Art Lies, Volume 47, Summer 2005 Page: 46
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Matt Wolf, IFeel Love, 2004
Courtesy the artist
Then there is the exhibition itself. Whereas curators often spend years devel-
oping proposals and shaping their visions to match a predetermined set of rooms,
New American Talent entails making selections to be installed in a space that one
typically sees for the first time when arriving in Austin to ensure that the selected
works do, in actuality, communicate with more or less the same degree of pres-
ence that they did in reproduction. Setting aside the sometimes surprising revela-
tions produced, say, by encountering a large-scale painting that one has previously
experienced only by peering through a magnifying loop at a slide on a light table,
the challenge of making an exhibition can be a particularly daunting one when the
walls, floors, windows, and lighting of the space are as much of a surprise as the
works themselves. From the beginning of this first face-to-space meeting, the cura-
tor's challenge lies in not allowing the exhibition to appear as what it is-a more
or less random gathering of largely unrelated works of art-but rather as a tightly
organized vision of new art in which everything seems to be exactly where it was
planned to be from the start.
Successfully pulling off the latter illusion is, of course, very much a matter of
stagecraft. Curators learn techniques over the course of their practice that can,
46 ARTL!ES Summer 2005
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Bryant, John & Gupta, Anjali. Art Lies, Volume 47, Summer 2005, periodical, 2005; Houston, Texas. (texashistory.unt.edu/ark:/67531/metapth228012/m1/48/: accessed October 20, 2017), University of North Texas Libraries, The Portal to Texas History, texashistory.unt.edu; .