{"id":4081,"date":"2022-06-29T14:56:23","date_gmt":"2022-06-29T13:56:23","guid":{"rendered":"https:\/\/britishartnetwork.org.uk\/?post_type=2012cal&p=4081"},"modified":"2022-12-05T16:27:20","modified_gmt":"2022-12-05T16:27:20","slug":"contemporary-boom-creates-demand-for-those-who-can-organize-shows","status":"publish","type":"2012cal","link":"https:\/\/britishartnetwork.org.uk\/2012-events\/contemporary-boom-creates-demand-for-those-who-can-organize-shows\/","title":{"rendered":"“Contemporary boom creates demand for those who can organize shows”"},"content":{"rendered":"\n
“During the past decade, as the contemporary art world has grown to planetary size – more galleries, more fairs, more art-selling Web sites, bigger museums, new biennials almost by the month – it has sometimes seemed as if a new kind of cultural figure has been born as well: the international curator, constantly in flight to somewhere … The word itself has seeped into the language, a little too deeply (‘Curate your Facebook profile like you curate your life’, a social media blog counseled recently.) While the term ‘independent curator’ is misleading – curators are usually attached to institutions or programs, if only temporarily – the example of itinerant curators who have become art-world celebrities in recent years, like Okwui Enwezor, Hans-Ulrich Obrist and Neville Wakefield, has had an effect.” (Randy Kennedy in the International Herald Tribune <\/em>(European Edition), 24 July 2012)<\/p>\n","protected":false},"featured_media":4074,"template":"","acf":{"date":"20120724","search_field":"celebrity, curating"},"yoast_head":"\n