The Role of the Artist as Curator: Origins, Value, and Contemporary Practice

In recent decades, the role of the artist as curator has become a prominent feature of contemporary art practice, blurring the boundaries between making and organizing, between the creator of art and its contextualizer. While curators have traditionally been seen as mediators between artists and audiences, artists who take on curatorial roles bring a unique perspective to exhibition-making, creating new dialogues between artworks, spaces, and ideas. This practice not only redefines the relationship between art and curation but also challenges the hierarchies and power structures that have historically governed the art world.

This article explores the origins of the artist-as-curator phenomenon, examines its value to contemporary art, and outlines how artists approach and enact curatorial roles.

The Origins of the Artist as Curator

Early Artists as Organizers

The notion of artists organizing exhibitions and showcasing their own work is not new. In the late 19th and early 20th centuries, artists began taking control of how their work was displayed and contextualized, often in response to the exclusionary practices of formal institutions.

For example:

• The Impressionists (1874–1886): Frustrated by the conservative jury system of the Paris Salon, artists like Claude Monet, Edgar Degas, and Pierre-Auguste Renoir organized their own exhibitions, such as the historic first Impressionist exhibition in 1874. By doing so, they challenged the academy’s authority and redefined artistic legitimacy.

• The Secession Movements: Artists in Vienna (1897), Munich (1892), and Berlin (1898) established independent organizations to exhibit their work outside state-controlled academies. These movements emphasized the artist’s agency in determining how their work was presented.

Mid-20th Century: Conceptualism and Self-Determination

The mid-20th century saw an increasing number of artists engaging in curatorial practices, particularly within the context of conceptual art. Artists like Marcel Duchamp, who famously curated exhibitions such as First Papers of Surrealism (1942), began to treat curation itself as an extension of their creative practice. Duchamp’s approach highlighted the importance of context in shaping the meaning of art, a concept that remains central to artist-curators today.

In the 1960s and 70s, artist-led initiatives flourished as part of broader critiques of institutional authority. Spaces like the Artist Placement Group (APG) in the UK and the Judson Memorial Church in New York became platforms for artists to organize and exhibit work that challenged traditional hierarchies and conventions.

The Value of the Artist as Curator

The artist-as-curator phenomenon holds significant value for contemporary art, offering new ways to explore, present, and understand artistic practices. Here are some of its key contributions:

1. Expanded Artistic Practice

For many artists, curating is not separate from their creative work but an extension of it. Through curation, artists can explore themes, ideas, and questions that inform their own practice, often drawing connections between their work and that of others.

For example, Rirkrit Tiravanija, known for his participatory and relational art, has curated exhibitions that emphasize communal experiences and collective engagement, echoing the principles of his artistic practice.

2. Challenging Institutional Hierarchies

By taking on curatorial roles, artists challenge the traditional division of labor between artists and curators. This disrupts the power dynamics that have historically prioritized curatorial authority over artistic intention. As Hans Ulrich Obrist notes in Ways of Curating, “Artists who curate take back control of how their work and the work of others is framed, creating exhibitions that prioritize artistic vision over institutional constraints.”

3. Creating New Dialogues

Artist-curators often bring a unique perspective to exhibition-making, creating unexpected juxtapositions and narratives that reflect their own sensibilities. This approach can lead to innovative exhibitions that resonate with audiences in new and meaningful ways.

A notable example is the 2013 exhibition The Encyclopedic Palace at the Venice Biennale, curated by artist Massimiliano Gioni. The exhibition combined contemporary art with outsider and self-taught art, challenging conventional distinctions between high and low culture.

4. Fostering Community and Collaboration

Artist-curators frequently prioritize collaboration, creating opportunities for dialogue and exchange between artists, audiences, and communities. This approach aligns with broader trends in contemporary art that emphasize participation, co-creation, and social engagement.

How Artists Approach Curatorial Practice

The ways in which artists engage with curatorial work are as diverse as their artistic practices. However, some common approaches can be identified:

1. Thematic Curation

Many artist-curators organize exhibitions around themes or questions that resonate with their own work. This approach allows them to explore ideas in greater depth and to engage with other artists whose practices align with or challenge their own perspectives.

For instance, artist Theaster Gates often curates exhibitions and events that address themes of race, labor, and urban renewal, reflecting the social and political concerns of his own art.

2. Relational and Participatory Approaches

Some artist-curators emphasize relational and participatory strategies, creating exhibitions that prioritize audience engagement. These approaches often blur the boundaries between artist, curator, and viewer, fostering new forms of interaction and co-creation.

3. Experimental Display

Artist-curators often experiment with unconventional methods of display, challenging traditional exhibition formats and creating environments that reflect their own aesthetic sensibilities. For example, Olafur Eliasson has curated immersive exhibitions that integrate architecture, light, and sound, transforming the gallery space into an extension of his artistic practice.

4. Self-Curation

Many artists engage in self-curation, organizing exhibitions of their own work to maintain control over its presentation. This practice is particularly common among emerging and self-taught artists who may lack access to institutional support.

Challenges and Critiques of the Artist as Curator

While the role of the artist as curator offers many opportunities, it also raises questions and challenges:

1. Blurring Boundaries

The dual role of artist and curator can create tensions, particularly when an artist’s curatorial decisions are seen as privileging their own work or perspective. Critics argue that this can lead to exhibitions that lack curatorial rigor or neutrality.

2. Exclusion of Professional Curators

Some worry that the rise of artist-curators marginalizes professional curators, whose expertise and training are essential to the art ecosystem. This critique highlights the need for collaboration and dialogue between artists and curators rather than competition.

3. Institutional Co-optation

As the artist-as-curator phenomenon gains popularity, there is a risk that it may be co-opted by institutions as a way to capitalize on the artist’s vision without providing adequate support or resources. This dynamic raises concerns about exploitation and the undervaluation of curatorial labor.

The Future of the Artist as Curator

As the boundaries between artistic and curatorial practices continue to blur, the role of the artist as curator is likely to expand and evolve. Emerging trends include:

• Interdisciplinary Approaches: Artist-curators are increasingly working across disciplines, integrating performance, design, and digital media into their exhibitions.

• Decolonizing Practices: Many artist-curators are using their platforms to challenge Eurocentric and colonial narratives, creating exhibitions that amplify marginalized voices and histories.

• Community-Led Curation: Artist-curators are fostering new models of collaborative and community-driven curation, prioritizing inclusivity and accessibility.

Conclusion: The Artist as Curator in Contemporary Art

The role of the artist as curator reflects broader shifts in contemporary art, challenging traditional hierarchies and creating new opportunities for dialogue, collaboration, and experimentation. By stepping into curatorial roles, artists expand the boundaries of their practice, taking on new responsibilities as organizers, mediators, and facilitators of meaning. While this dual role raises important questions about power, labor, and expertise, it also offers a powerful model for rethinking the relationship between art and curation in the 21st century.

Works Cited

• Obrist, Hans Ulrich. Ways of Curating. Penguin Books, 2014.

• Shiner, Larry. The Invention of Art: A Cultural History. University of Chicago Press, 2001.

• Zolberg, Vera L. Constructing a Sociology of the Arts. Cambridge University Press, 1990.

• Duncan, Carol. Civilizing Rituals: Inside Public Art Museums. Routledge, 1995.

• Kris, Ernst. Legend, Myth, and Magic in the Image of the Artist. Yale University Press, 1934.