Terry Smith

Andrew W. Mellon Professor of Contemporary Art History and Theory, University of Pittsburgh

Thinking Contemporary Curating

 

THINKING CONTEMPORARY CURATING

By Terry Smith. Introduction by Kate Fowle
Softcover, 272 pages, 54 B&W illustrations
Published by Independent Curators International (ICI), 2012

Thinking Contemporary Curating is available as digital and softcover versions and is distributed by Distributed Art Publishers (DAP), ISBN: 978-0-916365-86-8. Paperback, 6.25 x 8.5 inches, 256 pages, 25 black-and-white illustrations. $19.95.

 

Touring Conversation Series:

December 6, 2013, “Recurating: When Exhibitions Become Reified,” panel and book launch, Monash University Curatorial Program, MOTO, Melbourne

September 14, Discussion with Paul O’Neill and Liam Gillick, New Museum, New York

August 24, 2013, Thinking Contemporary Curating Book launch and lecture, Metelkova Museum of Contemporary Art, Ljubljana

August 3, 2013, Urgent Talks, Discussion with Mami Kataoka, Mori Art Museum, Tokyo

July 24, 2013, NIEA master class on Thinking Contemporary Curating, College of Fine Arts, UNSW

February 16, 2013, “Terry Smith in Conversation with Julian Myers,” discussion, College Art Association Annual Meeting, New York

 

December 12, 2012, “Contemporary Art Museums; Discussion with Claire Bishop,” National Institute for Experimental Arts, College of Fine Arts, University of New South Wales, Sydney

Terry Smith in Conversation with Mary Jane Jacob, Executive Director of Exhibitions, SAIC
Sunday, November 18, 1–3 PM
The Museum of Contemporary Art Chicago
220 East Chicago Avenue, Chicago, IL 60611
FREE

Terry Smith
Monday, November 19, closed-door session
The School of Art Institute of Chicago
37 South Wabash Avenue, Chicago, IL 60603

Terry Smith in Conversation with Jens Hoffmann, Director, Wattis Institute of Contemporary Art
Tuesday, October 23, 7–9 PM
Wattis Institute for Contemporary Art
California College of the Arts
350 Kansas Street, San Francisco, CA 94107

Terry Smith in Conversation with Carolyn Christov-Bakargiev, Artistic Director, dOCUMENTA(13)
Sunday, October 14, 3 PM
The New Museum
235 Bowery, New York, NY 10002
RSVP to rsvp@curatorsintl.org

Terry Smith in Conversation with Sofia Hernández Chong Cuy, Curator, Colección Patricia Phelps de Cisneros
Sunday, September 30, 3–4 PM
New York Art Book Fair
MoMA PS1
22-25 Jackson Avenue, Long Island City, NY 11101
FREE

Book Launch & Reading with Terry Smith
Tuesday, September 18, 7–9 PM
New York University
Department of Art History
300 Silver Center, 3rd floor
100 Washington Square East
New York, NY 10003

On Facebook:

http://www.facebook.com/media/set/?set=a.10151166339551067.468579.43983956066&type=1

A Tribute to Bernard Smith 3.10.1919-2.9.2011

A Tribute to Bernard Smith, National Gallery of Victoria, Melbourne, November 28, 2011

Click on “View Video” at

http://www.ngv.vic.gov.au/about-us/people-and-projects/bernard-smith

Book Launch and Panel Discussion: Contemporary Art – World Currents Sotheby’s Institute of Art – London

Panel discussion with Dr. Leon Wainwright, Lecturer in Art History at The Open University, Terry Smith, Professor of Contemporary Art History and Theory at the University of Pittsburg, Tessa Jackson, OBE, and Dr. Anthony Downey, Programme Director, MA Contemporary Art.

Book Launch and Panel Discussion: Contemporary Art – World Currents

Sotheby’s Institute of Art – London held a panel discussion and a book launch of Contemporary Art: World Currents by Terry Smith on Wednesday 21 September 2011. Published by Laurence King, the book was launched by Sandy Nairne, Director, National Portrait Gallery.

To view video, go to http://www.openartsarchive.org/oaa/content/contemporary-art-world-currents

http://www.sothebysinstitute.com/About/Media-Gallery/Book_Launch.aspx

One and Three Ideas: Conceptualism before, during and after Conceptual Art

A lecture during conference “Global Conceptualism: The Case of Moscow Conceptualism in an International Context,” Center for Russian Writers, Moscow, sponsored by the Stella Art Foundation, April 14, 2011

To view click on   symposium

It is a nice paradox that the term ‘conceptualism’ came into art world existence after the advent of Conceptual Art – most prominently and programmatically in the exhibition Global Conceptualism: Points of Origin, 1950s-1980s (New York: Queens Museum, 1999) – mainly in order to highlight the fact that innovative, experimental art practices occurred in Russia, Japan, South America, and elsewhere prior to, at the same time as and after the European and US initiatives that had come to seem paradigmatic, and to emphasize that these practices were more socially and politically engaged – and thus more relevant to the present and better art – than the well-known EuroAmerican exemplars. Triggered by remarks made by some of the key artists back in the day (and some made, later, by curators), I wish to revisit the terms ‘Conceptual Art’ and ‘conceptualism’ as pointers to what was at stake in the unraveling of late modern art during the 1960s and in art’s embrace of contemporaneity since.

