essen Morgan ‘A PERSONAL REFLECTION to UNPACK TH AACGAGE OF tease sea tha he ee eu {bevharacered ove thet to decade, [fel compelled ey andre [Ei stat shougies cantor nas bere f became one Assuming tht {huetam one Strangely despite being able to chim thi ar yb le for [pig on 16 yent-—uannwe othe question of our ae,"Whar do you Airing spl as lay somewhat legitimate Fraudalent, ee Pacing side gene (gendered) inscotiies rtd to pre sional stnding and te cana ck of confidence tae might ead Sos cts entiation {come back ode ee at ay idence Shout sing ha 1a a curr ses alo fo lack of dentition ‘than of the various epon hth te conjtes in my min Like snow of paper dl, each ited ovt with a parcaler eit (oe on that te jes and stds, ay noional“eurarors" ost of the ily employed and many busy with adie ambitions Forme = Compl, maignertionslsteconnecing sete that, more often Peihps thsi tre of many—fere, gin srogle toy “oF us"—especily those who cate wo hie occoparon in» ame efore eu foil eure curating mater degrees andthe dal wave of custorl Fnter Widhovs any re ides of what the job was wen fist amet i ‘anges and deni expansons ofthe field at ave pice daring theme that {have occupied thir poison perhaps ick of identification only to be expected. Te term curt” ow ws allenconipaing category embrcing many works n he Fs of vital ar, ncadingedueton and the many disciplines het ae (inl incorpored ino the panoply of an exibison-making arsenal But ies a sere ha in the lat ded been commandeered by ing hoe neon, and otherie ‘hove selecting food and wiv, de “To resem my ft mpresion of what a cuatr a: My idea vs formed pie fo my arti inthe US, oven Ewa sil school 2London i the 1980.1 wat on aware oF tw9 oe thre cursor mods, and idenijing wath any of them was of the queson Alot ids oguihable nae mn the cee Horran (weed sit, bttoned-ap Lows, low hed) was dhe fenule curator ae Tate who “alowed me reader PAD thes ohh sh ded over go min dhe mu ‘und, nest the metal pce hat leads tote eve satese at he top oF which used eo be he thary ofthe mise ean il ea hee hoes on alts wel eos my discomfort econ aking 2 grt del of éifeence. Aside fom her male crv (nique Beth bred of man largely devoid f sexy, bccasnully cpliying am incredible breadth of arcane Knowledge ut to ra wate of what todo with) tee was the ator model bot ws cuating dough oumeahip and connoeuhip and even cally embodying the continuation oF coleching/cwrating tion tha analy brought about the fresco eters: the Cabinet of Costes Now: however, these arnocraticcllecto:eators were ao employed by materi ote this pesonal/ profesional knowledge to tree pbe/ peat edo, Tae eo sours frelon for my ute canter were ones tat aid notin fic asocite with te iden of cutting The eto curt” dd not even ei in my otnd London's ICA wa plac to heat mesic, attend tls, se Gy, and experience at A vibrant nosy, hale longing place wis defintely not an by what ¥ though of a3 custo The only peron {knew who worked n'a museum, Bojan Rober so funy fiend and neighbor wie seledsted surmounde by ais (no sexdemi] and weil engaping Significant, one of the ony other ely imporane UK easton, ence Alloway (ounding meset of ln depen ne Group an ltr 3 curator athe Guggesheim Museum in the 196s), sho never receive higher education And in both case as Alloway in fc expicly identified, chs lick of incon nto the tnlere,cle-obsnl,hirucicl Briss edcaond sytem alowed them to develop an opev0 othe cantor models 4 the question Alt indie 2 feveed see, baronee-op {ice who ‘lowed me to fred tice che op oF Tn tl hear ee shoes on ‘wll elec my dcomfr sence. Aside fom her male 2 lage devoid of ext fh of arene knowledge bat Ueonacisetiship and even -ing/euing tation tat Tenzeprte: the Cabinet of a ef cursing The verb “eo ons ICA war placer hea at A vbr nog chal ta houghe ofa 3 curr museum, Bryan Roberson tnd 1960s and 4 close hy one ofthe onky other tthe Guage Museum sexton, And in both cate edveational stem alowed ‘and erie! sey HISTORICAL PRECEDENT. CONVENTION AND EXCEPTION 1d my Gilly ied) fanny with 2 seni a aritoctie most of carting ws the re of he very Ii ied contest ofthe London or UK ar scne-—which neve experienced