“I traced out that Morandi drawing … Traced that son of a bitch out on a blank piece of paper, and I said, ‘There’s the artwork.’ ” Who says curators aren’t badasses? Read, via Greg.org,a brief yet fascinating account of curatorial license by the legendary Walter Hopps—all with the noblest of goals in mind: to promote the work of Giorgio Morandi, who in the late ’50s/early ’60s was mostly unknown, at least on the West Coast. At an early stage of his long and illustrious career, Hopps founded and ran the Ferus Gallery in Los Angeles (from 1957 to 1962), showing the likes of Robert Irwin, Ed Kienholz, Wallace Berman, and Ed Ruscha, in addition to Morandi.
We’ve noticed this, too: “The word ‘curate’,” lofty and once rarely spoken outside exhibition corridors or British parishes, has become a fashionable code word among the aesthetically minded, who seem to paste it onto any activity that involves culling and selecting.” From a recent New York Times piece.
You be the curator, option 1: Help commission a work of art with the stunningly simple FEAST MPLS: Attend a (not all that expensive) dinner. Peruse artists’ proposals with your fellow diners. Vote. The winning artist gets the take from the door (minus the dinner cost). Uses money to create proposed work. Shares work at the next FEAST MPLS dinner. Try it out on November 14.
You be the curator, option 2: Make your own exhibition at the Walker’s After Hours Preview Party on November 20. Select thumbnail images of works from the Walker collection (including photos, videos, films, performances, or sound pieces). Arrange works on a gallery floor plan. Put the works you care about the most in prominent places. (“Curate” comes, after all, from the Latin for “to care”?) Paint the walls of your miniature gallery. Find ideas connecting the works. And finally, title your exhibition. Get tickets to the After Hours Party here.