The alchemy of good curating amounts to this: Sometimes, placing one work of art near another makes one plus one equal three. Two artworks arranged alchemically leave each intact, transform both, and create a third thing.
Interpretation
The arrangement of artworks can enhance their value and meaning beyond their individual qualities.
This quote by Jerry Saltz highlights the transformative power of curation in art. It suggests that when two artworks are placed in proximity, they can interact in ways that generate a new interpretation or emotional resonance, creating an added layer of significance that is not present when viewed separately. Good curation thus goes beyond mere placement; it is about creating relationships that enhance the viewer's experience.
In practice
In a gallery opening, this quote could be used to highlight the importance of curation.
'Untitled' is a time machine that can transport you to 1992, an edgy moment when the art world was crumbling, money was scarce, and artists like Tiravanija were in the nascent stages of combining Happenings, performance art, John Cage, Joseph Beuys, and the do-it-yourself ethos of punk. Meanwhile, a new art world was coming into being.
Artists working for other artists is all about knowing, learning, unlearning, initiating long-term artistic dialogues, making connections, creating covens, and getting temporary shelter from the storm.
I have a soft spot for art that, in terms of subject matter and material, is in bad taste.
The giant white cube is now impeding rather than enhancing the rhythms of art. It preprograms a viewer's journey, shifts the emphasis from process to product, and lacks individuality and openness. It's not that art should be seen only in rutty bombed-out environments, but it should seem alive.
In art, scandal is a false narrative, a smoke screen that camouflages rather than reveals. When we don't know what we're seeing, we overreact.
I don't often go to curator or artist walk-throughs of exhibitions. For a critic, it feels like cheating. I want to see shows with my own eyes, making my own mistakes, viewing exhibitions the way most of their audience sees them.
It's taken me other places, but it was the impulse to write that led me to singing. I'm not a musician. I never thought of performing in a rock n' roll band. I was just drawn in. It was like being called to duty - I was called to duty, and I did my duty as best as I could.
One must die to life in order to be utterly a creator.
I’m just a storyteller, and the cinema happens to be my medium. I like it because it recreates life in movement, enlarges it, enhances it, distills it. For me, it’s far closer to the miraculous creation of life than, say, a painting or music or even literature. It’s not just an art form; it’s actually a new form of life, with its own rhythms, cadences, perspectives and transparencies. It’s my way of telling a story.
Feudal societies don't create great cinema; we have great theatre. The egalitarian societies create great cinema. The Americans, the French. Because equality is sort of what the cinema deals with. It deals with stories which don't fall into 'Everybody in their place and who's who,' and all that. But the theatre's full of that.
Poetry is what makes the invisible appear.
People who are knowledgeable about poetry sometimes discuss it in that knowing, rather hateful way in which oenophiles talk about wine: robust, delicate, muscular. This has nothing to do with how most of us experience it, the heart coming around the corner and unexpectedly running into the mind. Of all the words that have stuck to the ribs of my soul, poetry has been the most filling.
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