Now, I argue, curating has turned in on itself, and the thing being curated is also the thing that curates. The thing to which value is lent as well as the thing performed changes over time. Could you provide the uninitiated reader with a heuristically salient definition of curation’s aims and qualities?ĭB The central argument of my book is that the Western curator, from Roman times to the contemporary Tumblr user, lends value to things, and thus performs this value (and this act) in a way that is hyper-conscious of an audience.
Brad de Roo, who once won the Grade 8 Art Award on the meekly nationalistic strength of watercoloured Gretzkys, pastel tall-ships, and baked-clay loons, is brushing up on Art.īdR Your book offers concisely extensive genealogies, etymologies, hermeneutics, and biographies of the ever evolving concept of curation from classical history through the Renaissance to art and culture today. Curationism aptly reassesses popularity, novelty, profitability, referentiality, and influence (etc) as mystifying measures of artistic vitality while illustrating how we, like curators, present artworks as performative pieces integral to our creative identities (whether we create such works or not). Balzer, an art critic and short fiction author here analyzes many of the social forces and personalities of the art-world via the increasingly cited and enacted phenomenon of curation.
I sat down over the underused internet with David Balzer, author of Curationism: How Curating Took Over the Art World and Everything Else (Coach House Books) to discuss everything from utopia to Tumblr to salons des refuses.
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