Touring Lecture Series:
Book Launch & Reading with Terry Smith
Tuesday, September 18, 7–9 PM
New York University
Department of Art History
300 Silver Center, 3rd floor
100 Washington Square East
New York, NY 10003
Terry Smith in Conversation with Sofia Hernández Chong Cuy, Curator, Colección Patricia Phelps de Cisneros
Sunday, September 30, 3–4 PM
New York Art Book Fair
22-25 Jackson Avenue, Long Island City, NY 11101
Terry Smith in Conversation with Carolyn Christov-Bakargiev, Artistic Director, dOCUMENTA(13)
Sunday, October 14, 3 PM
The New Museum
235 Bowery, New York, NY 10002
Terry Smith in Conversation with Jens Hoffmann, Director, Wattis Institute of Contemporary Art
Tuesday, October 23, 7pm
Wattis Institute for Contemporary Art
California College of the Arts
350 Kansas Street, San Francisco, CA 94107
Terry Smith in Conversation with Mary Jane Jacob, Executive Director of Exhibitions, SAIC
Sunday, November 18, 1pm
The Museum of Contemporary Art Chicago
220 East Chicago Avenue, Chicago, IL 60611
Monday, November 19
The School of Art Institute of Chicago
37 South Wabash Avenue, Chicago, IL 60603
Terry Smith in conversation with Julian Myers
Saturday, February 16, 2013
College Art Association 101st Annual Conference
Sutton Parlor North, 2nd Floor
Hilton New York
1335 Avenue Of The Americas
New York, NY 10019
“Do curators think in ways that are unique to their profession? Can curatorial thought be distinguished from the thinking processes within the myriad of closely related practices—especially art criticism, art history and art making—and from curating within other kinds of museum or display spaces, public and private?”
Thinking Contemporary Curating is the first book to offer an in-depth analysis of the volatile territory of international curatorial practice and the thinking—or insight—that underpins it. In five essays, renowned art historian and critic Terry Smith describes how today curators take on roles far beyond exhibition making, to include reimagining museums; writing the history of curating; creating discursive platforms and undertaking social or political activism, as well as rethinking spectatorship.
The catalyst for the publication was “The Now Museum” conference that ICI produced in collaboration with the CUNY Graduate Center and the New Museum in New York in 2011. In panel discussions and lectures over 30 leading artists, art historians, curators and museum directors, such as art historian Claire Bishop, Okwui Enwezor (Director, Haus der Kunst), Massimiliano Gioni (Associate Director and Director of Exhibitions, New Museum), Lu Jie (Director, Long March), Maria Lind (Director, Tensta Konsthall) and Terry Smith discussed the diversification of the notion of the “museum of contemporary art,” providing intergenerational perspectives on recent developments across Africa, the Americas, Asia, Europe and the Middle East. This spurred a year-long journey for Smith, responding to ideas, events and encounters in the art world in the process of questioning what “curating” is today, which forms the heart of this publication.
“Through his act of global metacurating, Terry Smith places different and sometimes contradictory curatorial practices and attitudes into a panorama that fascinates and intellectually engages the reader. It is a must-read for everybody who wants to understand the inner logic of contemporary art processes.”
–Boris Groys, Global Distinguished Professor of Russian and Slavic Studies, New York University
Thinking Contemporary Curating is the first in a new series entitled Perspectives in Curating developed by ICI to provide sustained analysis on topics that are pressing for curators now.
Thinking Contemporary Curating was made possible, in part, by grants from the Elizabeth Firestone Graham Foundation and the Robert Sterling Clark Foundation. Additional support for this publication was received from the ICI International Forum Patrons Melva Bucksbaum and Raymond Learsy, Haro and Bilge Cumbusyan, Carol and Arthur Goldberg, Belinda Kielland, Patricia and Charles Selden, Younghee Kim-Wait, Georgia Welles and Elizabeth Erdreich White.
By Terry Smith. Introduction by Kate Fowle
Softcover, 272 pages, 54 B&W illustrations
Published by Independent Curators International (ICI), 2012
Thinking Contemporary Curating is available as digital and softcover versions and is distributed by Distributed Art Publishers (DAP), ISBN: 978-0-916365-86-8. Paperback, 6.25 x 8.5 inches, 256 pages, 25 black-and-white illustrations. $19.95.Order the book here.
Thinking Contemporary Curating is available as digital and softcover versions and is distributed by Distributed Art Publishers (DAP), ISBN: 978-0-916365-86-8. Paperback, 6.25 x 8.5 inches, 256 pages, 25 black-and-white illustrations. $19.95. Order the book here.
