Speaking of Szeeman and transparency - Julian Myers gave a paper on
'When Attitudes Become Form' and '9 at Castelli' at the Exhibition as
Medium conference at Harvard this past weekend, and he made a
All of the documentation from the opening of 'When Attitudes Become
Form' seems to depict artists smoking - he had plenty of great example
images - and the exhibition was in fact sponsored by Phillip Morris,
one of their first efforts in the area of art sponsorship. This is a
fact that is not usually discussed as part of the history of this
show, but somehow it seems like it's not irrelevant.
On Wed, Mar 13, 2013 at 4:40 AM, Armin Medosch <[log in to unmask]> wrote:
> I am sure many are familiar with the performance by Serbian artist Tanja
> Ostovic at the biennale of Venice 2001.
> Quote Wikipedia: her performance "I'll Be Your Angel" involved her following
> around the independent curator and art historian Harald Szeemann - who had
> at his disposal a significant budget - for days, all the time simply smiling
> fondly at him. The one-time "great subversive" Szeemann did not see
> the funny side of this, however, and made sure she was excluded from all his
> On 03/13/2013 12:14 PM, KathyRae Huffman wrote:
>> There will be an exhibition on the curatorial work of Szeeman at the
>> Venice Biennale this year, The Getty Research Institute has the
>> archive, and the Prada Foundation is presenting and supporting the
>> exhibition. This will be a must-see!
>> Cheers, Kathy
>> On Wed, Mar 13, 2013 at 12:01 PM, Annick Bureaud <[log in to unmask]>
>>> This sentence by Sarah
>>>> I wonder if we are seeing the next stage in curatorial study --
>>>> exhibitions devoted to the practice of curators. Can anyone name any
>>>> (has the Getty mounted a show about Szeeman yet?)
>>> is very important, I think.
>>> I was wandering what it means to have all those images of the setting
>>> up/preparation of an exhibition put online (Flikr or elsewhere) and being
>>> included in catalogs, books, etc.
>>> Transparency for whom ? Transparency of what ?
>>> Why do we want the audience to see "the kitchen" as we say in French when
>>> (curators, artists, and everyone envolved in building a show) spend so
>>> energy, time, money to "display" a work of art in a manner that makes
>>> is respectful of the intention of the artist and that, precisely, hides
>>> So, would another "next step" be an exhibition "in the making", without
>>> works fully "set up" or with the crates, hammers and all the tools,
>>> and dust also on display ?
>>> And then, what would it/should it look like ? and what would it tell ?
>>> Annick Bureaud ([log in to unmask])
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