Bigindicator

tagged: curators
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The Curator as Advocate: Spotlight on ICA LA's Jamillah James

by Anni Irish
Jamillah James, who was announced as the curator of the Institute of Contemporary Art, Los Angeles (ICA LA) this August, comes to the new institution, formerly the Santa Monica Museum of Art, after serving as the assistant curator at The Hammer Museum. For the past two years she has worked at a breakneck pace organizing exhibitions for the Hammer with the nonprofit Art + Practice at their Leimert Park space. Prior to moving to LA, James held curatorial fellowships at the Studio Museum in Harlem... [more]
Posted by Anni Irish on 10/24/16
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Artist-Writer-Curator: "Triple Threat" or "Triple Debt"?

by Andrea Alessi and Darren Jones
It started with wordplay. This winter, artist, writer, and curator Darren Jones emailed me musings about the art world equivalent of “triple threat.” In musical theatre a “triple threat” is someone equally skilled in singing, acting, and dancing. Are artist-writer-curators, Jones asked, the art world analog to these stars of the stage? Or is this particular combination of professions more accurately described by a turn of phrase: “triple debt,” or perhaps “triple regret”? Working across three... [more]
Posted by Andrea Alessi and Darren Jones on 4/30/15
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15 Curators to Watch in 2015

by Nadja Sayej
Curators are stealing the spotlight in the art world—mostly, for a good reason. This year brings an international showcase from a growing cohort of curators who, from Miami to Tel Aviv, have organized exhibitions we can look forward to—including public art and analogue photography. Ask a curator how they feel about curating and you might get mundane answers about the day-to-day tediums of mothering artists and battles with the internet, but the big picture is ever more exciting. The following... [more]
Posted by Nadja Sayej on 2/18/15
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The Art World's Intrinsic Conflict of Interest: Curating the Private Collection with the Public Trust

by Ryan Wong
The cousin, flip side, and feeder to the museum, in today’s money-saturated world of contemporary art, is the private collection. The necessity of this relationship might be surprising to the average museum visitor, who often looks to museums as the centers of the art world. Private collections, however, shape our understanding of art history and production not only by determining which artworks are available for display and loan, but by actively applying curatorial labor towards their care and... [more]
Posted by Ryan Wong on 8/21/14
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Text in the Expanded Field: The 2014 Whitney Biennial

by Ryan Wong
Among the 103 participants in this year’s Whitney Biennial, the handful that have elicited the most speculation and skepticism are those known for producing not art objects but texts. In addition to publishing-oriented collectives, words take on a visual function in the poetry of Susan Howe, they form the structure of many of David Diao’s paintings and Gary Indiana’s sculptures. Artspace warned us to “Get ready to do some reading.” Carol Vogel, in her preview, told us to expect “Words and More... [more]
Posted by Ryan Wong on 3/7/14
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In Conversation: First Impressions of the 2014 Whitney Biennial

by ArtSlant Team
Charlie Schultz: I guess I’ll start by saying I found this year’s iteration of the [Whitney] Biennial to be far less crowded than in past Biennials, which struck me as a surprise because I thought I read that there were more artists in this Biennial than in previous years. [Indian music plays in the background...] Natalie Hegert: I felt like the last edition was very spacious as well…This year I was very struck by this tendency for the curators to go from very large objects to these tiny... [more]
Posted by ArtSlant Team on 3/7/14
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What Makes the SPRING/BREAK Art Show So Different, So Appealing?

by Natalie Hegert
The SPRING/BREAK Art Show inevitably feels like a huge art school party. Maybe because it’s held in a school. But also because of the almost cliquish camaraderie among the exhibitors, the artwork packed halls, the crowded downstairs bar area, and the perennial pack of artist-types chain-smoking outside. Having gone to grad school in NYC, it seems like I always run into people I know at SPRING/BREAK, either exhibiting, curating or just checking it out (because they know someone else who is... [more]
Posted by Natalie Hegert on 3/5/14
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Wandering through Turin’s porticoes: the ONE TORINO project

by Federico Florian
With a royal ordinance, in the XIX century the king Victor Emmanuel I of Sardinia commanded that Turin's roofs be covered with the vast porches that still run along the beautiful Via Po. The reason for the decree was to offer shelter from the rain to the monarch and his entourage during their route from the Royal Palace to the Church of Grande Madre di Dio. Turin is the city with the largest porticoed area in Europe – here, the porches join together the most representative buildings in town,... [more]
Posted by Federico Florian on 11/6/13
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Museum as Gallery, Gallery as Museum

by Thea Liberty Nichols
Roughly three years ago, New York City gallerist Jeffery Deitch was tapped to serve as director of the Museum of Contemporary Art Los Angeles (MoCA). It was an interesting selection given Deitch’s prior for-profit, commercial sector experience. What has followed are a series of eyebrow raising exhibitions, such as Dennis Hopper (curated by Julian Schnabel) and James Dean (curated by James Franco). Deitch, while largely lampooned by the press, has also had his supporters, who note that since his... [more]
Posted by Thea Liberty Nichols on 6/7/13