Curationism. David Balzer
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in which a chronology of the curator is the primary focus, and ‘Work,’ in which the hyper-professionalization of the art world as well as our own shifting definitions of labour are addressed. Our obsession with the curator as an ‘imparter of value’ (a phrase I reiterate in the coming pages) has implications for everyone, inside the art world and out. Complicit in this matrix of value-making, we (often unwittingly) take on new personal and professional responsibilities. As Christov-Bakargiev said to me, in a comment clearly inspired by Virno, ‘The curator is the most emblematic worker of the cognitive age.’ This book is not anti–art world or anti-curator. It is strongly critical, but also merely an account, an acknowledgement, of curation’s close alliance with capitalism and its cultures. As Tom Wolfe points out in The Painted Word, an admitted lodestar for Curationism, the art world has long been loath to admit its fundamental affiliations with, and origins within, the bourgeoisie, engendering, in Wolfe’s view, a paranoid turn away from the object, which nonetheless (or, rather, inevitably) engenders various cults of objectification.
Like The Painted Word, this book is for a general, non–art world and non-academic audience. Despite the influence of Virno and others, it does not employ what has become known as critical theory. Academics will no doubt recognize affiliations with this or that theorist, with whom I may or may not be familiar. Critical theorists, who were and are essentially philosophers, are now often miscast as discrete thinkers, when in fact many are expressionist ponderers, explicitly repudiating an authorial, proprietary view of ideas and their histories. Indeed, without their diction and personae, many critical theorists would seem to hold self-evident, even plainly unoriginal, thoughts. Lacan did not invent the use of the mirror as metaphor for formative semiotic development; neither did Freud, from whom Lacan borrowed the idea. Foucault was not the first to speak of punishment, madness, order and sexuality. Barthes espouses any number of obvious thoughts; it is the genius of his articulation that sets them apart. (Most students read these French writers in translation, confusing things further; it’s akin to listening to Serge Gainsbourg in translation.)
This mismanagement of theory represents several problems that typify the curationist moment. Firstly, it subscribes to an avant-garde understanding of the generation of ideas – in which ‘new’ and ‘original’ are paramount and successive, like a string of dictators, each making their elders obsolete and rearranging their country. As I argue in this book, the value-imparting system of the avant-garde has reached its inevitable (and glorious!) terminus in the early twenty-first century, where an idea no longer has to be ‘brand-new’ or ‘never-been-done-before’ in order to be valid. On that note, I believe in deep learning and context, certainly, but excessive fretting over attribution and precedent is paralyzing to dynamic intellectual thought. Any idea can be original if the mind that expresses it is confident and cultivated enough. This is what I strive for. It need hardly be said that this book contains no footnotes.
A myopic devotion to critical theory secondly engages in a pattern of demystification and remystification that is a key, obfuscating modus of the curationist moment – a not-so-covert method to instate, canonize and brand. Curators have become expert at presenting exhibitions and biennials that appear radical and oppositional, whether to museum orthodoxy or to regimes, common behaviours and codes, when curators in fact employ such radicalism and opposition precisely to attract audiences and to increase their events’ cultural capital. In the 1990s, underfunded museums recruited curators who in turn recruited artists devoted to audience engagement and seemingly unusual, participatory actions as a means of making the institution appear more enlightened and be more popular. These artists and curators are not outsiders; they have become some of the most successful, established cultural figures of our time. Similarly, the academy has used critical theory, in particular French poststructuralism, gender theory and queer theory, as a way of welcoming new students and diversifying (indeed revivifying) humanities departments. While an important political advance, such theory has become its own industry, merely trading an old canon for a new one, and retaining the same hierarchies and worshipful groupthink. There is little subversion to putting Judith Butler or Slavoj Žižek on a T-shirt, or to liking them on Facebook.
Is the curationist moment over? Not quite, nor, in many respects, will it ever be, as long as we continue to consume things, be particular and create culture – that is, be human. I deal with the specifics of this in the last chapter of this book, contending that we are moving on to something else, or at least could be. Katherine Connor Martin, Head of U.S. Dictionaries, Oxford University Press, who generously walked me through the provenance of the verb to curate (which has its roots in the early-1980s performance-art scene), thinks the word is very important. ‘If you were going to choose your vocabulary developments in the aughts,’ she says, ‘this would be on my list of things that are really emblematic of what’s happening in the language.’
That said, Martin notes, ‘it’s entirely possible that in, say, 2018, someone will look at [the use of curate as a verb] and say, “Ugh, that’s so dated, nobody says that anymore.” But The Oxford English Dictionary includes lots of obsolete and dated terminology. It’s an inventory of the entire history of English. So when we add something like [curate as a verb], we’re saying, “Regardless of what happens in the future with this usage, it’s important enough and well-tested enough now to be recorded for posterity.” We generally like things to have history behind them, and when we saw this went back to 1982, [we deemed] three decades of usage good enough. We think of it as writing the biography of these words.’
Dear reader, the biography of the curator, the curated, the curatorial and curation – a story for our times.
Prologue
Who Is HOU?
Miami’s South Beach is nothing like a white cube. On its easternmost side, along Collins Avenue and Ocean Drive, lies an impressive fleet of art deco hotels and, among them, the mansions of the resort neighbourhood’s current and erstwhile residents, from J. C. Penney to Gianni Versace, who was shot dead on his front steps in 1997. Everywhere is colour, traffic; life is instinctive, vulgar, dangerous, fun. The cacophony of capitalism defines the area, from these hotels, to the clustered, modest houses and apartment buildings lying slightly west of them (many, in their lingering decay, redolent of South Beach’s 1970s and 1980s depression – a period, with its cocaine dealers and crime, depicted in Brian de Palma’s 1983 film Scarface), to busy Lincoln Road, one of the U.S.’s first pedestrian malls, and its surrounding, riotously colourful surf stores.
December is tastefully warm in South Beach. The sun toasts rather than scorches. Historically, this has not been a big tourist time, but over the past decade or so that’s changed. I arrive in 2013 as a journalist, part of the hordes of mostly Europeans and Americans who have come to see Art Basel Miami Beach.
Art Basel typifies the ever-growing popularity of the fair in contemporary art, in which international commercial dealers converge in large cities at convention centres, piers, custom-built tents and hotels, securing high-priced booths in which to display and sell work from their stables of artists. Founded in Basel, Switzerland, Art Basel chose Miami Beach as an outpost more than a decade ago because of the wealthy Miami collectors who frequented its flagship event. Since then, around two dozen fairs have cropped up alongside Art Basel Miami Beach, most within walking distance – to say nothing of the myriad of parties, pop-up shops and ribbon cuttings that have come to comprise what is now Miami Art Week. South Beach is not transformed so much as intensified: more preening, more plastic surgery, more partying, more celebrities. Contemporary art seems put there by a production designer. Depending on how you see it, it’s either the best or worst kind of ambient noise.
Much has been written about Art-Basel-as-Wasteland. In a 2012 Slate piece entitled ‘The Eight Worst Things About the Art World,’ fashion writer and Barneys New York ‘creative ambassador’ Simon Doonan put Art Basel at the top of his list, snidely describing it as ‘overblown. . .[with] all that craven socializing and trendy posing.’ There is a lot of art at Art Basel, to be sure, but what, implies Doonan, does it add up to? As if at a crowded, expensive party, works jockey noisily for attention, devoid of gravitas and thematic order. It is no museum or gallery, in other words. Curators,