A Quote by Charlotte Cotton
I think that the role of curating an exhibition is to reanimate history and make it relevant to a contemporary viewer.
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An exhibition is in many ways a series of conversations. Between the artist and viewer, curator and viewer, and between the works of art themselves. It clicks when an exhibition feels like it has answered some questions, and raised even more.
I use contemporary media to reanimate sites and places with images of their own lost histories.
Of course, the process of curating is different from art making. Exhibition-making is a process that involves collaboration with various participating artists.
Making art is not the matter of a moment, and nor is making an exhibition; curating follows art.
For me, the idea of curating can be expanded. Curating science, curating art, music and theater and performance and not only bring those things into art but bring art into those areas.
I was surprised how relevant the Moses story was to contemporary American debates - from our ongoing debate about values, to our role as champions of freedom, to our place as a country that welcome immigrants.
I didn’t want a completely passive viewer. Art means too much to me. To be able to articulate something visually is really an important thing. I wanted to make work where the viewer wouldn’t walk away; he would giggle nervously, get pulled into history, into fiction, into something totally demeaning and possibly very beautiful
I was so impressed with the work we were doing and I was very involved ideologically in photography - that I arranged an exhibition at the College Art Association. The first exhibition I picked the photographs and so on and we had an exhibition in New York.
There is a discrepancy of somebody going to an art dealer and promising what they'll make for the next three years. And I'm old fashioned that way; I think that every exhibition you make is supposed to put you in the world, that the next exhibition is spinning off of that. It's almost like a riff. And if you know what you're going to do for the next three years, why don't just do it the final point? You would think, in a progressive situation, that the final would be the best.
I don't need to control the mind of my viewer. Now this might sound contradictory because I want to make these installations set up an environment that will produce a certain kind of experience in the viewer, but beyond a certain point, I take hands off and leave it up to chance and personal experience. So maybe it's a marriage of control and no control we're talking about where the artist produces the artifact or the environment and then walks away from it, and the second half of the equation is the viewer and their personal history and how they feel about what they're experiencing.
I look at graphic design as communication, meaning that the work has to have a vibe to connect to the viewer or perceiver. I make a black and white drawing and then add color digitally, bringing in a contemporary pattern to the composition to create a vibrance.
Well, I think there are artists who are more or less contemporary with Hopper who are more relevant.
Whenever you think of Lincoln as a historian, in his own mind, he becomes the Great Emancipator. This is his role in history henceforth. He was an ambitious man who wanted to make an impact on history, and this is how he did it.
There are a whole lot of historical factors that have played a part in our being where we are today, and I think that to even to begin to understand our contemporary issues and contemporary problems, you have to understand a little bit about that history.
The United Nations has a critical role to play in promoting stability, security, democracy, human rights, and economic development. The UN is as relevant today as at any time in its history, but it needs reform.
The fact is that the camera is literal if anything, which gives it something in common with a thermometer... Often the tension that exists between the pictorial content of a photograph and its record of reality is the picture's true beauty. There is sleight of hand in photography... you make the viewer think he's seeing everything while at the same time you make him realize he's not. I try to make my pictures seem reasonable and then, at the last minute, pull the rug from beneath the viewer's feet, very gently so there's a little thrill.