Posted as part of “Empty Zones: Andrei Monastyrski and Collective Actions,” curated by Boris Groys, Russian Pavilion, 54th Venice Biennale

http://www.ruspavilion.ru/en/symposium/report–31/

Published in e-flux journal, #29 (11, 2011) online at

http://www.e-flux.com/journal/view/267

Charts and Diagrams

Powerpoint of charts and diagrams used in recent lectures on contemporary art, contemporaneity, curating, world-picturing and planetarity.

Feel free to download

SMITH Cont Art Charts

CHARTS AND DIAGRAMS RELATING TO CURATING

CURATING CONTEMPORARY ART: STRUCTURES and FLOWS

TERRY SMITH

College of Fine Arts, University of New South Wales                  July 24, 2013

 

The Exhibitionary Complex

Universal history of art museums

Period museums, national collections, geopolitical area or civilization

museums, city museums

Museums of modern art, museums of contemporary art

University galleries, art school galleries

Private collection museums

Single artist museums, one-medium museums, and spaces dedicated to

large-scale commissioned installations.

Kunsthalles, alternative spaces, artist-operated initiatives, satellite spaces,

and the exhibition venues of art foundations (some of which have

collections)

Institutes of various kinds that include exhibitions as one part of their

research, publication, and educational activities

Temporary events and online sites

 

(All in the setting of many other exhibitionary venues, sites, and events.

 

Art Curating: professional categories

Collection care (collecting, conservation, display)

Museum director/curator

Museum-based temporary exhibitions maker

Kunsthalle, artspace director/curator

Artist/curator

Independent Curator (transnational, international, regional, national, specific)

Curatorial collectives

 

Exhibitions, types:

Private (domestic or grand scale)

Collection rooms in a public museum

Temporary exhibitions (one-off, recurrent, traveling):

Surveys of     Mediums

Periods

Places (areas, civilizations, nations, cities)

Schools of Artists

Group shows (single, occasional, recurrent)

Individual artists (introductory, mid-career, retrospective, revisitation)

Themes within art history

Topics, usually originating outside art

Biennials

 

Exhibitions, display fundaments:

Aristocratic private collections (c15th)

Academy instructional displays (c16th)

Annual Salons (c17th)

Historical Schools of Art (Public Museums c19th)

Modern Aestheticism (late c19th, early c20th)

Modernist “White cube” (mid-c20th)

Black box, installations (late c20th, c21st)

Open-plan, Participatory

On-line, Virtual

 

 

Exhibitions, formats, modes of exhibitionary meaning (since the 1960s):

Those shaped by powerful art styles:

Pop, Minimalist, Documentation (by conceptualism), archival

Post-avantgarde, anti-museum exhibition (When Attitudes Become Form)

“Ahistorical,” time travel (Artempo), Cabinet of Curiosities (Venice 2013)

Postcolonial, transnational (Magiciens de la terre; documenta 11)

Institutional Critique

Spectacle, gesammtkunstwerk, Entertainment

Art Historical Revisionism

Recurating exhibition histories

Collective, dispersed, creative commons

Activist (Living as Form)

 

Psychic, cultural, social, economic, worlds-within-the-World.

Modernity

Postmodernity

Contemporaneity

 

Curatorial thought: its constituents

Exhibit art’s work. Renounce reticence. Curate reflexively. Build research capacity. Articulate curatorial thinking. Archive the achievements. Reinvent exhibition formats. Turn the exhibitionary complex. Proliferate alternative exhibitionary venues. Activate infrastructure. Embrace spectatorship. Curate contemporaneity in art and society—past, present, and to come—critically.

Comment on Ai Weiwei

Among the many symbolic resonances attending Ai Weiwei’s disappearance on 3 April into the custodianship of the Chinese authorities is the sad state of his website, once among the most trafficked in China…

See ”The Art of Dissent: Ai Weiwei”, The Monthly, June 2011.

http://www.themonthly.com.au/ai-weiwei-art-dissent-terry-smith-3356

Australia Council Visual Arts Award 2010, awarded at the the National Gallery of Australia, Canberra

The following is taken from the Australia Council for the Arts.

Contemporary art theorist Terry Smith and distinguished art director Elizabeth Ann Macgregor are being honoured for their innovative and meaningful contribution to Australian visual arts and culture, receiving the Australia Council Visual Arts Award and Medal respectively.

Parliamentary Secretary for the Prime Minister, Senator Kate Lundy presented the awards at a ceremony on 20th May at the National Gallery, Canberra.

