THE FIRST ANNUAL CONFERENCE
ABOUT
ARTIST-CURATED EXHIBITIONS
SOLD OUT
ABOUT
ARTIST-CURATED EXHIBITIONS
SOLD OUT
Saturday,
May 4, 2024
Sunday,
May 5, 2024
12 - 5pm
Day 1:
Elena Filipovic
Pati Hertling
Julie Tolentino
Edit Sasvári
Day 2:
Natalie Musteata
Nan Goldin
Alex Fialho
Zanna Gilbert
Broadcast live on Montez Press Radio
May 4, 2024
Sunday,
May 5, 2024
12 - 5pm
Day 1:
Elena Filipovic
Pati Hertling
Julie Tolentino
Edit Sasvári
Day 2:
Natalie Musteata
Nan Goldin
Alex Fialho
Zanna Gilbert
Broadcast live on Montez Press Radio
In her 2017 anthology titled The Artist as Curator, the curator and art historian Elena Filipovic asks a seemingly simple question: what happens to exhibitions when artists are the curators?
When artists curate, not only do they share their perspectives on the work of their peers, but they tend to propose different ideas about what an exhibition is for and what it can do. A closer look at a history of artist-curated exhibitions could bring significant insights to the field.
How do these exhibitions differ from ones curated by curators? Do shared typologies or strategies emerge? What is the value, and the risks, involved with an exhibition that centers an artist's perspective on other artists? What is the artistic expression of an artist-curated exhibition? Why do museums invite artists to curate? What are some of the agendas, motivations, and expectations involved? What can curators, and museum professionals more generally, learn from artist-curated exhibitions? How does that history affect or inform a broader history of curatorial practice?
When artists curate, not only do they share their perspectives on the work of their peers, but they tend to propose different ideas about what an exhibition is for and what it can do. A closer look at a history of artist-curated exhibitions could bring significant insights to the field.
How do these exhibitions differ from ones curated by curators? Do shared typologies or strategies emerge? What is the value, and the risks, involved with an exhibition that centers an artist's perspective on other artists? What is the artistic expression of an artist-curated exhibition? Why do museums invite artists to curate? What are some of the agendas, motivations, and expectations involved? What can curators, and museum professionals more generally, learn from artist-curated exhibitions? How does that history affect or inform a broader history of curatorial practice?
Everything at GPS is about artists supporting and engaging with the work of other artists—whether it's by hosting an event about someone's work, selecting tracks for an LP, or jurying a small grant. What emerges is an artist's perspective on the work of another artist, poet, or musician.
And so every year, GPS convenes a two-day conference about artist-curated exhibitions. A different selection of case studies provides an annual forum for new scholarship about this under-studied and under-historicized curatorial form.
This inaugural conference was developed through a graduate course at the Center for Curatorial Studies, Bard College (CCS Bard) led by Anthony Huberman, visiting faculty at CCS Bard, and was organized by Josefina Barcia, Daré Dada, Lili Rebeka Tóth, and Clara von Turkovich.
And so every year, GPS convenes a two-day conference about artist-curated exhibitions. A different selection of case studies provides an annual forum for new scholarship about this under-studied and under-historicized curatorial form.
This inaugural conference was developed through a graduate course at the Center for Curatorial Studies, Bard College (CCS Bard) led by Anthony Huberman, visiting faculty at CCS Bard, and was organized by Josefina Barcia, Daré Dada, Lili Rebeka Tóth, and Clara von Turkovich.
