Art Lies, Volume 47, Summer 2005 Page: 48
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C uts th ari
Samantha I<rukowski, Chalazae, 2005
Courtesy the artist
core, and then shape it all into an exhibition that both the artists and their audience
can feel good about, are not necessarily skills that even the most ardent lovers of art
would want to invest years of their lives developing. And yet, for the vast majority
of viewers who visit an exhibition, enjoy the art, and leave without ever stopping
to consider how it all came together, the fact that the curator is a form of invisible
handmaiden to their enjoyment is only noteworthy insofar as not a trace of the cura-
tor's labors should be discernible in the final product. Even more satisfying, how-
ever, is the sensation of looking back over the various steps of putting together the
exhibition and being reminded that no matter how far away from the final goal one
felt, an adherence to the arduous process invariably results in something that one
can take pleasure in sharing with others.
Rather than comment at any length on the individual artists participating in
this year's New American Talent, it seems pertinent to address the more general
question of stylistic pluralism as it pertains to my selection process. Today, in the
absence of any single dominant school or tendency, the vast freedom that current
artists possess to shape their creations according to their own priorities represents
a newfound historical opportunity. Even a cursory glance over the offerings on view
48 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/m1/50/: accessed November 24, 2017), University of North Texas Libraries, The Portal to Texas History, texashistory.unt.edu; .