Contrary to Carolinešs observation that many artists have let their creative
practice wane as they took on other roles (curating, writing, organising,
teaching, researching), I have always found doing these other things
energises and discursively informs my creative work. It is part of the
process by which I can gain a critical purchase in relation to my own work,
contextualised alongside that of others. I have been writing and curating
since I was quite a young artist (some decades ago) and havenšt stopped yet.
My creative practice is stronger for it.
In this sense the role of artist/curator or artist/theorist is not only
about emergent practices obliging practitioners to multitask until the area
matures to the point of facilitating the emergence of appropriate
professional roles. It could be argued that such multitasking can
constructively inform more mature modes of creative practice and offer new
perspectives on them. A number of artists working with old media (or no
media, as many would regard it) are adopting curatorial practices as
creative methodologies. This would seem confirmed as an area of burgeoning
work with the Ontario program in curatorial practices.
On 23/12/08 15:01, "Caroline LANGILL" <[log in to unmask]> wrote:
> Also, I find it telling that several people have suggested they let their
> artmaking wane in order to work in curating or writing practice. I would
> include myself in this group as well. I would suspect that within more
> traditional art practices there have been fewer artists who have taken up
> the gauntlet of responsibility to disseminate and theorize their field.
> However, I may be wrong. At Ontario College of Art and Design, where I
> teach, there is a program called Criticism and Curatorial Practice which
> recognizes the artist-curator as its cornerstone.
edinburgh college of art
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Edinburgh College of Art (eca) is a charity registered in Scotland, number SC009201