Pre-publication catalogue for Andrew Carnie exhibition at Vane Gallery/Hatton Gallery Newcastle. Text by Sara Roberts
“Now that we’re a few weeks into the imposed social distancing restrictions and non-essential business closures, the art world has adjusted to the sudden shift toward increased online presence. Galleries and museums have been digitally curating their current and upcoming exhibitions through online viewing rooms and separate portal websites. Some establishments are truly making the most of the situation and embrace the unique opportunities that digital curation offers, while others are simply providing images of their artists’ work. Let’s send some love to the ones that have flourished as they acclimate to online viewing spaces.”
There’s a lot of overlap between The Wrong and Silicon Valet.
[ … ] I grew up in a world held together with string and brown paper and sealing wax, and that’s how it was. I slowly realized that this is the underlying condition of the world, and there’s nothing I like more than when, for example, there’s been a near-disaster at NASA and they say: ‘If it hadn’t been for the chewing gum .. .’ It’s not because I want to fetishize chewing gum or the aesthetics of gum pressed over some break or membrane; it’s because we have the intelligence to think: ‘Hey, there’s a malleable, mastic material and we can use that.’ A large part of our lives is spent using that very edgy bit of our intelligence [ … ]
Richard Wentworth. extract from interview with Kevin Henry in Henry, ‘Parallel Universes: Making Do and Getting By + Thoughtless Acts (Mapping the Quotidian from Two Perspectives), 2007. http://www.core77.com/reactor/03.07 _parallel.asp
Curatorship is increasingly discussed as a matter of selection, according to themes. This section of the site is about issues around this idea, but also actively acknowledges that curatorship also entails, or should entail, acts of editing, juxtaposition and physical alignment.
In January, I was lucky enough to see the survey show at Hauser and Wirth of the work of the great American Abstract Expressionist sculptor, David Smith. I wish now that I had taken more photographs, for the show was exemplary in the way that the curators had managed to encompass the full range of the artist’s practice in just a few rooms. Above all, it was remarkable for the alignment of material in such a balanced, restful way, enabling any number of comparisons between different objects. And a brilliant mixture of familiar material and totally amazing surprises, one painting in particular…