Curators

"That, by the accident of an illegality in the codicil to his will, it should have been possible for Hugh Lane's pet collection to be snaffled by the British Government, is a fitting conclusion to the shabby story of England's appreciation of French impressionist painting."

"Where, oh where was Mr. Roger Fry in 1905, and why was his voice not heard in the land? How could he allow anybody to call Cézanne an "amateur" with impunity?"

"Over my dead body."

"In a country where feeling for art is not one of the national characteristics, it is particularly difficult to arrive at a common understanding of the term "art". There are many obstacles in the way, and some of them are imposed by the mere existence of such a body as the Royal Academy, for lacking any intuition in this matter of art, the majority of people turn to that institution for guidance, and naturally assume that any work receiving its blessing must be a work of art in the strict meaning of the word, and consequently the artistic quality of a painting is, in the popular estimation, measured in ratio to its degree of photographic realism."

"Tell the Trustees I think it is a very good Sickert — but the question is whether he is important enough for the Tate. I think not; but as an old friend of the artist perhaps I am a prejudiced judge."

"Manson arrived at the déjeuner given by the minister of Beaux Arts fantastically drunk—punctuated the ceremony with cat-calls and cock-a-doodle-doos, and finally staggered to his feet, hurled obscene insults at the company in general and the minister in particular, and precipitated himself on the ambassadress, Lady Phipps, some say with amorous intent others with lethal intent... the guests fled ices uneaten, coffee undrunk... I hope an example will be made, and that they will seize the opportunity for turning the sot out of the Tate, not because he is a sot, but because he has done nothing but harm to modern painting."

"Hopelessly insular."

"A flushed face, white hair and a twinkle in his eye; and this twinkling got him out of scrapes that would have sunk a worthier man without trace."

"The roses are dying, and so am I."

"My doctor has warned me that my nerves will not stand any further strain... I have begun to have blackouts, in which my actions become automatic. Sometimes these periods last several hours.... I had one of these blackouts at an official luncheon in Paris recently, and startled guests by suddenly crowing like a cock...."

"This museum is a torpedo moving through time, its head the ever-advancing present, its tail the ever-receding past of 50 to 100 years ago."

"For the late twentieth-century museum director there is no more certain prospect for audience acclaim and sponsor success than those Impressionist and Post-impressionist artists who were so reviled a century earlier"

"Damien Hirst's Mother and Child Divided (1993) is a work which can at first glance be read as nothing more than two brutally severed carcasses. "A freak show" was how the art critic of the Sunday Telegraph responded to its presentation in the Turner Prize in 1995. For me, the undoubted shock, even disgust provoked by the work is part of its appeal. Art should be transgressive. Life is not all sweet."

"In 1964 I was at school, planning to study economics and sociology, when curiosity took me to the Tate Gallery to see an international survey exhibition of contemporary art. It brought together the painting and sculpture of the previous decade, beginning with the late works of the modern masters, Matisse and Picasso, and concluding with the twenty-seven year olds Allen Jones and David Hockney. I was bowled over. Suddenly, art was not just Turner and Constable, or Leonardo and Michelangelo, but objects of considerable size and brilliant colour, dealing with the sensations, subjects and issues of the Sixties."

"For in spite of much greater public interest in all aspects of visual culture, including design and architecture, the challenge posed by contemporary art has not evaporated. We have only to recall the headlines for last year's Turner Prize. "Eminence without merit" (The Sunday Telegraph). "Tate trendies blow a raspberry" (Eastern Daily Press), and my favourite, "For 1,000 years art has been one of our great civilising forces. Today, pickled sheep and soiled bed threaten to make barbarians of us all" (The Daily Mail). Are these papers speaking the minds of their readers? I have no delusions. People may be attracted by the spectacle of new buildings, they may enjoy the social experience of visiting a museum, taking in the view, an espresso or glass of wine, purchasing a book or an artist designed t-shirt. Many are delighted to praise the museum, but remain deeply suspicious of the contents."

"In 1987 a Civil Service inquiry decided that the pay of the Director of the Tate Gallery should match that of the Director of the much larger Victoria & Albert Museum and of the National Gallery, where the pictures were regarded as being much more important, because, and here I quote, "the Director of the Tate has to deal with the very difficult problem of modern art"."

"A visit to a studio never fails to test my resources. It constantly reminds me of the condition in which most people first confront contemporary art. This is a state of "not knowing", of "not understanding", of being disorientated or challenged by the unfamiliar. One of my responsibilities as a curator is therefore to remember that a visitor encountering an unfamiliar work of art in the museum is likely to be as unprepared as I was in the studio. But I've come to realise that it's precisely when I am most challenged in my own reactions that the deepest insights emerge."

"For many years, and like many British people, I had little feeling for the most expressive and roughest form of early twentieth century European painting, the expressionism of German artists around the First World War like Kirchner."

"The argument that new vision becomes the reference point for the future, is a line that I have been driven to use on many occasions."

"Craft, I would argue, is not an essential part of art, though skill is. That skill may indeed find its expression in draughtsmanship or carving, realised through the hand of the artist, but it may also be directed towards the selection of material or the choice of an expert fabricator."

"I have never really understood the objection to art which is specifically made for a gallery or museum, and so cannot be collected by an individual or taken home. It is rather like saying that all music should be confined to the chamber work or novels to the short story."

"But when the artist abandons visible appearance, as in Mondrian's black grids on white grounds filled with balancing rectangles of colour, many people feel left behind. And yet the rhythms of Mondrian are those of nature. The harmonies are those which guided proportion in classical buildings and Renaissance churches. Rothko's glowing maroon Seagram Murals at the Tate may, like Turner's late canvases, appear to be "of nothing" but in their brooding depth Rothko suggests another world. As one four year old child said of the Rothko room at the Tate "it makes me think of God"."

