I don't like the word 'poetry,' and I don't like poetry readings, and I usually don't like poets. I would much prefer describing myself and what I do as: I'm kind of a curator, and I'm kind of a night-owl reporter.
Give me a museum and I'll fill it.
I don't really understand why people are so interested in me, personally. I'm just a curator. I'm just telling people things I think are cool.
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.
The day I decided I didn't want to be a 19th-Century European curator, I knew I would never have the experience of people coming and going 'ooh' and 'aah,' the way they do around the Monets. It just doesn't happen.
My dream was always to be in museums. It's a big and important milestone and a fulfillment of one of my primary ambitions.
No dealer, curator, buyer or critic, or any existing combination of these, can be depended on to produce a reputation that is more than a momentary flurry.
A record is a concert without halls and a museum whose curator is the owner.
I'm happy to be content-maker as well as curator, so I'm happy to also be a presenter for amazing things.
I'm not a builder of buildings, I'm a builder of collections.
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.
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.
The 21st-century curator works in a supremely globalised reality.
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.
You get to be your own curator of your own exhibits inside.