fc rupture of Moderns ad contin: to fr fom thie nadeqot lg —moat Western connie with an elie’ maseus system no Adoubecoconpated ther crstoral polopes of ereaker nd eonnoi ‘eur While the laters 3 consrustion ofthe manirson ofthe pare ‘lectoc an patzon in parca er the 1Sehcenry development of teporable id diet art object the focmer emerged wie the ea Tite ofthe pubic museum in 19th-centary Europe The maseunis (ewlopment nthe 1th century is ise closely read to seategiee of Udine and eligtensent in the pend age. The cllecson ani play of certain abject and artis scoring to cheeen curtail techniques represented nor only the waiting of spedfic colon end a= Sol storie but lo the ccution of parca aes and des A chieraiing ofbourgeole views and won ook place and formed the pul spon ofthe maeamn The arto role wa (and agua sl $)iminatelycomeced to the nation af eeston Visions were ght ot only cutted hii, buco curated was of seeing ané behaving Tes invereing then, to conser the exceptions to these models and how they eam about Brady genecalang one could wy that cu nor who eb diverging patices di oar of close 2 Inion with contenponinesds sree movement nd were sponding toa shift in prodacion, ie cin elated vo ger context i Polis and enc and che esuing ethinking of es of ciplsy 2 publ preseatason Ox though offen the rw ae in any eae cles Fehte, the independently minded curators may have been concerned wih eeabihing new publer, or what might be smedcounte-pub- ls rethinking the Bourgeois model of museum or exibition a 80 hal eilighenmeat and emblshing deren fameworks for exhibison raking that generated new publics. In the former typology, one might cmbl ie of figure sch a Waker Hopp, Henry Geller, and Kynon MeStine in the ler, cursos or dscns such as Aleta Downer, Pontes Hult, and Mati Ticker, Given thar mor sigan sree movements i he 20k cenoty were icity concerned withseablshing new publics or audencs, sly chase evo models we nore offen thas ni tone and hears ba arg Some custo the the conuiaton and eention of is publi wae tat hive daw incre fm the perspective ofthe nee profesional cu ror carer those mot calabated fr thie contributions have ofe ‘merged fom diusplines other than art istry fe logical pecorcr ofthe curating courte) and instead migaed fom a bakgroond in he ater (ald Stcoman, Francesco Bonar: Jens Hofinana),achtectue (fan Leen, le (Cris Deron) plies snd economic (ars Uh ‘Obris} orpociry (Calor Baws, Oko: Enwern). Or were erly seteaducrted (Alloway, Reber ‘TRANSNATIONAL CURATOR Ie hereto aterative model/approaces cin be sid to have dsined much ofthe snnovave practice ofthe 20th century. che ti ‘adil shi wa the development in she 199s ofthe rl st development inthe urstoril eld hasbeen ce (extol beaed) incogporation ofa lal res of atc producon, and wth thas toletiniion of how to artiste thi termin and he rehted postcoenia ‘kbs The lgeseae group extubisoa—whether teat one-off bi mi or so feth—has undoubtedly been the aena win which this ‘Se i here ety pleco oh While a the sujecc of eritiquecs equally rue thar och ag cle exhibitone—and in parcels gaballysiwted Bennisk—Aave Provided new idem of modernism and modern ioc, and have ifsed a sense of contemporary culture in sts hat dd not hase an inseoallgay to bring chs about and elped co open up inst ‘onal paces frat working on oc ewl Moscow he rnling noes ite and expnsion of arte proce hae exploded the den Aa there fa ck of practice in diferent par of che world While hs Gaeal anotherary these tvs models wee tbat arguly some cuators tink ee ion and with sien waye tat have daw the new profsionaied ew ‘ir conbutons have offen itary (the lpia precursor 4 fot background in hee jne Hofman) acitets economies (Hans Ulich URATOR aches can be sid to have the 2th centr he third Of the nmnasonal cue ‘he exibition Mago de the exaeninariy belt) duction, and with that the andthe rete poses ether thematic one-of bie the rena within which tis sy ample refecton ofthe cual eu that ach arge- by ituted iene emis hiores and have helped to open wp insite vel Moneoes the veuling ce has exploded che ies sts of the wold While this evelopment ed to the exablshmen of