On Curating: Interview with Ten International Curators
Introduction
pg. 7 - 'It was during the chaotic 1960s and 70s that Robert Smithson and Gordon Matta-Clark attempted to break the barrier between culture and society, innovating strategies that deconstructed the museum paradigm of viewing art.'
'This 1970s imperative fueled the work of American independent curator Mary Jane Jacob, who is today considered a pioneer in the development of new forms of public art'
Mary Jane Jacob / Interview 2002
pg. 20 - 'When I curated my first project, The Michigan Art Train, I was a graduate art student interning for the Michigan Arts Council. Using a six-car train, we traveled the countryside stopping in one location per week. Here a community audience walked through the train, feeling a new spirit and acknowledging the value and accessibility of sharing the art. It was art for the public'
'It showed there were other ways of sharing and recognizing culture. One factor was to acknowledge what was already in place: not having to import art, but to look at the culture and resources of a specific locale'
'It was a ripe moment for ushering in new audiences to participate in what had been considered an elitist experience'
pg. 21 - 'A communal experience can also be a shared silence on a public street; it can propel a dialogue that extends beyond the art object. This is what public art can do - when you think about the public as much as the art'
David Hammons, America Street, 1991
courtesy Mary Jane Jacob and John McWilliams, McClennanville, SC
courtesy Mary Jane Jacob and John McWilliams, McClennanville, SC
pg. 24 - CT: 'In the 90s, the demise of the National Endowment for the Arts in the United States was brought about by its innate philistinism. Today, however, the current tax structure enhances/encourages philanthropic funding of the arts and, it seems, has temporarily filled the void.
MJJ: 'We have studies and proof of the economic development-value brought by galleries, real estate, tourism and philanthropy, but that's not enough. Our root questions are: why does art matter and how does it have essential resonance and relevance?'
Massimiliano Gioni / Interview 2007
The 387 Houses of Peter Fritz, Insurance Clerk from Vienna
pg. 32 - MG: 'Another influence, an American cult-classic road story, set in a small mid-western county, is Blue Highways, written by William Least Heat-Moon. In 1,000 pages, he paints remarkable portraits of the people living in each room of a tall building. His tales descend beginning from the top floor; instead of a sprawl, it's a vertical hyper-concentration'
'Then there's Giorgio Morandi, the reclusive painter who spent his life painting the same bottles over and over - a search for density and depth rather than mobility or multiplicity'
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