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When money and hype recede from the art world, one thing I won't miss will be what curator Francesco Bonami calls the 'Eventocracy.' All this flashy 'art-fair art' and those highly produced space-eating spectacles and installations wow you for a minute until you move on to the next adrenaline event.
The privilege I've had as a curator is not just the discovery of new works... but what I've discovered about myself and what I can offer in the space of an exhibition - to talk about beauty, to talk about power, to talk about ourselves, and to talk and speak to each other.
I'm sure I would have been considered a more significant artist if I was a singer-songwriter. It's just not the way I roll. I love being a curator and a musicologist. People write me letters and thank me for turning them on to Fred McDowell and Sippie Wallace, and that's partly my job this time around.
My mum was a dancer when she was a kid. Then my parents met and eventually had an art gallery; my dad taught himself how to frame pictures, and then he was a curator at an art gallery in the city I'm from. I'm an only child.
Cultural confinement takes place when a curator imposes his own limits on an art exhibition, rather than asking an artist to set his limits.
My job is art curator, not artist. All I have ever wanted to do is immerse myself in art, to enjoy it, to learn about it, to write about it, to talk to others about it.
I was at the Smithsonian for twenty years, and I'm still at the Smithsonian as a curator emeritus, and I still plan to figure out what that means for me at this point in my life.
It's quite an obscure notion for a kid, no? To want to be a curator. But even then, I knew that I would do this.
I'm happy to be content-maker as well as curator, so I'm happy to also be a presenter for amazing things.
The 21st-century curator works in a supremely globalised reality.