new frm of hyper-mobile saree tptomized bythe inimsable Hans Ulich Ob) e ha a ‘ites the increased ealihmene of aly bated expert, such [at eraters fom estan eons ave jonsfiabl valued fe thelr ete Tocalee knowledge but qt often overlacked fr thei potenti ly importnt consribations fo the eannational undertanding tithe contemporsy moment and historical pest, which, arguably. isin he privleged purview ofthe We. Cleny one ofthe maporant Ulovelopment that could bapen ceratorily wil be the contribution ‘Fier vies fo a evsionnt undestanding of standard Wesers att pitory. With such snkitves and exhibions ae Palo Herkeahors IV Sip Paslo Birt and The Former Hs peje we Beg oe CURATING THE COLLECTION Notably bien fom most custodial courses is any real engage ene with har fc the fndamenl cornersone ofthe museums fs colecion. When students ae encouraged focus in this direction, hey inevibly ioe into "“exbion te enanzig the aaable work ted thematic groupings beter suited tothe emall-cale Kanstale (isch, Given the er in Snding that most mavens now Bee, inopportune tne to tro pay alteron to the potetal ofthe ol Teton, tut aso the chllenger ed given ce vasly expanded fil of produon now under conden, Outside ofthe large-ele exhib Ton the collecson is the Hel quce in which vo pate questions of ew Titres and new modalities of aly Rater than simply producing mother roundup ofthe last andthe younget, the calles ofr the The rtivelyuihionable sur ofthe colltion-oviented cu: sor i lngely (and say) aribobe eo dhe dievence in tesa ole inthe collection day andthe cocesponding ack of publics tv lcquency of PR-weted enon Wheres the lnge-see exhibition hu penod of alpaory public he fazer of opening evens and posivore eviews the collection dls dered of pli nee ‘only nthe eae of a major mance e-bang or the opening of new wilting (sews th Tate Modern jn 2000, MoMA 2008, oF the Walker Art Cente in 200). ality, the collection s where ailon:leat and inculcate into an understanding of wha att and as riya highly sgn place fora ciator to work, the peipocie ofa sumtime manny, he col- I enspore nd fewer sources fo dla For better or worse however the cllecon i abot the het of the polis ofthe museum and repens the pbc dipsy of he increasingly contested reatonship betven pate cllecton nd publ nscution Very fem any; icant ae able to cals witout Private suppor, and whe thi has bough iavaleabl ends swells ome cae exeepional collections hs also leo the le f consol of the clloeon focus The combine effec o the dray cased by the fxpanded laa field andthe corruption of independence of tough tas left A intatons at an apparent inpane with ropeet fo thet callecons, and yeti ea seer to old the mow promos for fue atrial innive on lasting sd expenive se THE CURATOR AND THE UNDOING OF THE CRITIC trite such a Cement Greenberg might weigh hem onthe develo tent of [pare a res of oesorl nvlvenet inthe cs and ‘heoteval disburse ofthe 1980 the creme has merged ito ne double-headed bea, the rk beng of cure the los of tie Flntiorm, given the codependence a the cust world ad the cone ‘THE NEW PROFESSIONAL The masieinereae inthe numberof meus af well 6 the sponded actives uneraen by thew itttions has, resol e= tulted in the ned for more cao aiwih that explosion in eo score couresofered by enterpring lnsitions of higher education ke the chickenandeche i and aon uncer whether in fc, means protec scans of che number of jobsekingcumtors Thi mative snes insanding of wha ead inima anspor and fever te eres thecollecson loa presen the public dipay deren priate ealzion sod holed ode lo of conta of ofthe dine cased by the ‘of independence of ehoogh imps ith respect t thee ATthe most promise fr far fiver OING OF THE CRITIC ‘igh halon dhe develop obement in heed and iieartor has merged into aio wold snd the con SIONAL ‘tans has, pesuably c2 wk det an explsion i ea ions ot cr eduction ‘i fa, etme prolierte ‘ot the The Hikers Gad te Gary. whetein th “useles thi” ofthe population (hiéree, Ieuatieod anjhing brn ound yng ct ih the arene insane, and the like Mas in coating wos definitly [Eeceen sot on AK. ‘for om the many diferent cpg sd backgrounds om which [noe numerous