A Quote by Jerry Saltz
While the space for artists and curators has increased enormously, maybe, just maybe, that's left room for too many people calling themselves artists and curators who are simply not up to the term.
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It's not curators, it's not critics, it's not the public, it's not collectors who find great artists - it's other artists.
Too many younger artists, critics, and curators are fetishizing the sixties, transforming the period into a deformed cult, a fantasy religion, a hip brand, and a crippling disease.
Every movement that slays its gods creates new ones, of course. I loathe talk of the sixties and seventies being a 'Greatest Generation' of artists, but if we're going to use such idiotic appellations, let this one also be applied to the artists, curators, and gallerists who emerged in the first half of the nineties.
Curators are great, but they're inherently biased. Curators are always making an editorial decision. Those biases have really big implications.
I attended the Women's March on Washington with a group of artists, curators, and art-world professionals.
The very paradigm of revolution, of right versus wrong, good versus bad, is a relic with no bearing on the present. Yet artists, exhibitions, and curators valorize the sixties. People who wrote about these artists 30 years ago still write about them in the same ways, often for the same magazines.
With tons of chaotic supply on the internet, you're going to have people who become very good at being curators or stylists. It's the same sort of people that I used to go to record shops for - I knew if certain people recommended something, it would be good. There's always going to be those people. It just depends on what they're called: curators or radio jockeys or bloggers.
While working for Diplomat Records, I helped several artists with their online branding and social media. Once I left the label, I worked directly with artists and noticed many artists were overlooked and underrated if they weren't in 'XXL' or 'The Source.'
I'd prefer to invite the artists simply to work and have fun with Guatemalan artists. To share missions of life. Maybe that is more important than seeing an exhibition.
Having more curators to go around among the artists is more effective and more efficient. The artists are better looked after so you get better works. What isn't so effective is actually that some visitors and some members of the press really want a single voice with which they can relate.
I relied mainly on other artists, who I think are smarter than critics, any critics or curators or anybody like that. They really know.
The best artists are people who don't consider themselves artists, and the people who do are usually the most pretentious and annoying. They've got their priorities wrong. They're just doing it to be artists rather than because they want to do it.
When people talk about imagination, they tend to think of fantasy or something made-up. But really imagination is a mode of perception. Which is maybe why so many artists have turned to the occult. Artists tend to feel like outsiders. Whether they are actually outsiders or not is also kind of irrelevant.
Insecurities and missteps can plague writers and artists who come from rural places. We worry that our provincial life experiences won't gain the approval of urban curators, so we assimilate ourselves to other, more sophisticated voices.
Art should be able to be innovative without compromising itself. That's why I believe artists should have bigger preoccupations than checking the price tags on their work or becoming curators' darlings.
Maybe the way we have learned to look has changed in the last 25 years, and the exotic is much more acceptable. There are many artists now, younger artists, who work out of the exotic
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