Afflictions are but the shadow of His wings.
Curators are great, but they're inherently biased. Curators are always making an editorial decision. Those biases have really big implications.
He who was first an acolyte, and afterwards an abbot or curate, knows what the boys do behind the altar.
A lot of people who curate in the business, and curate the art, don't really have good artistic sense. They may know commerce, but they aren't savvy enough to know how to balance commerce and art, you know? They don't know how to satisfy both palates...
I do believe most curators - maybe I'm only speaking for myself here - want to be artists on some level. Curators must have an innate interest in what an artist makes. And they certainly have their opinions and criticisms, and the always ask, "How wo...
I curate my T.V.-watching quite carefully.
When I started writing about art, there were no curators.
I resist the temptation to curate my apartment.
Many of the museum directors who make an impact personally curate exhibitions.
I'm happy to be content-maker as well as curator, so I'm happy to also be a presenter for amazing things.
I might want to open a hotel and design all the rooms. Or maybe a museum that lets me curate all the events.
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.
I play a curator, the most American part you can think of. My work is to protect the Declaration of Independence. I work at the National Archives in Washington.
Memory is curated. All this paraphernalia you collect to ward off forgetting
I AM the current curator of the black trunk and the stories it holds within.
Cultural confinement takes place when a curator imposes his own limits on an art exhibition, rather than asking an artist to set his limits.
Some of our greatest historical and artistic treasures we place with curators in museums; others we take for walks.
If we imagine that the only right that we have is to make commodifiable objects, then we limit our practice, and we limit the great potential for an understanding between collectors, curators and galleries.
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.
Argumentative exhibitions bring issues to life in a way that very much irritates traditional curators who want to see their pictures valued for themselves.
With YouTube - with the Internet in general - you have information overload. The people who don't necessarily get credit are the curators.
