CURATING AS A CRITICAL PRACTICE

Further readings list

BOOKS:

Alberro, A., 2003. Conceptual Art and the Politics of Publicity. Cambridge, MA: MIT Press.
Alberro, A. and Stimson, B. (eds.), 2009. Institutional Critique: An Anthology of Artists'
Writings. Cambridge, MA: MIT Press.
Altshuler, B., 1994. The Avant-garde in Exhibition: New Art in the 20th Century. Berkeley,
CA: University of California Press.
Altshuler, B., 2008. Salon to Biennial: Exhibitions that Made Art History, Volume I: 1863-
1959. London: Phaidon.
Altshuler, B., 2013. Biennials and Beyond: Exhibitions That Made Art History, Volume II:
1962-2002. London: Phaidon.
Altshuler, B. and Sharmacharja, S. (eds.), 2009. A manual for the 21st century art
institution. London: Koenig Books and Whitechapel Gallery.
Ault, J., 2002. Exhibition as Political Space. In S. Rollig and E. Stenram (eds.), Drfen die
das? Vienna: Verlag Turia + Kant, pp.5263.
Barker, E. (ed.), 1999. Contemporary Cultures of Display. New Haven: Yale University
Press.
Benjamin, W., 1934. The Author as Producer. In C. Harrison and P. Wood. Art in Theory.
19001990. Oxford: Blackwell Publishing, 1995, pp. 483489.
Bishop, C., 2012. Artificial Hells. Participatory Art and the Politics of Spectatorship,
London: Verso.
Bishop, C., 2013. Radical Museology: or, What's Contemporary in Museums of
Contemporary Art? London: Koenig Books.
von Bismarck, B., Schafaff, J., Weski, T. (eds.), 2012. Cultures of the Curatorial. Berlin:
Sternberg Press.
Bourriaud, N., 2002. Relational Aesthetics. Dijon: Les presses du rel.
Butler, C. et al., From Conceptualism to Feminism: Lucy Lippards Numbers Shows 1969
74. London: Afterall.
Butte, M., Maar, K., McGovern, F., Marie-France Rafael, M.F., Schafaff, J. (eds.), 2014.
Assign & Arrange: Methodologies of Presentation in Art and Dance. Berlin: Sternberg
Press.
Condorelli, C., 2009. Support Structures. Berlin: Sternberg Press.
Copeland, M. (ed.), 2013. Choreographing Exhibitions. Dijon: Les presses du rel.
Crippa, E. et al., Exhibition, Design, Participation: an Exhibit 1957 and Related Projects.
London: Afterall.
Decemvirale, J. V., Lotz, A. and Smith, E. (eds.), 2010. Solo Show. London: Royal College
of Art.
Doherty, C. (ed.), 2004. Contemporary Art: From Studio to Situation. London: Black Dog.
Eco, U., 1998. Culture as Show Business. In U. Eco. Faith in Fakes. Travels in Hyper-
reality. London: Vintage. pp.151156.
Eigneheer, M. (ed.), 2007. Curating Critique. ICE Reader 1. Frankfurt: Revolver.
Esche, C., 2003. Inside the Capitalist Frame possibility, art and democratic deviance. In
WHW (eds.), What, How and For Whom. Zagreb: What, How and for Whom. pp.97101.
Ferguson, B. W., Greenberg, R. and Nairne, S. (eds.), 1996. Thinking about Exhibitions.
London and New York: Routledge.
Filipovic, E. and Vanderlinden, B. (eds.), 2006. The Manifesta Decade. Debates on
Contemporary Art Exhibitions and Biennials in PostWar Europe. Cambridge, MA: MIT
Press.
Fisher, J., 1996. Trick or Treat: Naming Curatorial Ethics. In P. White (ed.), Naming a
practice. Curatorial Strategies of the Future. Banff: Banff Centre Press. pp.207213.
Foucault, M., 2002. The Order of Things: An Archeology of the Human Sciences. London:
Routledge.
Fowle, K. and Selzer, S. A. (eds.), 2005. Curating Now. San Francisco: California College
of the Arts.
Glen, P. (ed.), 2013. Institutional Attitudes. Instituting Art in a Flat World. Amsterdam: Valiz.
Gillick, L. and Lind, M. (eds.), 2004. Curating with light luggage. Frankfurt: Revolver.
Graham, B. and Cook, S. (eds.), 2010. Rethinking Curating: Art After New Media.
Cambridge, MA: MIT Press.
Hoffmann, J., 2015. Theater of Exhibitions. Berlin: Sternberg Press.
Hoffmann, J., 2014. Show Time: The 50 Most Influential Exhibitions of Contemporary Art.
London and New York: Thames & Hudson.
Hoffmann, J. (ed.), 2013. Ten Fundamental Questions of Curating. Milan: Mousse
Publishing.
Holmes, B., 2002. Reflecting Museums art in the mirror of political economy. In WHW
(eds.), Hieroglyphs of the Future. Zagreb: What, How and for Whom, pp.7387.
Httner, P. (ed.), 2005. I am a curator. London: Chisenhale Gallery.
IRWIN, eds., 2006. East Art Map. London: Afterall.
Krysa, J. (ed.), 2006. Curating Immateriality. New York: Autonomedia.
Kuoni, C. (ed.), 2001. Words of Wisdom: A Curator's Vade Mecum. New York: Independent
Curators International.
