Art Lies, Volume 47, Summer 2005 Page: 47
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Michael Markos, road 1, 2004
181/2 x 32 inches
Courtesy the artist
ideally, be applied to the process of transforming a meeting of strangers into some-
thing that resembles a thematic group exhibition, complete with harmonious dia-
logues between sympathetic pieces. If handled properly, nearly everyone else
involved in the project can be tricked into seeing something more than just a show-
case for little-known talent, but a proper exhibition, in which viewers can experi-
ence the works in the best possible physical and stylistic context.
Which brings us back to the initial question: why? The answer, I believe, is more
elusive than a simple explanation about how it's nice to be invited and even tran-
scends considerations about how one hopes to encounter new artists whose work
will make the whole process worthwhile. The short answer is that curators approach
their vocation in much the same way that artists approach theirs, meaning that
we thrive on making exhibitions and greatly prefer being active over not. And the
better the response one is able to generate through an exhibition, the greater the
pleasure to be derived from the whole experience.
Taking on the task of putting together New American Talent is, then, above all
else a challenge. The specialized skills required to sift through vast amounts of mate-
rial, find art that speaks to one's interests, winnow the mass down to a manageable
ARTL!ES Summer 2005 47
Here’s what’s next.
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Bryant, John & Gupta, Anjali. Art Lies, Volume 47, Summer 2005, periodical, 2005; Houston, Texas. (texashistory.unt.edu/ark:/67531/metapth228012/m1/49/: accessed August 20, 2017), University of North Texas Libraries, The Portal to Texas History, texashistory.unt.edu; .