How do curators affect the meaning of the work?

1. Selection and categorization of the work

-Ideology of selection and classification: “No exhibition can be neutral”

Curating an exhibition involves more than just the simple delivering of art work and its meaning; it emphasizes on the ability of the work to reclaim, transform, and even generate meaning. In planning the exhibition, the curator exercises power over the selection and categorization of art works. Despite the in-depth research and efforts to remain objective, it’s inevitable for the curator to lose the neutral stance as he or she goes through a process of selection, screening, value-judgment, composition and contextualization of the work.

In his book The Imaginary Museum, Andre Malraux commented, “The museum is a place which transforms meaning. However, because not all images and objects in the world can be shown in the museum, it tries to create as much meaning as possible through selective images and objects.” The power of the exhibition as a strong generator of meaning is also evident in Jacques Hainard’s term ‘Vitrinification” which suggests that “Everything is given or changed of its meaning the moment it’s put on display”.

Thus it’s absolutely critical to reflect on the idea of ‘display’ in order to more effectively deliver the meaning which the curator wishes to convey through the exhibition. In exhibition, text remains as a record, and the ‘display’ is ultimately what communicates with the viewer and helps to deliver the meaning of the work. Therefore, throughout the entire process of planning the exhibition, the curator must always think about the ways in which the image can be read without the text.

2. Involvement of meaning through display

- History of display and the birth of the ‘white cube’

The form of display ? from salon-style exhibitions that hung paintings on walls out of the desires to show off personal collections, to traditional museums and art museums, as well as galleries and art institutions today ? is closely reflective of the purpose of exhibition of the time. In the salon-style exhibition, paintings were hung indiscriminately from ground to ceiling on red walls to make it seem like there were as many works in the collection as possible. On the other hand, the green walls commonly used in traditional art museums heightened the educational effect. The study on psychological effect of color started with Theory of Colors by Johann Wolfgang von Goethe, and inspired works by Kandinsky of Bauhaus and Paul Klee, etc. The art museum walls, at first painted in red and green, started to be painted in black and grey, then in mid-20th century, the museum started to take on the form of the white cube with white walls in order to heighten the concentration on the work. Such changes are deeply related to the ‘changes in the social status of the artist’. With the rise in the social status of the artist, the galleries and museums started to explore ways of displaying the artists’ works without intervening elements. Displaying works by living artists also stirred up changes in the display method. The white cube was an exhibition method which Alfred Barr Jr., the first director of MoMA, saw most befitting to show the collection of MoMA. Since then, with the expansion of global influence of MoMA, the white cube became recognized as an exhibition standard for contemporary art.

- Mediation of Design: Color, Hanging, Channel of Movement and Lights, etc.

Besides applying different colors on the walls, a lot more experimentation in the various ways of display took place in 19th century to early 20th century more so than it does today.  The 1st Dada International Fair held in Berlin in 1920 attempted to exclude the individuality and uniqueness of the artist by randomly placing the works and hanging sculptures of human forms from the ceiling. And Abstract Cabinet by Lazar El Lissitzky in 1927, is a model example of an exhibition method which actively and effectively used visual elements rather than text.

Exhibition differs from films and theater arts in that it has a very unique nature which ‘engages with the viewer physically’. The curator must also think about the viewer’s ‘channel of movement’, and explore ways of leading the viewer’s channel of movement and making the experience as accessible and meaningful as possible from all directions. Curated by Frederick Kiesler in 1942, The Art of This Century experimented with new attempts in exhibition, such as offering specifically designated chairs to view particular works, or making the works on the walls flexible in angle in order to facilitate the audience’s viewing. Exhibitions with propaganda agenda were the most successful in leading the viewer’s vision and channel of movement. In Applied Arts Exhibition by Herbert Bayer in 1930, and Road to Victory designed by Bayer and curated by Edward Steichen in 1942, the curator vigorously intervened in the display method with a very powerful will and purpose to deliver a meaning.

3. Commissioned art work productions and projects

-Dual aspects of curator as artist and star curator

Harald Szeemann’s exhibition When Attitudes Become Form (1969) itself is acclaimed as a work of art. Not only did Szeemann influence exhibition planning practice in Europe enormously since then, the exhibition brought Szeemann international acclaim and fame. Such emergence of artist-cum-curator, or star curator, is interconnected with the onset of exhibitions and projects as commissions and works that can only stand as an exhibition form, and also vigorously prompted large-scale exhibitions.

The star curator performs double functions in that he or she generates powerful discourse and meaning, and also produces star artists. Most artists grow their capability and status as an artist through approval and support from the majority or passing of time (although it cannot be considered in objective standards). In the case of star artists discovered by star curators, on the other hand, there is always an element of danger in that the primary criticism on the star artist rests limited on the judgment of an individual (star curator).
 
4. Text

- The curator’s text

The curator’s text is a tool of communication with the world, which allows research and exploration into the artist’s works and practice. Simply categorizing exhibitions into solo exhibitions and group exhibitions, the curator’s text in the two types of exhibitions differ a great deal in the approach he or she takes. In solo exhibitions, the curator’s text is written to bridge the ‘communication between the artist and audience’. Through in-depth text about art work and practice, the most important function of the curator is to offer a chance for the artist to rediscover his or her own work, and to open a channel of communication between the audience, the artist, and the work. On the other hand, the purpose of writing text for group exhibitions is to ‘deliver the curator’s ideas’. In writing about the criteria for exhibition intent and selection of subject and artists or art works, the purpose of the text rests on delivering the curator’s own thought and meaning on the subject. In solo exhibitions, the curator’s text becomes an agency of communication, and in group exhibitions, the curator’s text becomes the host of communication.

While the curator’s text is a work of creation itself, it also has the duty to deliver meaning and truth. In order to successfully carry out the two contradictory functions, the curator must perpetually attempt to facilitate in-depth and multidimensional understanding of the work, and keep on checking up on him or herself to prevent distorted interpretation and deliverance of meaning.