sutodidact and artis who have al hel dae of hone Sn Satped the posenion"W eh nsowng of the proto hich han and aemp oun th ited cgrctne of ior ed xin aking Alo worrying ieshe myopie feds of constr eer on ae and sions of the eas pou 960. AUTHORSHIP “The question of authorship andthe curtor has been conte round intel ow decades, the pesampion being tha the corto folehasuepedino the alm ofthe sr sh treatns actus ease the ltrs poston and independence (ce Anton Vicole recent “Are Withowe Ais on ef jour, Wl in fc ti the as-cast ‘who fas probly len the grees iene with other” wk ink of ‘och lagna interventions ae Pred Won: Mixing the Masa a the Balnove Ate Miseum in 1992, Han Maackeb Mid Mesgees in 2001 the Veta and Albert Museu in London, and Ure Fachecs Who 1d pero Tony Shalini Gallery in 2008) hentia a Es partie toa sal pat ofthe corral word te wat majoriy of ‘ror enn unseen an estvely unknown ache apparent near al-enompasing ede of dhe sition The notion that curene mology an inp an oa evolved envionment hasbeen reoltely dareditd. and yer he eanpareny of authorship and intervention by the cuator/nstaion|rss lagey un inveigited The ergae ofthe author/eestor rik hindering much-needed experimentation snd exploration of of display within the museum, ne pproihes that andoubredly equ buhay and eth the get schievanent: of rad esbion experiment sacha: Dace mena for which Harald Sseemann brow oper many of what have beconte the seminal figues of the uine tn 4100 Day Eseot—bat we fg tha they mre sil ticked by the ats nthe exbi- dow (David Burch and Reber Monts for exaeple) fr encroaching on thr aie ndepwndence Ané what would» not-authoial urtor (CO-PRODUCTION (MANY AUTHORS) ‘The seit hat ny exibion ox diy is the calmiation of multe of tors Wheter thie exleidy cuando a been tn recent brpe-sele exhbitons—fom alle teraions of Manfe, {or ofthe 2003 ence Benne andthe ear bcbind Olea Enero Document 11—or in the colecties (oth cruovil and art at rake ti cllboration a aundid par oftheir pate, indwl it thade rant by the work the takes place every dyin any hge scale DIRECTOR/CURATOR ‘The naan progieion for many cuatont ha been toa! the role ofthe mseum o inetatonl dito. or the jl of eect 4 position that has fandameealy hanged owe the last v0 tees uch drcuion of the lack of appropriate decade Largely the oul of increasing demands fo Ganda Gl n ares efecto of the deamcly expanded role ofthe muse provider of enertnnent, diesion and achiteteral expeienes). he Perceived need fora more busineake approach tothe running oot ‘ecorporaon and che need vo operite platy bat ako patelsxplontion ofsew fers that undoubeedly regi pevment such = Dace Ccopeter many of wh 13 100 Diy Events ate the exhib sample) fr encroaching AUTHORS) ‘anifeed a ic oa been restons of Mnifets ‘oral and ari) het {ange ove he st to ide fr findeng Goel role ofthe museum a teem experiene), the seal bat aio pola Vohap cause fr farther conmeaation isthe deste fr inal wining of rectors who ase now encouraged to undergo reper ping in ode so fe neal alone the expane of indy who vet but al ineresinghy conto he mateame rough 8 Wine capacity to manage awa edge and finds ate all neces vee tatnkement, the deed cis Between de curator andthe dee Wusleed in esent yan is woryng tend Vidonary experimen centred deta te needed more thin ever. Given the cent oe tha cons now pay in contemporary elt, the dese o mold his pptnn tt che coxport del seems msde, pecially conser action ofthe seu for tose working oumde (whethee WHAT ELSE? | have deliberately avoided dtcuning the dily actives of che ralthough Tam fen aed wea rpc day cenit ofthe a (Up a little, over to the lef The newer is, dependent entirely on the etna academy epee who pends he mary of foal yore? Ox nso bad ree iy re eur flling the deans of ter ver he diet Ws nll aonpoft sealing fr nani support but rele) Eee he posites ae endl, although, hopefully epeily fe iv hing shout contempory eats the majority of one Sse “Ses ibiaking abouts and working with asi, Gen ee increasing Prominent sole ofthe museum in contemporary euluee—argbly ll experience ofthe 2s entary—auite posi the cle wil inc raven may have ye to aging