I see a curator as a catalyst, generator and motivator - a sparring partner, accompanying the artist while they build a show, and a bridge builder, creating a bridge to the public.
She's the only museum curator I know who can take a beer-can opener and a frying pan and make a marvelous exhibition out of it.
I relied mainly on other artists, who I think are smarter than critics, any critics or curators or anybody like that. They really know.
I never ever approached a dealer. I have always been approached by dealers or curators or whatever.
We actually wanted a Gaddafi pitch that would help both the batsmen and bowlers. But so many external factors come into play and become impediments. As you know, it's been very, very cold here. It has also been raining...the curator didn't get enough time to work on it.
Curators are great, but they're inherently biased. Curators are always making an editorial decision. Those biases have really big implications.
The privilege I've had as a curator is not just the discovery of new works... but what I've discovered about myself and what I can offer in the space of an exhibition - to talk about beauty, to talk about power, to talk about ourselves, and to talk and speak to each other.
A record is a concert without halls and a museum whose curator is the owner.
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.
I mix everything up. A museum curator once said to me that there is a great jazz component to the way I do things because good jazz is improvisation and draws elements from all different cultures. And that's the way I do everything - the way I dress and decorate.