The Modernist Bestiary (original) (raw)
Related papers
Routledge Research in Art History
Interpreeting Modernism in Korean Art: Fluidity and Fragmentation, 2022
Routledge Research in Art History is our home for the latest scholarship in the field of art history. The series publishes research monographs and edited collections, covering areas including art history, theory, and visual culture. These high-level books focus on art and artists from around the world and from a multitude of time periods. By making these studies available to the worldwide academic community, the series aims to promote quality art history research.
‘Curatorial style and art historical thinking: exhibitions as objects of knowledge’, Procedia - Social and Behavioral Sciences 147 (2014) 446-452. , 2014
The paper explores methodological conditions for the recasting of exhibitions as objects of knowledge. Martin Kemp's curatorial projects and exhibitions are examined in this light and in the context of Ken Arnold's formulation of 'ideas-laid curating'. Arnold's notion sets a number of parameters, which are explored in this paper in the example of Martin Kemp's curatorial projects. Curatorial practices are not contingent almost exclusively on questions of display, or museological theory, but as the paper shows on considerations of 'art historical style'. In the example of Martin Kemp's curatorial projects, 'ideaslaid' curating, and indeed theorizations about curatorial style, emerge as questions contingent on art historical style. The centrality of historical thinking, as a consistent theme underlying the narratives which Kemp's exhibition projects but also art historical writing undertake, is evidence to the above. While Arnold describes Kemp's curatorial style as interdisciplinary, interdisciplinarity and Kemp's 'ideas-laid' curating describes an object, rather than simply a form of practice and museological practice, of art history; given Kemp's strong reliance on art historical tropes of thinking characteristic of his own methodology applied in his writing and teaching. The paper explores connections between art historical styles of thinking and curatorial style proposing that in order to reconsider exhibitions as objects of knowledge we have to take into consideration in attempts to theorize about them 'local' aspects of knowledge; here the perspectives in the writing of art history which have influenced Kemp's curatorial work.
"On Exhibition", Kaleidoscope magazine, Milan, 2009/2012
From 2009 to 2012 Kaleidoscope magazine has been publishing a column devoted to history of exhibitions, curated and written by Paola Nicolin. In each issue an historical exhibition has been presented and discussed to laid out the problems confronting today’s artists and curators. During this period of time, the column has been featuring the following exhibition projects: This is Tomorrow (Whitechapel Gallery, London 1956), Information (Museum of Modern Art, New York 1971), Documenta X (Kassel 1997), Urs Fischer (New Museum, New York 2009), The Aids Timeline (University Art Museum, Berkeley 1989), Arte Povera + Azioni Povere (Amalfi 1968), Ce Qui Arrive (Fondation Cartier, Paris 2002), Triennale 1968 (Triennale Milan 1968), The New-Jeff Koons (New Museum, New York 1980), Carlo Mollino Maniera Moderna (Haus der Kunst, Munich 2011), African Negro Art (Museum of Modern Art, New York 1935).
Global Communities: Curating Modern Art Today, Tate St Ives, 26-27 April 2019
2019
This event looks at the role modernism plays within today’s art museums and galleries. It asks can, how and why should such institutions challenge and repurpose established modernist histories and what this means for the future of art museums and galleries. International curator Katya García-Antón, Director of the Office for Contemporary Art Norway and editor of Sovereign Words: Indigenous Art, Curation and Criticism (2018) is the speaker for the Friday evening talk, exploring urgent questions surrounding the role of museums of modern art today in relation to ideas around indigenous art. Artist Lubaina Himid – the winner of the 2017 Turner Prize, Professor of Contemporary Art at the University of Central Lancashire, current artist-in-residence at Porthmeor Studios in St Ives, and who most recently curated the Invisible Narratives exhibition at Newlyn Art Gallery, Penzance – will speak as part of the symposium on Saturday in conversation with artist Evan Ifekoya. Himid’s participation is supported in kind by the Borlase Smart John Wells Trust. The Saturday symposium will also feature a fascinating range of doctoral and early career curators, artists and art historians. Convening sessions that explore ideas around diaspora, migration, indigenous art and curatorial practices in relation to modernism are early career curators Biung Ismahasan and Nephertiti Oboshie Schandorf. Biung Ismahasan is a Bunun Nation (one of the sixteen Nations of Taiwanese Indigenous Peoples) independent curator, artist and researcher. He is working on his practice-based PhD in Curating at the Centre for Curatorial Studies, School of Philosophy and Art History at the University of Essex and the Institute of Ethnology, Taiwan Academy of Sciences (Academia Sinica), Taipei. Nephertiti Oboshie Schandorf is a curator, film producer and programmer of contemporary art with a focus on performance, audio and moving image in non-gallery contexts. Her MA dissertation in the department of Curating Contemporary Art at the Royal College of Art investigated the formation of artistic counter-publics of the Afro-Caribbean diaspora in post-war Britain. PROGRAMME (SUBJECT TO CHANGE) Friday Film for Friday 15.00–16.00 Free with admission A series of short films exploring questions of modernism, indigeneity, ecology and decolonisation, with an accompanying discussion by the symposium’s co-convenors. Talk 18.00–19.30 £5 Katya García-Antón explores indigenous art, curation and criticism in relation to curating modernism. Saturday Symposium 10.00–17.00 Combined ticket for Friday (including Keynote Talk & admission) and Saturday symposium: £20 / £15 concessions (includes lunch on Saturday) Alongside artists Lubaina Himid and Evan Ifekoya, the day includes contributions by Liisa-Rávná Finbog (PhD researcher, University of Oslo), Jonty Lees (artist and curator, Pool School Gallery, Cornwall), Vera Mey (PhD researcher, School of Oriental and African Studies, University of London), Naomi Polonsky (curator and art writer, New Hall Art Collection, Cambridge), Mercedes Vicente (curator, writer and researcher) and Franziska Wilmsen (PhD researcher, Loughborough University), with morning and afternoon sessions chaired by Biung Ismahasan and Nephertiti Oboshie Schandorf. Lunch is provided. The symposium is followed by an optional trip to see Invisible Narratives, with an introduction to the exhibition by Lubaina Himid, at Newlyn Art Gallery (transport will be provided). Supported by The National Lottery Heritage Fund and the Wilhelmina Barns-Graham Trust Book tickets: https://www.tate.org.uk/whats-on/tate-st-ives/conference/global-communities-curating-modern-art-today