Paul O'Neill

Mick Wilson

An opening to curatorial enquiry : introduction to curating and research Paul O'Neill et Mick Wilson -- The complete curator Liam Gillick -- Towards the exhibition as research Simon Sheikh -- Renewing the curatorial refrain : sustainable research in contemporary art Maja et Reuben Fowkes -- And the question is Georgina Jackson -- Academy as exhibition Henk Slager -- What if an institution was curated? Intermediae as an institutional hypothesis Olga Fernandez Lopez -- Post-research notes : (re)search for the true self-managed art Jelena Vesić -- Movements that matter : the Projekt Migration (2003-06) Marion von Osten -- Action research : generative curatorial practice Kate Fowle -- Home works Sidsel Nelund -- Evolving archive : Asia Art Archive Hyunjoo Byeon -- In the time of trying : If I Can't Dance, I Don't Want To Be Part of Your Revolution Vivian Ziherl -- Drafts, acts and lapses : Eastside Projects Chris Fite-Wassilak -- Our own bubbles of ignorance : the aesthetic of research of some biennales Carson Chan et Joanna Warsza -- Curatorial dictionary : unpacking the oxymoron tranzit.hu.

Curating Research

Lucy Steeds

The future of curatorial practice: how education, research, and institutions can adapt to the expansion of the curatorial field. Today curators are sometimes more famous than the artists whose work they curate, and curatorship involves more than choosing objects for an exhibition. The expansion of the curatorial field in recent decades has raised questions about exhibition-making itself and the politics of production, display, and distribution. The Curatorial Conundrum looks at the burgeoning field of curatorship and tries to imagine its future. Indeed, practitioners and theorists consider a variety of futures: the future of curatorial education; the future of curatorial research; the future of curatorial and artistic practice; and the institutions that will make these other futures possible. The contributors examine the proliferation of graduate programs in curatorial studies over the last twenty years, and consider what can be taught without giving up what is precisely curatorial, within the ever-expanding parameters of curatorial practice in recent times. They discuss curating as collaborative research, asking what happens when exhibition operates as a mode of research in its own right. They explore curatorial practice as an exercise in questioning the world around us; and they speculate about what it will take to build new, innovative, and progressive curatorial research institutions. Contributors Nancy Adajania, Mélanie Bouteloup, Nikita Yingqian Cai, Luis Camnitzer, Eddie Chambers, Zasha Cerizza Colah, Galit Eilat, Liam Gillick, Koyo Kouoh, Miguel A. López, Hans Ulrich Obrist, Paul O'Neill, Tobias Ostrander, João Ribas, Sarah Rifky, Sumesh Sharma, Simon Sheikh, Lucy Steeds, Jeannine Tang, David The, Jelena Vesić & Vladimir Jerić Vlidi, What, How & for Whom/WHW, Mick Wilson, Vivian Ziherl Copublished with the Center for Curatorial Studies Bard College/Luma Foundation

What to Study? What to Research? What to Practice?

The Curatorial Conundrum

Once considered a mere caretaker for collections, the curator is now widely viewed as a globally connected auteur. Over the last twenty-five years, as international group exhibitions and biennials have become the dominant mode of presenting contemporary art to the public, curatorship has begun to be perceived as a constellation of creative activities not unlike artistic praxis. The curator has gone from being a behind-the-scenes organizer and selector to a visible, centrally important cultural producer. In The Culture of Curating and the Curating of Culture(s), Paul O'Neill examines the emergence of independent curatorship and the discourse that helped to establish it. O'Neill describes how, by the 1980s, curated group exhibitions--large-scale, temporary projects with artworks cast as illustrative fragments--came to be understood as the creative work of curator-auteurs. The proliferation of new biennials and other large international exhibitions in the 1990s created a cohort of high-profile, globally mobile curators, moving from Venice to Paris to Kassel. In the 1990s, curatorial and artistic practice converged, blurring the distinction between artist and curator. O'Neill argues that this change in the understanding of curatorship was shaped by a curator-centered discourse that effectively advocated--and authorized--the new independent curatorial practice. Drawing on the extensive curatorial literature and his own interviews with leading curators, critics, art historians, and artists, O'Neill traces the development of the curator-as-artist model and the ways it has been contested. The Culture of Curating and the Curating of Culture(s) documents the many ways in which our perception of art has been transformed by curating and the discourses surrounding it.

The Culture of Curating and the Curating of Culture(s)

Reflections on how institutions inform art, curatorial, educational, and research practices while they shape the world around us. Contemporary art and curatorial work, and the institutions that house them, have often been centers of power, hierarchy, control, value, and discipline. Even the most progressive among them face the dilemma of existing as institutionalized anti-institutions. This anthology–taking its title from Mary Douglas's 1986 book, How Institutions Think–reconsiders the practices, habits, models, and rhetoric of the institution and the anti-institution in contemporary art and curating. Contributors reflect upon how institutions inform art, curatorial, educational, and research practices as much as they shape the world around us. They consider the institution as an object ofienquiry across many disciplines, including political theory, organizational science, and sociology. Bringing together an international and multidisciplinary group of writers, How Institutions Think addresses such questions as whether institution building is still possible, feasible, or desirable; if there are emergent institutional models for progressive art and curatorial research practices; and how we can establish ethical principles and build our institutions accordingly. The first part, “Thinking via Institution,” moves from the particular to the general; the second part, “Thinking about Institution,” considers broader questions about the nature of institutional frameworks. Contributors include Nataša Petrešin Bachelez, Dave Beech, Mélanie Bouteloup, Nikita Yingqian Cai, Binna Choi and Annette Kraus, Céline Condorelli, Pip Day, Clémentine Deliss, Keller Easterling and Andrea Phillips, Bassam El Baroni, Charles Esche, Patricia Falguières, Patrick D. Flores, Marina Gržinić, Stefano Harney and Fred Moten, Alhena Katsof, Emily Pethick, Sarah Pierce, Moses Serubiri, Simon Sheikh, Mick Wilson

