Paul O'Neill guides us through the conflicting claims that surround the development of curating as an implicated set of roles. Focusing on the debates and differences that are part of curatorial practice, this book shows what is still required and may be possible. By exposing the historical origins and congested terrain of contemporary curatorial practice, O'Neill will stir a new generation to action. -- Liam Gillick, Artist In this timely book, Paul O'Neill provides a much-needed overview of the historical development and central issues of contemporary curating. In clear, jargon-free prose he mines the curatorial literature to discuss disparate exhibition strategies and critically analyze the changing self-conception of the curator. This is a book that should be read by anyone interested in exhibitions and exhibition-making. -- Bruce Altshuler, Director of New York University's Museum Studies Program This book is a thorough and convincing survey of the curatorial. It covers the changing relations between the curator and the artist or art institution over the last fifty years and shows how this triangle has been crucial to the way the public perceives the possibilities of art. It offers readers a digestible history of a phenomenon that profoundly influences our perception of art and how it is understood today. -- Charles Esche, Director, Van Abbemuseum; Eindhoven/Co-editorial Director, Afterall, London
Paul O'Neill, an artist, curator, educator, and writer, is Artistic Director of Publics, Helsinki, and the author of The Culture of Curating and the Curating of Culture (MIT Press). He is coeditor of The Curatorial Conundrum: What to Study? What to Research? What to Practice? and How Institutions Think (both published by the MIT Press).
Delivering, in great detail, the conflicting views of a variety of influential curators, theorists, art historians, and artists, his dense historical read provides a survey of curatorial discourse, but falls short of investigating what it really means to curate today...O'Neill has provided a thorough account of recent curatorial history, but he fails to give us clues to or considerations of its future. He conducts his research within the field of curatorial discourse, and that's where it remains.—Loney Abrams, The Brooklyn Rail
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