Formerly titled the Australia Council Emeritus Award, the Australia Council Visual Arts Award and Medal is an annual recognition of outstanding contributors to Australian visual arts.

Professor Terry Smith will receive $40,000 for his role as a respected critic, theorist and historian of Australian art within Australia and overseas, contributing to contemporary art theory and further advancing the reputation of the Australian artistic sector.

Guest Author, Global Art and the Museum project, ZKM, Karlsruhe, December 2010

Featuring an extract from the Introduction to Contemporary Art: World Currents (London: Laurence King; Upper Saddle River, NJ: Pearson/Prentice Hall, 2011).

The following is taken from the Global Art and the Museum.

Terry Smith is acknowledged world wide as the leading authority in the theory of contemporary art. We therefore are honoured and grateful to have his consent to prepublish parts of the general introduction of his forthcoming book Contemporary Art: World Currents (London: Laurence King; Englewood Cliffs, NJ: Pearson/Prentice Hall, 2011). The text explains the contents and aims of the book. We have selected those parts, which break down the general phenomenon of contemporary global art into three “world currents,” which are distinguished from each other, and thus develop a novel analysis of the present situation in the art world. Thus, our text selection serves to awaken the curiosity of our website users to read the full arguments in the book coming out in 2011. The originality of the author’s approach, in emphasizing contemporaneity as the credo of a new faith, also emerges from his attention to what has occurred in late modern art since the 1950s. His career began in the context of the debate about Australia’s place in modernity in the 1960s. Making the Modern, the title of his Ph.D. thesis and subsequent book, indicates his point of departure for his present project, which could be called “Making Contemporaneity.”

The College Art Association announces the 2010 Awards for Distinction

Frank Jewett Mather Award citation:

Terry Smith is that rare art and social historian able to write criticism at once alert to the forces that contextualize art and sensitive to the elements and qualities that inhere to the works of art themselves. His most recent book, What Is Contemporary Art? (Chicago: University of Chicago Press, 2009), contains a series of interrelated essays that unpack a vast range of topics and issues and take the reader on a theoretical tour through some of the world’s most influential art museums, laying bare their conflicted missions and studying the heightening distinction, and dispute, between modern and contemporary art.

http://www.collegeart.org/news/2010/01/08/caa-announces-2010-awards-for-distinction/
Details about the Mather Award.

FRANK JEWETT MATHER AWARD

The Frank Jewett Mather Award, first presented in 1963 for art journalism, is named in honor of the art critic, teacher, and scholar who was affiliated with Princeton University until his death in 1953. It is awarded for significant published art criticism that has appeared in publication in a one-year period; the 2010 award year is September 1, 2008–August 31, 2009. The Mather award may be given for work that originated before the indicated period provided that such work extends into the award period.

Past Winners

The Frank Jewett Mather Award has been presented to many well-known art critics and writers. In the 1960s, awards were presented to Max Kozloff, Barbara Rose, and Clement Greenberg, while Lawrence Alloway, Rosalind Krauss, and Lucy R. Lippard were recipients in the 1970s. The Mather awards of the 1980s were given to Robert Hughes, Leo Steinberg, and Douglas Crimp, among others, followed by Eleanor Heartney, Arthur C. Danto, and Christopher Knight in the 1990s. Most recently, Boris Groys was honored for his essays in Art Power, which address curatorship and criticism of modern and contemporary art in public venues.

2009 Georgia O’Keeffe Museum Research Center Book Prize

The 2009 Georgia O’Keeffe Museum Research Center Book Prize ($5,000) is awarded to Terry Smith, Andrew W. Mellon Professor of Contemporary Art History and Theory, University of Pittsburgh for Making the Modern: Industry, Art, and Design in America (University of Chicago Press, 1993).

Jurors:
Michael Leja, University of Pennsylvania
Nancy Mowll Matthews, Williams College Museum of Art
Patricia Hills, Boston University
Jonathan Fineberg, University of Illinois and Director, Illinois at the Phillips, The Center for the Study of Modern Art

The Georgia O’Keeffe Museum Research Center Book Prize will be awarded every three years to the author(s) of a book on some aspect of American Modernism (1890s – present), including architecture, criticism, design, methodology, painting, photography, sculpture, and related subjects, published within the last twenty-five years. A cash award of $5,000 will accompany the prize.

The Georgia O’Keeffe Museum Research Center Book Prize will be awarded every three years to the author(s) of a book on some aspect of American Modernism (1890s – present), including architecture, criticism, design, methodology, painting, photography, sculpture, and related subjects, published within the last twenty-five years. A cash award of $5,000 will accompany the prize.

http://www.okeeffemuseum.org/the-research-center/book-prize.aspx

http://www.artknowledgenews.com/2009-09-11-22-28-23-terry-smith-named-2009-winner-of-georgia-okeeffe-museum-book-prize.html