A Quote by Thelma Golden
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.
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My popularity has to do with the divorce between modern art, where everything is obscure, and the viewer who often feels he needs a professor to tell them whether it's good or not. I believe a painting has to talk directly to the viewer, with composition, color and design, without a professor to explain it.
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.
Art is the space between the viewer and the rectangle that hangs on the wall. Unless something of the person that created the work is there, there's nothing for the viewer to take away.
If one or two works from a body of work for an exhibition are what you would like to be remembered by, it is a good exhibition.
One reason for making and exhibiting a work is to induce a reaction or change in the viewer.... In this sense, the work as such is nonexistent except when it functions as a medium of change between the artist and viewer.
I think that the role of curating an exhibition is to reanimate history and make it relevant to a contemporary viewer.
Art objects are inanimate sad bits of matter hanging in the dark when no one is looking. The artist only does half the work; the viewer has to come up with the rest, and it is by empowering the viewer that the miracle of art gains its force.
What I never wanted in art - and why I probably didn't belong in art - was that I never wanted viewers. I think the basic condition of art is the viewer: The viewer is here, the art is there. So the viewer is in a position of desire and frustration. There were those Do Not Touch signs in a museum that are saying that the art is more expensive than the people. But I wanted users and a habitat. I don't know if I would have used those words then, but I wanted inhabitants, participants. I wanted an interaction.
Cultural confinement takes place when a curator imposes his own limits on an art exhibition, rather than asking an artist to set his limits.
I want to create objects that will stimulate the viewer in ways that I am stimulated by these objects. Now that's an ideal situation and the artist has no control over what his audience is going to think, but they can try to communicate some quality, some poetry through the work and just hope that the viewer has something in the vicinity of a similar experience.
I'm involved with this exhibition, which is a collection of Nobby Clarke's photos of the opening night of my own art exhibition.
I planned the exhibition so that it becomes a story where the viewer travels through these islands [of ideas]. Whether the contents of each chapter came first or the artist came first in making the decision was different in each case.
'The Art of the Brick' is an exhibition I've done where I've taken some works of art from art history and replicated them all out of Lego bricks.
I have no choice but to admit that, for a while, I was a casual viewer of 'American Idol.' By 'casual viewer,' I mean I watched every episode aired between 2004 and 2007.
I want my paintings to give the viewer a true sense of reality - that includes but is not limited to depth, scale and a tactile surface as well as the real sense of what the subject looks like and is feeling at the time that I painted them. There should be a discourse between the viewer and the subject, to feel as though they are in a way connected. My goal is not to set a narrative but rather to have the viewer bring their own experiences to the painting and the subject as they would if they had seen the subject on the street in real life.
’The Art of the Brick’ exhibition is accessible because it engages the child in all of us while simultaneously illuminating sophisticated and complex concepts. Everyone can relate to the medium since it is a toy that many children have at home. But my goal with this exhibition when it first debuted in 2007 was to elevate this simple plaything to a place it has never been before.
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