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INDEPENDENT CURATORS INTERNATIONAL
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In Independent Curators International (ICI)'s second curatorial talk series at the New Museum, independent curator Bisi Silva joins ICI Executive Director Kate Fowle for The Curator's Perspective: A Conversation with Bisi Silva. Silva is the founder and director of the Centre for Contemporary Art, Lagos (CCA, Lagos). Silva discusses the mission and history of the Centre, which opened in December 2007, also recounting her career as a curator and the guiding principles by which she has operated, ones she continues at CCA, Lagos. Silva speaks to the various political, social, cultural and artistic notions that CCA, Lagos' exhibitions have undertaken and dissected, and offers an overview of its numerous programs and workshops. She concludes with a discussion of the work of photographer Zanele Muholi and multimedia artists Safa Erraus, Mary Sibande and Bright Eke.

 

 

A lecture by art critic and curator Weng Choy Lee looking at biennials, analyzing these mega-shows, and evaluating this exhibition format, particularly with regard to Asia. A skeptic of the power of generalization and overarching theories, Lee discusses a potentially globalized (loaded skepticism placed on this word) art world in Asia and Singapore. This event was produced by Independent Curators International and was held at the New Museum in New York on December 12, 2010. (59 minutes)

 

 

TERRY SMITH

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).

“The Now Museum: Contemporary Art, Curating Histories, Alternative Models” was presented by the Ph.D. Program in Art History at the CUNY Graduate Center, Independent Curators International, and the New Museum on March 10, 2011 – March 13, 2011.

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DARA BIRNBAUM AND UTE META BAUER

A conversation with artist Dara Birnbaum and Ute Meta Bauer, Associate Professor and Director, Program in Art, Culture, and Technology, MIT.

With the exponential growth of contemporary art museums, what new demands are being placed upon artists? Have women artists benefited from this proliferation? Given that time-based media has been present in the museum for over forty years, how have these works changed museums, and the way audiences use them?

Dara Birnbaum is an artist who lives and works in New York. A retrospective exhibition of her work was organized by S.M.A.K. Stedelijk Museum voor Actuele Kunst, Gent, Belgium in 2009 and then traveled to Museu Serralves, Porto, Portugal in 2010. In conjunction with the retrospective, a major monograph on Birnbaum’s work, The Dark Matter of Media Light, was published. Her work has been exhibited at the Whitney Museum of American Art; the Reina Sofia, Madrid; MACBA, Barcelona; The Metropolitan Museum of Art, New York; Modern Museet, Stockholm, Sweden; The National Museum of Modern Art, Tokyo; the Museum of Modern Art, New York; the Museum of Contemporary Art, Los Angeles; and the Centre Georges Pompidou, Paris, amongst others. This year, Birnbaum was awarded a Creative Artist Residency at the Bellagio Center of the Rockefeller Foundation.

Ute Meta Bauer is Founding Director of Nanyang Technological University (NTU) Centre for Contemporary Art (CCA) in Singapore. Bauer is also Professor of Art at NTU’s School of Art, Media, and Design. She was previously Associate Professor and the Director of the Program in Art, Culture, and Technology at MIT’s School of Architecture and Planning, where she had served as Director of the MIT Visual Arts Program from 2005-09. From 1996-2006, Bauer held an appointment at the Academy of Fine Arts Vienna as a professor of theory and practice of contemporary art. Educated as an artist for more than two decades Bauer has worked as a curator of exhibitions and presentations on contemporary art, film, video, and sound, with a focus on transdisciplinary formats. She was a co-curator of Documenta 11 (2001/2002) in the team of Okwui Enwezor, has been the artistic director of the 3rd Berlin Biennial (2004) and in 2005 curated the Mobile_Transborder Archive for InSite05, Tijuana /San Diego.

“The Now Museum: Contemporary Art, Curating Histories, Alternative Models” was presented by the Ph.D. Program in Art History at the CUNY Graduate Center, Independent Curators International, and the New Museum on March 10, 2011 – March 13, 2011.

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DEBATE

In 1990, Rosalind Krauss published her seminal essay on museums of contemporary art, arguing that the increased scale of museum architecture led the viewer’s attention to focus on a sublime experience of space itself, rather than to the works of art displayed within it. To what extent have Krauss’s arguments been fulfilled in the last twenty years? And have compelling alternatives to her diagnosis arisen in its wake.

A panel discussion with Bruce Altshuler, Director, Program in Museum Studies, New York University; Manuel Borja-Villel, Director, Museo Nacional Reina Sofia, Madrid; and Beatriz Colomina, Professor, Department of Architecture, Princeton University.
Chaired by Johanna Burton, Director, Bard Center for Curatorial Studies.

“The Now Museum: Contemporary Art, Curating Histories, Alternative Models” was presented by the Ph.D. Program in Art History at the CUNY Graduate Center, Independent Curators International, and the New Museum on March 10, 2011 – March 13, 2011.

