Chat Room's generally post-internet worldview awoke again when members tested O'Neill's definition of the now popularized verb "to curate," as now practiced by nearly anyone with a social media account. O'Neill's defense was to site this battle upon the "praxis" of the curator who, he said, must work with art or artists. This tautology struck the class as sort of hidebound to the decadent postcolonial biennial circuit of the 1990s and 2000s, or the late Manifestas, Documentas, and Performas. Boris Groys touches on this in his new book Going Public, "Today, there is no longer any 'ontological' difference between making art and displaying art. In the context of contemporary art, to make art is to show things as art. So the question arises: is it possible, and, if so, how is it possible to differentiate between the role of the artist and that of the curator when there is no difference between art's production and exhibition." O'Neill's book helpfully included Andrea Fraser's definition of the institution of art as a condition of its existence as such: "art is art when it exists for discourses and practices that recognize it as art..."


AuthorMike Pepi