Terry Smith, FAHA, CIHA, is Andrew W. Mellon Professor of Contemporary Art History and Theory in the Department of the History of Art and Architecture at the University of Pittsburgh, and Distinguished Visiting Professor, National Institute for Experimental Arts, College of Fine Arts, University of New South Wales. In 2010 he was named Australia Council Visual Arts Laureate by the Australian Government, and won the Mather Award for art criticism conferred by the College Art Association (USA). He is the author of Making the Modern: Industry, Art and Design in America (University of Chicago Press, 1993; inaugural Georgia O’Keeffe Museum Book Prize 2009); Transformations in Australian Art, volume 1, The Nineteenth Century: Landscape, Colony and Nation, and volume 2, The Twentieth Century: Modernism and Aboriginality (Craftsman House, Sydney, 2002); The Architecture of Aftermath (University of Chicago Press, 2006), What is Contemporary Art? (University of Chicago Press, 2009), Contemporary Art: World Currents (Laurence King and Pearson/Prentice-Hall, 2011), and Thinking Contemporary Curating (Independent Curators International, 2012).
Sofía Hernández Chong Cuy is Curator of the Colección Patricia Phelps de Cisneros in New York. Previously, she was the Director of the Museo Tamayo in Mexico City since 2009 and was Curator and Programs Manager at Art in General from 2003-2008, where she developed a New Commissions Program. Originally from Mexico, she graduated from the Center for Curatorial Studies at Bard College in 2000. In the past decade, she has worked at Art in General, Americas Society and CCS Bard; curated exhibitions for Kadist Art Foundation in Paris, the Museum of Latin American Art of Buenos Aires (MALBA), and the Center for Contemporary Art in Vilnius, Lithuania; and worked closely on projects with a number of artists, including Allora & Calzadilla, Alejandro Cesarco, Mario García Torres, Andrea Geyer, Sharon Hayes, and Judi Werthein. She lectures regularly on contemporary art, and publishes frequently in exhibition catalogs, art magazines and in her blog Sideshows.org. She is a board member of Kunstverein, Amsterdam, and an agent of the upcoming Documenta 13.
Curator, author and researcher into the politics of aesthetics and artistic practices, Carolyn Christov-Bakargiev was Artistic Director of dOCUMENTA (13), which took place in Kassel, Germany, from June 9 – September 16, 2012. Previously, she was Chief Curator at the Castello di Rivoli Museum for Contemporary Art from 2002–08, and interim director for 2009. She was Senior Curator at P.S.1 Contemporary Art Center – a MoMA affiliate, New York, from 1999–2001. Her publications include William Kentridge (Bruxelles, 1998), Arte Povera (London, 1999), and the 100 Notes – 100 Thoughts series (Kassel, 2011–2012). Her exhibitions include The Moderns, Turin (2003), Faces in the Crowd, London and Turin (2004), the first edition of the Turin Triennale (2005), and in 2007–08 she was Artistic Director of the 16th Biennale of Sydney: Revolutions - Forms That Turn (2008).
Jens Hoffmann is Director of the CCA Wattis Institute for Contemporary Arts, San Francisco. He has curated over three-dozen exhibitions since the late 1990s. He was Director of Exhibitions at the Institute of Contemporary Arts in London from 2003 to 2007. Hoffmann is an adjunct professor at the California College of the Arts, San Francisco, a guest professor at the Nuova Accademia de Belle Arti, Milan, and a faculty member at Goldsmiths College, University of London. He was the co-curator for the 12th Istanbul Biennial in fall 2011.
Mary Jane Jacob is currently Professor and Director of Exhibitions at the School of the Art Institute of Chicago. She has been exploring art outside the museum context since 1990 organizing groundbreaking programs that have tested the boundaries of public space and the relationship of contemporary art to audience. Jacob is a curator and author noted for her work on the national and international art scene. Two anthologies for which she is co-editor are Learning Mind: Experience Into Art (University of California Press, Fall 2009) and The Studio Reader (University of Chicago Press, Spring 2010). Jacob’s current major program is “Living Modern Chicago,” a collaboration of The School of the Art Institute of Chicago and the Mies van der Rohe Society/Illinois Institute of Technology, in partnership with other cultural institutions in Chicago.
Julian Myers is an art historian whose writing has appeared in Documents, October, Afterall, Frieze, Fillip, Artforum, Tate Papers, and elsewhere. His interests are focused on sculpture and spatial politics of the 20th century, the social and political dynamics of consumer society, and the socio-historical frameworks for contemporary art and exhibitions. Recent publications include Hopelessness Freezes Time, a study of earthworks, drawing, Detroit, urban warfare and guerrilla historiography, co-authored with artist Edgar Arceneaux (Kunstmuseum Basel, 2011); and “Earth Beneath Detroit,” an essay for the catalogue Ends of the Earth: Land Art to 1974 (Museum of Contemporary Art, Los Angeles, 2012); and “Attitudes and Affects,” on the 1969 exhibition When Attitudes Become Form (CCA Wattis Institute for Contemporary Arts, San Francisco, 2013). He holds a doctorate in the history of art from the University of California, Berkeley (2007). In 2009 he received an Arts Writers Grant from Creative Capital/Warhol Foundation. He is an associate professor at California College of the Arts, a member (with Joanna Szupinska) of the curatorial collaboration grupa o.k., and is on the editorial board of The Exhibitionist.