publications

The Art World Web in the gloobalsphere

The art we encounter and the art we interpret (and which interprets and changes us) is the product of artist and curator. In Curating in the gloobalsphere© journalist and art historian Ann D’Antonio portrays with sparkling penetration this triangulation of viewer/curator/artist against changes taking place in the traditional viewer/museum/gallery encounter.

Artists are increasingly curating their own gallery space and reconstructing the viewing experience. This practice originated in the early 20th Century with Wassily Kandinsky and Franz Marc’s avant-garde First Blaue Reiter Exhibition (1911) and Alfred Barr’s creation of the White Cube model at the Museum of Modern Art in New York (1929). Marcel Duchamp furthered experimental curating with his miniature museum in a suitcase and his wild First Papers of Surrealism exhibit in New York (1942).

Curating in the gloobalsphere© illuminates Frederick Kiesler’s groundbreaking Art of This Century (1940), sponsored by Peggy Guggenheim, which brought art and display off the wall to startle the viewer. Guggenheim herself was known for her iconoclastic exhibitions of then-unknown artists like Andy Warhol and Robert Rauschenberg. D’Antonio covers Willem Sandberg, who as a typographer curated artists as much as he did the Stedelijk Museum in Amsterdam, where he launched the emerging CoBRA group (1948).

Practitioners in the here and now around the globe, like the six installation artists who created and curated The Unwanted Landed in The Hague (2010), are liberating visual culture from its spatial dimensions of frame and wall, and transforming the gallery into a meta-exhibition. Viewers themselves are becoming de facto curators through Google Art Project, creating personal collections from home on their laptops. And artists like Frank Stella are replicating their work through the magic of 3D printing technology, no longer solely in the service of industry.

Curating in the gloobalsphere© studies the turn art, display, and displayer are taking into the realm of 1s and 0s. In the end, however, curating in cyberspace is virtual and cannot recreate the ambiance of the museum nor the heart and soul of a living breathing work. D’Antonio’s writing is as thought provoking as it is readable and re-readable. The book is a de rigeur text for college and grad students for its scholarly bibliography, reference list, archival photographs, and original illustrations. It is available in the Kindle Store on Amazon.com.