Development of a Curatorial Lexicon

Curatorial Lexicon Review
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Curatorial Lexicon Review
Artistic aesthetic autonomy
Artistic aesthetic autonomy is a term that was coined as a result of Alfred Barr’s exhibition technique. Barr’s exhibition technique entailed installing paintings at a standardized height, with the walls painted a neutral color. Further, sculptures were placed on either “white or neutral-colored pedestals” (Staniszewski, 2016 p. 70). Barr sought to move from the traditional painting style, where paintings were installed symmetrically per their shape and sizes. Barr sought a new and different approach to installing paintings, and his method proved popular enough to enhance the reception of “modern art in the United States” (Staniszewski, 2016 p. 61).
Artistic aesthetic autonomy mainly entails the independence or freedom to veer from the traditional forms of not only installing art but also consuming art. Through Barr’s exhibition technique, there is a sense of intimacy that the viewer of art is provided, which enhances their appreciation of art more. The technique sort of frames the artwork and the viewer in a world of their own, where they are ‘unfettered by other social formations’ (Staniszewski, 2016 p. 66). In a world of their own, it becomes a more intimate environment where art enthusiasts interact independently with art. What Barr did transformed how people consumed art and gave meaning to the environment where art is housed.
Artistic aesthetic autonomy has continued to morph while absorbing different elements and enhancing art consumption. In any aspect or element where autonomy is encouraged, people find ways to stretch the previously identified limits. The same is being seen in the world of art, and this is helping to bring about more innovative ideas similar to the Barr’s.
Demystification
Demystification mainly entails the aspect of bringing down the walls that existed between critics, curators, and artists. Traditionally, the roles of the artist, curator, and critic were independent of each other, and there were strict demarcations to ensure these walls were maintained. However, in the late 1960s, these demarcations were slowly but surely bypassed. Artists took up writing, while curators decided to try their hand at the creativity that is involved in artistry. Siegalaub aptly notes this saying that the traditional ideas of a ‘gallery dealer, curator, artist-curator, critic-writer, and a painter-writer’ were becoming increasingly unpopular (O'Neill, 2012 p. 19). The lines that separated these ‘roles’ became more indistinct, and there was a lot of movement from one role to another.
Siegelaub was the first person to use the term demystification to recognize the changing landscape in the art world. He believed this process was necessary and helped enrich the ‘curatorial components of an exhibition’ (O'Neill, 2012 p. 19). With ideas from people in different roles now becoming more mainstream, exhibitions became more enhanced. For example, an artist giving ideas of how their work ought to be displayed helped to give their work more meaning than before because they understand their work better than oth...