

Hardcover: 192 pages
Publisher: Farrar, Straus and Giroux (November 4, 2014)
Language: English
ISBN-10: 0865478198
ISBN-13: 978-0865478190
Product Dimensions: 5.8 x 0.7 x 8.6 inches
Shipping Weight: 12 ounces (View shipping rates and policies)
Average Customer Review: 4.0 out of 5 stars See all reviews (6 customer reviews)
Best Sellers Rank: #123,756 in Books (See Top 100 in Books) #26 in Books > Politics & Social Sciences > Social Sciences > Museum Studies & Museology #117 in Books > Arts & Photography > Study & Teaching #117 in Books > Arts & Photography > Collections, Catalogs & Exhibitions

The first two or three chapters of WAYS OF CURATING were very engaging, and quite promising. Then the book descended into a fog of buzzwords, cliches, and what seemed like self-aggrandizement. "I met him. I talked with her. He is one of my role models. I taught him this. I am making this grand synthesis." So much name droppingâbut not very interesting names to those not in the German-centric art world. What comes through is a kind of strange ego-less egotism. Mr. Obrist seems a very earnest and energetic peripatetic curator, but perhaps way too caffeinated, and focusing too much on the surface of things. (Or, perhaps he just hasn't communicated his deeper thoughts and feelings? It's the "authentic" story that we readers crave.) Overall the book provides no profound insights whatsoever about the content of Mr. Obrist's collaborations. It is as if all that interests Mr. Obrist is scintillating sparkle.Two additional points: (1) The book's dust jacket, though tactilely delightful, smell horrible. And the smell doesn't go away with time. I eventually threw the dust jacket away. (2) I purchased this book in a brick and mortar bookstore.
Less 'Ways of Curating' and more 'Who I Worked With While Curating', this book is a work diary of sorts for Mr. Obrist. It is peppered with (important) names he has collaborated with, but there is little in the way of gems - you'll find one or two in each chapter on average. There is also little mention of how other curators did their jobs - just a few passing mentions and pretty much only for those he have met in person.Some of the examples might have been better brought to life with illustrations, especially if there is no proper chronicles to be found online. But alas... no such luxury was afforded the readers.An okay read, but I felt the title was rather misleading. Felt that such a rich and interesting topic would have had so much more to offer.
I quite like this book, as it did open my eyes to the fact that the curating world is a fairly multi-layered world, and it goes way beyond just hanging pictures on a wall.What I like is the rather simple manner in which he writes, and this kept me somewhat engaged throughout. There is a lot of name-dropping, and this does spoil the book somewhat.Also, when he uses terms like 'the greatest artist' etc, I cannot help but think that he, like many Western writers, cannot see beyond the Western / Northern Quarter of the world. Latin America, Asia, Australia are beyond their vision.I would have liked some photographs. This would have helped to illustrate the points he was wanting to make.Apart from these, for me, a good book.
What an exuberant, border-crossing, time-and-space traveling missile of a book! With Obrist as our guide we enter into the fascinating history of curation as well as countless conversations and exhibitions of the present. This linked series of essays far exceeded my expectations and provided pleasure and learning beyond its relatively few pages. Obrist's life pulses with creativity, experimentation, and cosmopolitanism; this is an exciting introduction to the world of curation -- and for my money not at all mere name-dropping, as other reviewers have suggested. My only complaint is that the book would have been better with photos of the art described. Check it out!
Really interesting, I have never highlighted a book with such gusto.Full of ideas to open Art into a wider arena than just the walls !
an excellent overview of how Art and the presentation of art has evolved and influenced Obrist's approach to curating. Highly recommended.
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