A Quote by Jerry Saltz
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.
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Works of art often last forever, or nearly so. But exhibitions themselves, especially gallery exhibitions, are like flowers; they bloom and then they die, then exist only as memories, or pressed in magazines and books.
When I say art influences me, which it does, it's not at all in a literal form. You go and see exhibitions or collections or meet an artist. It's all a compilation. Every moment, at all times, all this information. Then all this information disappears, and it shows up later in the process.
Bernard [Leach] had acquired many [Shoji] Hamada works. Some of them, it was interesting - first of all, Hamada worked in St. Ives for about four years before returning to Japan to start his own pottery. He had exhibitions in London, and if these exhibitions didn't sell out, the galleries were instructed to send the remaining work down to the Leach Pottery, where they would go into the showroom for sale. If Bernard saw one that hadn't sold that he really admired, then he would take it (he would buy it), and it would go into the house.
For me, the making of exhibitions has always had to do with dialogue: a concentrated, in-depth, focused dialogue with artists, who keep teaching me that exhibitions should always invent new rules for the game.
I have a publishing company of books by me and books of others. It drew people to poetry readings and photo exhibitions and painting exhibitions that I've been doing for years before that.
Being a part of exhibitions is not a burden; it's another way for an independent label such as mine to reach a larger audience by exposing them to my whole body of work.
Argumentative exhibitions bring issues to life in a way that very much irritates traditional curators who want to see their pictures valued for themselves.
I always appear behind a mask. As such, I can visit my own exhibitions without any visitors knowing who I really am even if I stand a few steps away from them.
On camera, the audience can see your eyes close up - they can see behind your eyes - and when you're on stage, you need to make sure that the person sitting in the back row can feel what's happening behind your eyes, even if they can't see them. Having a live audience is exhilarating and exciting all on its own, but you know, it is quite different.
I'm constantly making exhibitions in my head.
Yeah, I mean I am somebody that makes an effort to go and see a lot of exhibitions, painting, drawing, sculpture.
Exhibitions of minority art are often intended to make the minority itself more aware of its collective experience. Reinforcing the common memory of miseries and triumphs will, it is expected, strengthen the unity of the group and its determination to achieve a better future. But emphasizing shared experience as opposed to the artist's consciousness of self (which includes his personal and unshared experience of masterpieces) brings to the fore the tension in the individual artist between being an artist and being a minority artist.
I started going to exhibitions in Switzerland when I was 10 or 11. As a schoolboy, I would go every afternoon to see the long, thin figures of Giacometti.
I still do all my developing and printing in my darkroom. Being in New York, you get tremendous exposure to great arts. In my student years, I saw exhibitions of August Sander and Diane Arbus. I still go back to their pictures. I don't really go for contemporary photo shows.
I always thought it would be a great thing to do an art carwash. So you can actually go and get your car washed, but while you're sitting around waiting you can walk in that hallway where you look at the cars going through the window, and that could be changing exhibitions.
Everyone has to find their own way, it's just that I don't want to go that way myself. If a band likes being on a major and feels happy there, good luck to them.
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