“It’s really hard even to talk precisely about global curating when the world is still so diverse,” – Emilia Galatis, a curator from Perth, Australia
"Meh" just a little Obrist, N.B.D.
Yesterday the New York Times reported on the career of curators. They highlight Independent Curators International and a handful of curatorial names (including Hans Obrist, pictured above). The author somehow seemed to both over and under glamorize the work of a curator. While the text hints at the Elephant in the room (the increasing lack of globally reflective work found in New York galleries that once satiated the hunger for Art World trends) it misses the actual relational core of curating: learning from artists about their own work, promoting that work where it might thrive, and inspiring audiences with unique insights into the realm of the artist.
The heart of contemporary curatorial work is so much more hands-on than that of the historical curator and that is what makes it exciting. Not the plane rides, and expenses, or even the fact that you need to have lived another life in order to support the life of a curator! (Oh, yeah… they just had to remind us of this LITTLE fact…“While not exactly lucrative […] the profession has grown rapidly in cachet.” It is growing in chic-ness, without growing in compensation? Sign me up!)
[Read the full article here.] Give it a look and let me know what YOU think.