readymade and fruity

Aren’t you amazed at how some curators juggle ideas? Here’s MoMA curator Sarah Meister:  “You can’t look at Duchamp the same way after seeing that Watkins picture.” Whatkins? And when you’ve read the full (formalist) rationale to see how such arguments are made by transhistorical visual conjunctions alone, you’re left with what Tyler Green, at ArtInfo, calls curatorial “rhyming”. And hence, another illicit visual “argument” is created, (this time, suggesting that you can find proto-modernist, or even proto-avant-gardist roots in Western naturalism) which messes with history, and creates yet another “history”, annoyingly. And so, following ArtInfo quoting the NYT, if “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,” (as wrote the New York Times in 2009), now, apparently, it’s the “culling and selecting” of the historical narrative that remains the elevated domain of museum “curation”. So, it seems, history is all there’s left to mess with curate.

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