Curating Quotes

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 thousands of tapes, and photos and fliers, letters, posters, artwork - basically everything that ever happened, I kept. I'm not a hoarder, though. I'm sort of a librarian.

Editing is such a voyeuristic treat for me. I land on a theme and ask authors to pen works that fit the topic.

After you produce you can select. you can curate. you can censor. But for now, have bad ideas, lots and lots of bad ideas.

One of the best things to do with tablescapes in my experience, is really curating them with things that you've collected.

The 19th century became the age of the museum. Objects were scrambled for, specimens seized, and friezes and antiques grasped.

I don't always enjoy curating, but I do believe it's part of my job. It's a good exercise for my brain, like warming up. Just focusing on my work would be so depressing! For me, curating is necessary - it's like physical training.

Collecting is more than just buying objects.

We love curating; we love discovering new products and vintage pieces.

When I started writing about art, there were no curators.

Where past generations had film cameras, scrapbooks, notebooks, and that part of the brain which stores memories, we now have a smartphone app for every conceivable recording need. The thing is, all that time you spend logging and then curating the quotidian aspects of your daily life is time taken away from actually doing things.

I believe that everyone collects. I think collecting is in our blood as humans.

That's the beautiful thing about my show... It's truly different every week. We get to pick and choose. Every morning, the girl from production comes to me with 100 different items, and I go, 'Fake, fake, fake, fake... that's cool.'

I always say that I'm an artist who works with pictures and words, so I think that the different aspects of my activity, whether it's writing criticism, or doing visual work that incorporates writing, or teaching, or curating, is all of a single cloth, and I don't make any separation in terms of those practices.

I think writing is an act of remembrance, I think that Instagram is an act of remembrance, and I think curating a show is an act of memory, too.

The whole experience co-curating the Biennial was a learning experience. The Suburban and The Poor Farm are not institutions. They are not by design, organized around power structures. Because I am someone who thrives on delineating context, seeing up close the inner workings of the museum was not wasted on me.

I really like collections of things. I love antique botanical prints with a bunch of different weeds and seeds.

I'm not a builder of buildings, I'm a builder of collections.

Making art is not the matter of a moment, and nor is making an exhibition; curating follows art.

Collecting is my passion.

I have a storage unit, as I moved out of a bigger house into a smaller house in L.A. I put all my stuff in a storage unit, where I have the most amazing collection of bad paintings, which took me 10 years to put together.

Fly-in, fly-out curating nearly always produces superficial results; it's a practice that goes hand in hand with the fashion for applying the word 'curating' to everything that involves simply making a choice - radio playlists, hotel decor, even the food stalls in New York's High Line Park.

I might want to open a hotel and design all the rooms. Or maybe a museum that lets me curate all the events.

I guess I always have been a collector.

I like to get rid of things; I don't collect many things. But I do keep great photography and art books.