Between Contemporary Art and Curatorial Discourse

How Institutions Think

Tim Dornan

David W. Denning

"This book is a one-volume core revision text covering general or internal medicine, designed to stimulate the student into assessing his/her own knowledge during self-directed learning and exam preparation. The emphasis on self-assessment is designed to make learning easier and more enjoyable. The structure of the book is: an introductory chapter on how best to use the book, each chapter section starts with learning objectives core text of a clinical system, self-assessment section at the end of each chapter allowing the student to assess progress in the application of the facts to common clinical problems."--PUBLISHER'S WEBSITE.

Medicine

Burton Rocks

Paul O'Neill was the undisputed heart and soul of the four-time World Series-winning New York Yankees from 1993 to 2001. O'Neill epitomized the team's motto of hard work and good sportsmanship, traits instilled in him by his friend, confidant, lifelong model, and biggest fan: his dad, Chick O'Neill. In Me and My Dad, O'Neill writes from the heart about the man who inspired in him a love for the game and a determination to always play his best. O'Neill remembers the highlights of his own amazing career: the Cincinnati Reds calling him up to the majors, his first World Series, being traded to the Yankees -- and taking part in their recent championship wins. He also reflects on his father's untimely death during the 1999 World Series and on the farewell tribute his fans gave him during his last game in Yankee Stadium.

A Baseball Memoir

Me and My Dad

Jack Curry

The fun and fiery memoir of All Star Yankee and five-time World Champion, Paul O’Neill. In SWING AND A HIT, O’Neill elaborates on his most important hitting principles, lessons, and memories—exploring those elements across ten chapters (to align with the nine innings of a baseball game and one extra inning). Here, O’Neill, with his intense temperament, describes what he did as a hitter, how he adjusted to pitchers, how he boosted his confidence, how he battled with umpires (and water coolers), and what advice he would give to current hitters. O’Neill has always been a tough out at the plate. Recalling how he started to swing at bat as a two-year-old and kept swinging it professionally until he was thirty-eight, O’Neill provides constant insights into the beauty and frustration of playing baseball. The legendary Ted Williams said using a round bat to hit a round ball is the most difficult thing to do in sports. Naturally, O’Neill, who once received a surprise call from Williams that was filled with hitting advice, agrees. SWING AND A HIT features O’Neill’s most thoughtful revelations and offers clubhouse stories from some of the biggest names in Major League Baseball—hitters, managers, and teammates like Joe Torre, Derek Jeter, Don Mattingly, Pete Rose, and Bernie Williams. Remember, O’Neill, ever the perfectionist, was the type of hitter who believed that pitchers didn’t ever get him out. For that incredible reason and so many others, SWING AND A HIT is essential reading for any baseball fan.

Nine Innings of What Baseball Taught Me

Swing and a Hit

Simon Sheikh

What it means to be global—or to be local—in the context of artistic, curatorial, and theoretical knowledge and practice. In this volume, an international, interdisciplinary group of writers discuss what it means to be global—or to be local—in the context of artistic, curatorial and theoretical knowledge and practice. Continuing the discussion begun in The Curatorial Conundrum (2016) and How Institutions Think (2017), Curating After the Global considers curating and questions of locality, geopolitical change, the reassertion of nation-states, and the violent diminishing of citizen and denizen rights across the globe. It has become commonplace to talk of a globalized art world and even to speak of contemporary art as a driver of globalization. This universalization of what art is or can be is often presumed to be at the cost of local traditions and any sense of locality and embeddedness. But need this be the case? The contributors to Curating After the Global explore, among other things, specific curatorial projects that may offer roadmaps for the globalized present; new institutional approaches; and ways of thinking, vocabularies, and strategies for moving forward. Contributors include Lotte Arndt, Marwa Arsanios, Athena Athanasiou and Simon Sheikh, María Berríos and Jakob Jakobsen, Qalandar Bux Memon, Ntone Edjabe and David Morris, Liam Gillick, Alison Greene, Yaiza María Hernández Velázquez, Prem Krishnamurthy and Emily Smith, Nkule Mabaso, Morad Montazami, Paul-Emmanuel Odin, Vijay Prashad, Kristin Ross, Grace Samboh, Sumesh Sharma, Joshua Simon, Hajnalka Somogyi, Lucy Steeds, Françoise Vergès Copublished with the Center for Curatorial Studies Bard College/Luma Foundation

Roadmaps for the Present

Curating After the Global

In recent years, there has been increased debate about the incorporation of pedagogy into art and curatorial practice-about what has been termed the `educational turn'. In this companion volume to the critically acclaimed Curating Subjects, artists, curators, crities and academics respond to this widely recognised sense of art's paradigmatic re-orientation towards the educational. Consisting primarily of newly commissioned texts, from interviews and position statements to performative texts and dialogues, Curating and the Educational Turn also includes a small number of previously published writings that have proved pivotal in the debate so far This anthology presents an essential enquiry for anyone interested in the cultural politics of production at the intersections of art teaching and learning Curating and the Educational Turn is indispensable reading for anyone interested in curating, art practice and pedagogy as creative, engaged and potentially transformative activities. This timely and important collection provides a forum for what has been described as the `educational turn' in curating and its more broad-based manifestations in art, education and culture.

Paul O'Neill

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