What to Research? Paul has held numerous curatorial and research positions over the last twenty years and he has taught on many curatorial and visual arts programmes in Europe and the UK. 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. NEW YORK, NY 10013 He concludes that all curatorial activities today should take place in a space of open dialogue and close collaboration between curators, artists, and their audiences. 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. 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. We are all some hybrid variation of the hyphenated multiplex artist-curator-critic-theorist-activist-historian-model-actor. Independent Curators International (ICI) supports the work of curators to help create stronger art communities through experimentation, collaboration, and international engagement. He has previously held lecturing positions on the MFA in Curating, Goldsmiths, University of London and Visual Culture, Middlesex University, amongst others. Today we publish over 30 titles in the arts and humanities, social sciences, and science and technology. PUBLICS develops out of Checkpoint Helsinki, a contemporary art initiative established in 2013. The curator went from being a behind-the-scenes organizer and selector to a visible, centrally important cultural producer. Nowadays, curators challenge the self-sufficiency of artworks, showing them in relation to their own exhibition concepts. Dr. Paul O’Neill is an Irish curator, artist, writer and educator. At present, the figure of independent curator is an extraordinary force, and exploration of personal themes is attracting more and more attention. In the last 25 years, the concept of curating has broadened significantly. He is reviews editor for Art and the Public Sphere Journal and is an editor of Afterall’s Exhibition Histories Series.
Paul has held numerous curatorial and research positions over the last twenty years and he has taught on many curatorial and visual arts programmes in Europe and the UK. Contributors reflect upon how institutions inform art, curatorial, educational, and research practices as much as they shape the world around us. He is the Artistic Director of PUBLICS, a position he took up in September 2017. He is coeditor of The Curatorial Conundrum: What to Study? Between 2013-17, he was Director of the Graduate Program at the Center for Curatorial Studies (CCS), Bard College. Paul O’Neill’s book is an impressive attempt to grasp the history of curatorial discourse, from its first appearance as an independent field of critical analysis. 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. The Culture of Curating and the Curating of Culture(s) by curator, artist and writer Paul O’Neill is an attempt to provide a historical account of the emergence of this new discourse, while defining the parameters of the field.
From 2007 to 2010, he was responsible for directing the major international research program Locating the Producers at Situations, University of the West of England, Bristol. Dr. Paul O'Neill is a curator, artist, writer and educator based in New York. Contributors include The latter (which we might term “the curatorial”) controls the mediation of these forms in space and time (again, this is not limited to physical spaces, and can include virtual spaces). He is author of the critically acclaimed book The Culture of Curating and the Curating of Culture(s), (Cambridge, MASS., The MIT Press, 2012). The future of curatorial practice: how education, research, and institutions can adapt to the expansion of the curatorial field. What to Research? Our collaborative programs connect curators across generations, and across social, political and cultural borders. Ultimately, this is the aim of The Culture of Curating and the Curating of Culture(s): to enable “dialogical spaces of negotiation between curators, artists, and their publics.” This does not mean that we all must become artists, but that by critically addressing different modes of thought there are new possibilities. He is coeditor of The Curatorial Conundrum: What to Study? In beginning to map out the shape and form of curatorial discourse, The Culture of Curating and the Curating of Culture(s) takes an important step towards kindling these possibilities. Offering his readers a historical survey, O’Neill starts from the avant garde of the 1920s and places special emphasis on the 1960s, when the categories of artwork, exhibition space and audience lost their former distinctness, while transforming the exhibition itself into an new object of discourse.
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