Lind, M. and Minichbauer, R. (eds.), 2005. European Cultural Policies 2015. Stockholm:
IASPIS.
Lind, M., 2004. This is Going to be Really Funny. Notes on Art, its institutions and their
presumed Criticality. In N. Haq (ed.), Spin Cycle. Bristol: Spike Island and Systemisch.
pp.3344.
Lind, M., 2009. The Curatorial. In Kuan Wood, B. (ed.), 2010. Selected Maria Lind Writing.
Berlin: Sternberg Press, pp.57-66.
Lind, M. (ed.), 2012. Performing the Curatorial: Within and Beyond Art. Berlin: Sternberg
Press
MacDonald, S. and Basu, P. (eds.), 2007. Exhibition Experiments. London: Blackwell
Publishing.
Malm, M. and Wik, A. (eds.), 2012. Imagining the Audience - Viewing Positions in Artistic
and Curatorial Practice. Stockholm and Visby: Art and Theory Publishing and Swedish
Exhibition Agency.
Marincola, P. (ed.), 2001. Curating Now: Imaginative Practice / Public Response.
Philadelphia: Philadelphia Exhibitions Initiative.
Marincola, P. (ed.), 2007. What Makes a Great Exhibition? London: Reaktion Books.
Martinon, J.-P. (ed.), 2013. The Curatorial. A Philosophy of Curating. London and New
York: Bloomsbury.
Montmann, N. (ed.), 2006. Art and its Institutions. Current Conflicts, Critique and
Collaborations. London: Blackdog.
Obrist, H. U. (ed.), 2008. A Brief History of Curating. Zurich: JRP|Ringier
ODoherty, B., 1999. Inside the White Cube, The Ideology of the Gallery Space. Berkeley,
Calif. London: University of California Press
ONeill, P. (ed.), 2007. Curating Subjects. London: Open Editions.
ONeill, P. and Wilson, M. (eds.), 2010. Curating and the Educational Turn. London: Open
Editions.
ONeill, P. and Doherty, C. (eds.), 2011. Locating the Producers. Durational Approaches to
Public Art. Amsterdam: Valiz.
O'Neill, P. 2012. The Culture of Curating and the Curating of Culture(s). Cambridge, MA:
MIT Press.
ONeill, P. and Wilson, M. (eds.), 2015. Curating Research. London: Open Editions.
ONeill, P. and Steeds, L. (eds.), 2016. The Curatorial Conundrum: What to Study? What
to Research? What to Practice? Cambridge, MA: MIT Press.
Osborne, R. and Tanner, J. (eds.), 2007. Art's Agency and Art History. London: Blackwell
Publishing.
Pollock, G. and Zemans, J. (eds.), 2007. Museums after Modernism: Strategies of
Engagement. Oxford: Blackwell Publishing.
Rand, S. (ed.), 2007. Cautionary Tales: Critical Curating. New York: apexart.
Rattemeyer, C. et al., 2010. Op Losse Schroeven and When Attitudes Become Form
1969. London: Afterall.
Reichensperger, P. (ed.), 2013. Terms of Exhibiting (from A to Z) / Begriffe des Ausstellens
(von A bis Z). Berlin: Sternberg Press.
Richter, D. and Schmidt, E. (eds.), 1999. Curating Degree Zero. Bonn: Verlag fr moderne
Kunst Nrnberg.
Rugg, J. and Sedgwick, M., 2007. Issues in Curating Contemporary Art and Performance.
Bristol: Intellect Books.
Rugoff, R., 1995. Circus Americanus. London: Verso Books.
Schubert, K., 2000. The Curators Egg: The Revolution Of The Museum Concept From The
French Revolution To The Present Day. London: One-off Press.
Smith, T., 2012. Thinking Contemporary Curating. New York: Independent Curators
International (ICI).
Staniszewski, M. A., 1998. The Power of Display: A History of Exhibition Installations at the
Museum of Modern Art. Cambridge, MA: MIT Press.
Steeds, L. et al., 2013. Making Art Global (Part 2): 'Magiciens de la Terre' 1989. London:
Afterall.
Steeds, L. (ed.), 2014. Exhibition (Documents of Contemporary Art). Cambridge, MA: MIT
Press.
Townsend, M. (ed.), 2007. Beyond the Box: Diverging Curatorial Practices. Banff: The
Banff Centre Press.
Wade, G. (ed.), 2001. Curating in the 21st Century. Walsall: New Art Gallery Walsall.
Wallinger, M. and Warnock, M. (eds.), 2000. Art for All? Their Policies and Our Culture.
London: Peer.
Weibel, P., 2006. The Museum of the Future. In M. Miessen and S. Basar (eds.), Did
Someone Say Participate?. Cambridge, MA: MIT Press, pp.173186.
Weibel, P. and Buddensieg, A. (eds.), 2007. Contemporary Art and the Museum: A Global
Perspective. Ostfildern: Hatje Cantz.
Welchman, J. C. (ed.), 2006. Institutional Critique and After. Zurich: JRP|Ringier.
Weschler, L., 1996. Mr. Wilson's Cabinet Of Wonder: Pronged Ants, Horned Humans, Mice
on Toast, and Other Marvels of Jurassic Technology. New York: Vintage.
Wolfson, R., 2008. Foreword. In Wolfson, R. (ed.), This Is The Flow - The Museum as a
Space for Ideas. Amsterdam: Valiz.

