via Hans Ulrich Obrist mapping the improvement of the curatorial field--from early self sufficient curators within the Nineteen Sixties and 70s and the experimental institutional courses built in Europe and the U.S. in the course of the inception of Documenta and a number of the biennales and fairs--with pioneering curators Anne D'Harnoncourt, Werner Hoffman, Jean Leering, Franz Meyer, Seth Siegelaub, Walter Zanini, Johannes Cladders, Lucy Lippard, Walter Hopps, Pontus Hulten and Harald Szeemann.

Speaking of Szeemann at the get together of this mythical curator's demise in 2005, critic Aaron Schuster summed up, "the photo we've of the curator this day: the curator-as-artist, a roaming, freelance fashion designer of exhibitions, or in his personal witty formula, a 'spiritual visitor worker'... If artists because Marcel Duchamp have affirmed choice and association as valid creative ideas, used to be it now not easily a question of time earlier than curatorial practice--itself outlined via choice and arrangement--would become obvious as an artwork that operates at the box of paintings itself?"

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Transform the World! and Utopians and Visionaries were forerunners of many exhibitions of the 1990s that also emphasize direct audience participation. PH In addition to the shows themselves, we organized a series of evenings at the Moderna Museet that took things pretty far. During Poetry Must Be Made By All! Vietnam 59 draft-dodgers and soldiers who had gone AWOL (Absent Without Official Leave), as well as the Black Panthers, came to test how open we really were. There was a support committee for the Panthers that held meetings in a room set aside for public use.

It had tremendous impact; people were really hurt. The painter Richard Mortensen, who was a friend of mine, was really shattered. He had misgivings about his own work that he couldn’t express or wouldn’t accept. Then Duchamp put this idea out on the table, just like that, and it was as if someone had lifted the veil. I still have Mortensen’s letter. HUO Walter Hopps told me that in the United States in the 1950s, Duchamp was known mainly to artists, not to the general public. What about in Europe?

And he called up a poster place. ” He went to a Pop, mass-produced poster place. He got on the phone and said: “I need a poster”—and he knew the size—and he just read it off on the phone. The guy saw no 37 layout or anything—he just read it off. And then I heard Ruscha say, “Make it loud. ” I gave him a number, they quoted a price. And he said: “Yeah, these folks are good for it,” and he hung up. ” It was perfect. The poster was done in yellow, red, and black, and very loud. It was the most important poster that museum had ever done, with one exception—the poster Duchamp designed for his show.

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A Brief History of Curating by Hans Ulrich Obrist, Anne D'Harnoncourt, Werner Hoffman, Jean Leering, Franz Meyer, Seth Siegelaub, Walter Zanini, Johannes Cladders, Lucy Lippard, Walter Hopps, Pontus Hulten, Harald Szeemann, Daniel Birnbaum


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