Saturday, May 4
12pm
Introduction by Anthony Huberman (GPS)
Keynote lecture:
Elena Filipovic, "The Artist as Curator"
1:30pm
Case Study #1: Coming to Power: 25 Years of Sexually X-Plicit Art by Women, curated by Ellen Cantor (David Zwirner, New York 1993; re-staged at Maccarone, New York, 2016)
Conversation: Pati Hertling and Julie Tolentino, introduced and moderated by Clara von Turkovich
3pm
Case Study #2: Exhibitions at the Chapel, curated by György Galántai (Balatonboglár, Hungary, 1970 - 1973)
Lecture by Edit Sasvári, introduced by Lili Rebeka Tóth
4:30pm
Drinks
12pm
Introduction by Anthony Huberman (GPS)
Keynote lecture:
Elena Filipovic, "The Artist as Curator"
1:30pm
Case Study #1: Coming to Power: 25 Years of Sexually X-Plicit Art by Women, curated by Ellen Cantor (David Zwirner, New York 1993; re-staged at Maccarone, New York, 2016)
Conversation: Pati Hertling and Julie Tolentino, introduced and moderated by Clara von Turkovich
3pm
Case Study #2: Exhibitions at the Chapel, curated by György Galántai (Balatonboglár, Hungary, 1970 - 1973)
Lecture by Edit Sasvári, introduced by Lili Rebeka Tóth
4:30pm
Drinks
Sunday, May 5
12pm
Introduction by Lara Fresko Madra (CCS Bard)
Keynote lecture:
Natalie Musteata, "The Institutionalization of Artist-Curated Exhibitions"
1:30pm
Case Study #3: Witnesses: Against Our Vanishing, curated by Nan Goldin (Artists Space, New York, 1989)
Conversation: Nan Goldin and Alex Fialho, introduced by Daré Dada
3pm
Case Study #4: Novísima Poesía / 69, curated by Edgardo Antonio Vigo (Centro de Artes Visuales del Instituto Torcuato Di Tella, Buenos Aires, 1969)
Lecture by Zanna Gilbert, introduced by Josefina Barcia
4:30pm
Drinks
12pm
Introduction by Lara Fresko Madra (CCS Bard)
Keynote lecture:
Natalie Musteata, "The Institutionalization of Artist-Curated Exhibitions"
1:30pm
Case Study #3: Witnesses: Against Our Vanishing, curated by Nan Goldin (Artists Space, New York, 1989)
Conversation: Nan Goldin and Alex Fialho, introduced by Daré Dada
3pm
Case Study #4: Novísima Poesía / 69, curated by Edgardo Antonio Vigo (Centro de Artes Visuales del Instituto Torcuato Di Tella, Buenos Aires, 1969)
Lecture by Zanna Gilbert, introduced by Josefina Barcia
4:30pm
Drinks
Witnesses: Against Our Vanishing, curated by Nan Goldin (Artists Space, New York, 1989)
Coming to Power: 25 Years of Sexually X-Plicit Art by Women, curated by Ellen Cantor (David Zwirner, New York 1993
Exhibitions at the Chapel, curated by György Galántai (Balatonboglár, Hungary, 1970 - 1973)
Novísima Poesía / 69, curated by Edgardo Antonio Vigo (Centro de Artes Visuales del Instituto Torcuato Di Tella, Buenos Aires, 1969)
Elena Filipovic is the Director of Kunstmuseum Basel and editor of The Artist as Curator: An Anthology (Mousse Publishing, 2017).
Pati Hertling is the Director of Performance Space New York and co-curator of the 2016 re-staging of Ellen Cantor's 1993 exhibition Coming to Power: 25 Years of Sexually X-Plicit Art by Women.
Julie Tolentino is an artist and co-curator of the 2016 re-staging of Ellen Cantor's 1993 exhibition Coming to Power: 25 Years of Sexually X-Plicit Art by Women. Tolentino is core faculty at California Institute of the Arts.
Edit Sasvári is an art historian and the former Director of the PIM Kassák Múzeum in Budapest.
Pati Hertling is the Director of Performance Space New York and co-curator of the 2016 re-staging of Ellen Cantor's 1993 exhibition Coming to Power: 25 Years of Sexually X-Plicit Art by Women.
Julie Tolentino is an artist and co-curator of the 2016 re-staging of Ellen Cantor's 1993 exhibition Coming to Power: 25 Years of Sexually X-Plicit Art by Women. Tolentino is core faculty at California Institute of the Arts.
Edit Sasvári is an art historian and the former Director of the PIM Kassák Múzeum in Budapest.
Natalie Musteata is a curator, writer, and film producer. She holds a Doctorate in art history and a film certificate from The Graduate Center, CUNY. Her doctoral dissertation was titled "The 'I' of the Artist-Curator."
Nan Goldin is an artist and curator of Witnesses: Against Our Vanishing (Artists Space, New York, 1989).
Alex Fialho is a PhD candidate in the History of Art and African American Studies at Yale University and a 2023–2024 Helena Rubinstein Critical Studies Fellow in the Whitney Museum Independent Study Program.
Zanna Gilbert is a senior research specialist at the Getty Research Institute in Los Angeles. Her research focuses on transnational conceptual art, feminisms, and the international mail art network, with a particular focus on Latin America.
Nan Goldin is an artist and curator of Witnesses: Against Our Vanishing (Artists Space, New York, 1989).
Alex Fialho is a PhD candidate in the History of Art and African American Studies at Yale University and a 2023–2024 Helena Rubinstein Critical Studies Fellow in the Whitney Museum Independent Study Program.
Zanna Gilbert is a senior research specialist at the Getty Research Institute in Los Angeles. Her research focuses on transnational conceptual art, feminisms, and the international mail art network, with a particular focus on Latin America.
Due to the age and character of the building, the space is not optimized for ADA accessibility and is located up a single flight of 20 stairs with handrails. If you have questions about access, please contact us in advance of the event, and we will make every effort to accommodate you.