Click here for more information about The Now Museum

 

PAMELA M. LEE AND CARLOS BASUALDO

Pamela M. Lee is an art historian who specialises in the art, theory, and criticism of late modernism with a historical focus on the 1960s and 1970s. A recipient of a postdoctoral fellowship from the Getty Institute, Lee’s publications include Object to Be Destroyed: The Work of Gordon Matta-Clark (2000), Chronophobia: On Time in the Art of the 1960s (2004), and most recently Art History Since the Sixties: Theories of Modernism and Postmodernism in the Visual Arts (2011). She is Professor in the Department of Art and Art History at Stanford University.

Carlos Basualdo is the Keith L. and Katherine Sachs Curator of Contemporary Art at the Philadelphia Museum of Art, and Curator at MAXXI, Rome. He was the lead organizer of “Bruce Nauman: Topological Gardens,” which represented the United States at the 2007 Venice Biennale, where it was awarded the Golden Lion for Best National Participation. He was formerly Chief Curator of Exhibitions at the Wexner Center for the Arts (2000–02), and has written extensively for scholarly journals and arts publications.

“The Now Museum: Contemporary Art, Curating Histories, Alternative Models” was presented by the Ph.D. Program in Art History at the CUNY Graduate Center, Independent Curators International, and the New Museum on March 10, 2011 – March 13, 2011.

Click here for more information about The Now Museum

 

DAY 3 OPENING

Kate Fowle is the chief curator for Garage Center for Contemporary Culture in Moscow and Director-at-Large at Independent Curators International (ICI) in New York, where she was Executive Director from 2009-13. Prior to this she was the inaugural International Curator at Ullens Center for Contemporary Art in Beijing. From 2002-2007 Fowle was Chair of the Master’s Program in Curatorial Practice at California College of the Arts in San Francisco, which she co-founded in 2001. Before moving to the United States she was Co-Director of Smith + Fowle in London (1996-2001) and Curator at the Towner Art Gallery in Eastbourne (1993-6).

“The Now Museum: Contemporary Art, Curating Histories, Alternative Models” was presented by the Ph.D. Program in Art History at the CUNY Graduate Center, Independent Curators International, and the New Museum on March 10, 2011 – March 13, 2011.

Click here for more information about The Now Museum

 

ANTHONY HUBERMAN

Anthony Huberman is a curator and writer based in New York, where he is currently the director of The Artist’s Institute and a distinguished lecturer at Hunter College. As chief curator of the Contemporary Art Museum St. Louis, he organized exhibitions of Gedi Sibony, Lutz Bacher, Bruce Nauman, John Armleder, and Olivier Mosset, and initiated the ongoing exhibition series The Front Room. His recent group exhibition, For the blind man in the dark room looking for the black cat that isn’t there, traveled to museums in London, Detroit, Amsterdam, and Lisbon. He has previously worked as a curator at the Palais de Tokyo in Paris and at SculptureCenter in Long Island City, New York, and has published articles in art periodicals including Artforum, Afterall, and DotDotDot. He also co-directs The Steins, an occasional series of short exhibitions in New York.

“The Now Museum: Contemporary Art, Curating Histories, Alternative Models” was presented by the Ph.D. Program in Art History at the CUNY Graduate Center, Independent Curators International, and the New Museum on March 10, 2011 – March 13, 2011.

Click here for more information about The Now Museum

 

DOMINIC WILLSDON AND KATY SIEGEL

Dominic Willsdon is an educator and curator. Since 2006, he has been Leanne & George Roberts Curator of Education and Public Programs at the San Francisco Museum of Modern Art, and Adjunct Professor in Curatorial Practice at the California College of the Arts. He is also currently a Curatorial Cloud Fellow of the 9th Mercosul Biennial in Porto Alegre which opens in September 2013. From 2000-05, he was Curator of Public Programs at Tate Modern. He is a former editor of the Journal of Visual Culture, has written on visual culture, politics, and education, and is co-editor (with Diarmuid Costello) of The Life and Death of Images: Ethics and Aesthetics (Cornell UP, 2008). His exhibition (co-curated with Betti-Sue Hertz and Frank Smigiel) Public Intimacy: Art and Social Life in South Africa opens in February 2014.

Katy Siegel is Associate Professor of Art History and chief curator of the galleries at Hunter College; editor in chief of Art Journal; and a contributing editor to Artforum. She has written many essays on modern and contemporary artists, including Paul Pfeiffer, David Reed, Bernard Frize, and most recently, Mark Bradford. She was also the curator of “High Times, Hard Times: New York Painting, 1967-1975”, which toured internationally. Her most recent books are Since ‘45: America and the Making of Contemporary Art, out this March from Reaktion, and Abstract Expressionism, out this fall from Phaidon.

“The Now Museum: Contemporary Art, Curating Histories, Alternative Models” was presented by the Ph.D. Program in Art History at the CUNY Graduate Center, Independent Curators International, and the New Museum on March 10, 2011 – March 13, 2011.