ARTICLES / PERIODICALS:

Dawber, S., 2006. Blairism on the walls at Kelvingrove'. Variant, 27, 1819.
Dyer, S. et al., 2007. Why are the Arts So White? Time Out, October 1723 2007, p. 19
30.
Farquharson, A., 2003. Curator and Artist. Art Monthly, 270, p. 1316.
Farquharson, A., 2003. I curate you curate we curate. Art Monthly, 269, p.710.
Hutchinson, M., 2005. The Terrors of Experts, Curators and Publics. The Internationaler,
Pilot Issue (October 2005), 3-4.
Njami, S., 2005. Another Gaze. Mute, 29, p.7883.
ONeil, P., 2003-4. Curating U-Topics. Art Monthly, 272, p. 710.
Storr, R. 2005. Reading Circle. Frieze, 93, p.27.
Storr, R. 2005. The Exhibitionists. Frieze, 94, p.27.
Sumpter, H., 2006. Ethnic Priorities. Time Out, July 26-August 2 2006, p. 33.
The Manifesto Club, 2006. Championing Artistic Autonomy. Artquest (December 2006).
Various authors, 2006. Why Everyone wants to be a Curator. Blueprint, 243.

B.READ. Volumes 1-5. Newcastle: BALTIC and University of Newcastle.

The Exhibitionist: A Journal on Exhibition Making.
MJ Manifesta Journal of Contemporary Curatorship.