Artist as Curator

Taking that ambiguous thing we call “the exhibition” as a critical medium, artists have often radically rethought conventional forms of exhibition making. This extensive, important anthology surveys seminal examples of such exhibitions from the postwar to the present, including rare documents and illustrations. The volume brings together a series of essays originally published in the Mousse magazine series, The Artist as Curator (2013-15), a newly commissioned afterword by Hans Ulrich Obrist, and two additional essays that appear here for the first time.

Featuring the work of over 30 artists and collectives, including iconic examples such as: Richard Hamilton and Victor Pasmore (an Exhibit, 1957); Andy Warhol (Raid the Icebox I, 1969); Marcel Broodthaers (Musée d’Art Moderne, Département des Aigles, 1972); Judy Chicago, Miriam Schapiro, and the CalArts Feminist Art Program (Womanhouse, 1972); Colab/Collaborative Projects Inc. (Times Square Show, 1980); John Cage (Rolywholyover A Circus, 1993); and Liam Gillick and Philippe Parreno (The Trial of Pol Pot, 1998).

Edited by Elena Filipovic, who introduces the collection with an essay, “When Exhibitions Become Form: On the History of the Artist as Curator.”

Texts by Alexander Alberro, Monica Amor and Carlos Basualdo, Biljana Ciric, Ekaterina Degot, Elena Filipovic, Claire Grace, Anthony Huberman, Dean Inkster, Alhena Katsof, William Krieger, Elisabeth Lebovici, Ana Longoni, James Meyer, Isabelle Moffat, Nina Möntmann, Natalie Musteata, Sandra Skurvida, Dirk Snauwaert, Lucy Steeds, Monika Szewczyk, and Kaelen Wilson-Goldie.

Luand acest lucru ambiguu pe care il numim „expozitia” ca mediu critic, artistii au regandit adesea radical formele conventionale de realizare a expozitiei. Aceasta antologie importanta, extinsa, analizeaza exemple seminale de astfel de expozitii din perioada postbelica pana in prezent, inclusiv documente si ilustratii rare.