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This is a wonderful book with valuable interviews with Europe's first modern and contemporary art curators. Recognized names such as Polten Húlten really stand out for me personally although the Lucy Lippard and Seth Siegelub interviews are definitely the most engaging since they propose alternative sites for curating besides the museum. Hans Ulrich Obrist is one of my favorite interviewers since he always seems to know the complete background information of all his interviewees giving the reade...
I was prompted to read this book after hearing it mentioned in a fascinating discussion of issues in contemporary curating on the Art Monthly podcast. It is a book of interviews between Hans Ulrich Obrist and a number of European and American curators who mostly rose to eminence during the 1950s and 60s. Some of the interviews have been previously published in various art journals, others have not. Despite the presence of an interview with Harald Szeeman, whom Daniel Buren had in mind when he de...
Good read.
every now and then there’s a gem of wisdom, but difficult to read these transcribed interviews (lots of name dropping and scattered flow); couldn’t finish
Ideal for curators. I cannot imagine this book as interesting to anyone outside of the curatorial field as there is so much name-dropping both in terms of exhibitions and of artists, if one did not already have a very solid background in art history he or she would be reading Wikipedia more often than the book. It covers most of the landmark exhibitions from the past 50 years which is impressive. I finished it with many more exhibition ideas than when I started it.
Es un recorrido, en forma de entrevistas, por los trabajos de los principales curadores de Norteamérica y Europa del siglo XX. Todos comparten observaciones sagaces, claras y con grandes enseñanzas incluso para hoy. El gran problema del libro es que si uno se acerca sin un conocimiento previo de artistas, galerías y exposiciones específicas, queda por fuera de muchas de las observaciones más profundas y estimulantes.
Just as Suzanne Pagé indicated, Obrist's work is not only a toolbox but also an archaeology of the curating spectrum. The author disclosed a panorama of curatorial evolution by sitting down with the most influential curators who shaped the modern landscape of museums/galleries. A scholarly book with elaborated dialogues that documented the remarkable breakthroughs, heydays, and key moments .*Numerous name dropping and cross referencing - hence one must either be utterly interested in curation, m...
К современному искусству я отношусь с большим пиететом (ну, в том смысле, если это действительно искусство, а не акционизм, в ходе которого к брусчатке Красной площади прибивает мошонку не совсем здоровый "художник"). Есть даже определённая ирония в том, что первое "большое" свидание с моей обожаемой женой прошло на Московской биеннале в 2005-м - так что наш союз в каком-то роде отчасти вырос из угасшего жанра представления современного искусства для масс.Ну, а в этой книге исследовательский тал...
One time in my life I thought it was only the artist that matters. But alas, it is very much like the music world. There is the singer/artist, then there are the arrangers/producers. If you map it out there is the artist, the curator, and then the audience for that art. Or perhaps the curator is a translator? Nevertheless this is a fascinating collection of interviews done by curator/writer Hans Ulrich Obrist on really cutting edge curators from the 60's, 70's era and upwards. It is good he star...
A privileged glimpse upon a semi-autobiographical journey of cultural exploration. Obrist shares his evolving reflections on how exhibitions can simulate journeys. In constructing a show, Artists in partnership with Curators can share maps of experience with an aim to spread culture and share knowledge not yet crystallised and so outside the access of traditional means.
Execellent interviews, but if you are not familiar with the field you might be spending more time researching this text rather than actually reading the book.
A collection of interviews with HUO and various curators, so some interviews are more interesting or insightful than others. I would recommend this book, because it is the first major look at the history of curating, and Obrist is a seminal character in the development of curating (and the Contemporary art world in general). I would however recommend that you read this near by a computer for reference, because some names and places were completely unfamiliar to me. Enjoy!