Click here for more information about The Now Museum

 

THE INHOTIM INSTITUTE: ARTICULATING LOCAL AND GLOBAL IN DISPLAY STRATEGIES IN BRAZIL

Alice Heeren is a MA candidate in the Art History, Theory and Criticism department at the School of the Art Institute of Chicago. Born in Belo Horizonte, Brazil, she is finishing her thesis entitled The Inhotim Institute: A Museum in Constant Transformation. She holds BFA in Printmaking and a BA in Art Education from the Universidade Federal de Minas Gerais. Currently, her focus is in contemporary art institutions and museum architecture in Brazil.

“The Now Museum: Contemporary Art, Curating Histories, Alternative Models” was presented by the Ph.D. Program in Art History at the CUNY Graduate Center, Independent Curators International, and the New Museum on March 10, 2011 – March 13, 2011.

Click here for more information about The Now Museum

ARTIST-EDUCATORS AND EDUCATION-AS-ART IN NEW YORK

Michelle Jubin is a doctoral student in Art History at the CUNY Graduate Center, NY. Hailing from Glasgow, UK, she worked as a contributor for BBC Radio Scotland and as an artist’s assistant for the sculptor Andy Goldsworthy before first coming to New York to work at the Solomon R. Guggenheim Museum, New York and, later, Independent Curators International (ICI). She is currently a Graduate Teaching Fellow in Art History at Baruch College. Michelle is a recent contributor to West 86th, the Bard Graduate Center for Decorative Arts and Design journal, and Slashstroke, a London-based art and fashion magazine.

“The Now Museum: Contemporary Art, Curating Histories, Alternative Models” was presented by the Ph.D. Program in Art History at the CUNY Graduate Center, Independent Curators International, and the New Museum on March 10, 2011 – March 13, 2011.

Click here for more information about The Now Museum

 

On March 14, 2011 Ljubljana-based curator Zdenka Badovinac spoke at the Independent Curators International program called The Curator's Perspective, a series in which guests examine artists they are excited by, exhibitions that have made them think, and express their views on developments in the art world.

 

 

On March 10, 2011 at the New Museum in New York in an event co-presented with Independent Curators International (ICI), New Museum Director Lisa Phillips introduces Philippe Vergne, Director of the Dia Art Foundation, and Paul Chan, a New York based artist, to discuss the relevance, appropriateness, and invasiveness of the exhibition model and the institutions that support it, under the title Exhibition Machines.

 

 

A lecture by artist/producer Martha Wilson entitled Martha Wilson: Staging the Self (Transformations, Invasions and Pushing Boundaries), at the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum. In this September 2011 lecture produced by Independent Curators International, Martha Wilson reviews her history as an artist, beginning with her early work in Halifax, and shares conceptually-based performances, videos, and photo-text compositions from the Franklin Furnace archive in conjunction with the release of ICI's publication, Martha Wilson Sourcebook: 40 Years of Reconsidering Performance, Feminism, Alternative Spaces.

 

 

The Curator's Perspective spotlights Director of Galleries and Public Programs at The San Francisco Art Institute Hou Hanru. Serving as Chairman of Exhibition & Museum Studies and head of the school's Artists in Residency Program, Hanru is an accomplished curator in his own right, having hosted exhibitions on every continent.

 

 

A lecture by curator Jack Persekian, former Artistic Director, Sharjah Foundation, at the New Museum on Oct 9, 2011 as part of ICI's Curator’s Perspective series, an itinerant public discussion series that features international curators who distill current happenings in contemporary art, including the artists they are excited by, exhibitions that have made them think, and their views on recent developments in the art world.

 

 

On November 9, 2011, Rodrigo Moura presented a lecture focusing on Inhotim, the outdoor contemporary art museum in Brumadinho, Minas Gerais, where he has been curator since 2004, and outlined the broader perspective of artistic practice in the last years, especially in Brazil. Moura’s talk is introduced by New York-based art historian and Chief Curator at Inhotim, Allan Schwartzman.

 

 

Rosina Cazali speaks at the ICI's Curator’s Perspective series on March 12, 2012 at the New Museum. Cazali is the former Director of the Centro Cultural de España of Guatemala. 

 

 

A Curator’s Perspective series lecture by Maria Lind at the CUNY Graduate Center, recorded February 15, 2012, Lind speaks about the Tensta Konsthall in Stockholm, where she has been Director since January 2011.

 

 

Based in Vienna, Austria, independent curator Kathrin Rhomberg shares The Virtue of Unprofessionalism, a lecture co-presented with the Austrian Cultural Forum New York. Rhomberg’s lecture correlates late '90s and early 2000s Austrian politics with the commercialization of contemporary art. She also discusses the “freedom of art” and the affects of contemporary art on political debates, opinions and public consumption of art.

Recorded in May 2012 as part of the ICI series, The Curator’s Perspective. In English and German.

 

 

 

 

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