"An honest curator will admit that judgement is fallible, especially for art made yesterday."

"After thirty years of looking at new work in galleries and even newer work in studios, I am very familiar with the experience of being completely at a loss when confronting a new idea or image."

"The free world should not wait for dictatorial regimes to consent to reform."

"Freedom's skeptics must understand that the democracy that hates you is less dangerous than the dictator who loves you. Indeed, it is the absence of democracy that represents the real threat to peace."

"Now we can see why nondemocratic regimes imperil the security of the world. They stay in power by controlling their populations. This control invariably requires an increasing amount of repression. To justify this repression and maintain internal stability, external enemies must be manufactured."

"A simple way to determine whether the right to dissent in a particular society is being upheld is to apply the town square test: Can a person walk into the middle of the town square and express his or her views without fear of arrest, imprisonment, or physical harm? If he can, then that person is living in a free society. If not, it's a fear society."

"The conviction that freedom is a universal desire is not the property of any political camp. ... Yet those who hold it remain a precious few, outnumbered many times over by the skeptics who don't."

"A lack of moral clarity is also the tragedy that has befallen efforts to advance peace and security in the world. Promoting peace and security is fundamentally connected to promoting freedom and democracy."

"The State of Israel is a national home for the entire Jewish people and it is clear to me that there is no dispute between any party or Zionist movement, while the nation-state law was originally intended to reinforce this principle, the most recent amendments to it are of great concern because they drive a wedge between Jews in Israel and in the Diaspora."

"The last 20 years have· seen an enormous growth of institutions devoted to anthropological enterprises, membership within the discipline, and students, text ­books, and paraphernalia. From a tiny scholarly group that could easily be fitted into a couple of buses, and most of whom knew each other, we have grown into a group of tremendous, anonymous milling crowds, meeting at large hotels where there are so many sessions that people do well to find those of their colleagues who are interested in the same specialty. Today we look something like the other social science disciplines, suffering some of the same malaise, and becoming cynical about slave markets and worried when grants and jobs seem to be declining."

"I have spent most of my life studying the lives of other peoples — faraway peoples — so that Americans might better understand themselves."

"Because of their age — long training in human relations — for that is what feminine intuition really is — women have a special contribution to make to any group enterprise, and I feel it is up to them to contribute the kinds of awareness that few men... have incorporated through their education."

"I think it was my grandmother who gave me my ease in being a woman. She was unquestionably feminine — small and dainty and pretty and wholly without masculine protest or feminist aggrievement. She had gone to college when this was a very unusual thing for a girl to do, she had a very firm grasp of anything she paid attention to, she had married and had a child, and she a career of her own. All this was true of my mother as well. But my mother was filled with passionate resentment about the condition of women, as perhaps my grandmother might have been had my grandfather lived and had she borne five children and had little opportunity to use her special gifts and training. As it was, the two women I knew best were mothers and had professional training. So I had no reason to doubt that brains were suitable for a woman. And as I had my father's kind of mind — which was also his mother's — I learned that the mind is not sex-typed."

"p. 14-15 as cited in: Theodore Schwartz (1979) Socialization As Cultural Communication. p. 14-15"

"Today, as we are coming to understand better the circular processes through which culture is developed and transmitted, we recognize that man's most human characteristic is not his ability to learn, which he shares with many other species, but his ability to teach and store what others have developed and taught him. Learning, which is based on human dependency, is relatively simple. But human capacities for creating elaborate teachable systems, for understanding and utilizing the resources of the natural world, and for governing society and creating and creating imaginary worlds all these are very complex. In the past, men relied on the least elaborate part of the circular system, the dependent learning by children, for continuity of transmission and for the embodiment of the new. Now, with our greater understanding of the process, we must cultivate the most flexible and complex part of the system; the behavior of adults. We must, in fact, teach ourselves how to alter adult behavior so that we can give up postfigurative upbringing, with its tolerated configurative components, and discover prefigurative ways of teaching and learning. We must create new models for adults who can teach their children not what to learn but how to learn and not what they should be committed to, but the value of commitment."

"It seems to me very important to continue to distinguish between two evils. It may be necessary temporarily to accept a lesser evil, but one must never label a necessary evil as good."

"It has been a woman's task throughout history to go on believing in life when there was almost no hope. lf we are united, we may be able to produce a world in which our children and other people's children will be safe."

"Instead of needing lots of children, we need high-quality children."

"If you associate enough with older people who do enjoy their lives, who are not stored away in any golden ghettos, you will gain a sense of continuity and of the possibility for a full life."

"The United States has the power to destroy the world, but not the power to save it alone."

"I do not believe in using women in combat, because females are too fierce."

"Our treatment of both older [people and children] reflects the value we place on independence and autonomy. We do our best to make our children independent from birth. We leave them all alone in rooms with the lights out and tell them, Go to sleep by yourselves. And the old people we respect most are the ones who will fight for their independence, who would sooner starve to death than ask for help."

"We women are doing pretty well. We're almost back to where we were in the twenties. (1976)"

"Sooner or later I'm going to die, but I'm not going to retire."

"Life in the twentieth century is like a parachute jump: you have to get it right the first time."

"The contempt for law and the contempt for the human consequences of lawbreaking go from the bottom to the top of American society."

"We are living beyond our means. As a people we have developed a life-style that is draining the earth of its priceless and irreplaceable resources without regard for the future of our children and people all around the world."

"No matter how many communes anybody invents, the family always creeps back. You can get rid of it if you live in an enclave and keep everybody else out, and bring the children up to be unfit to live anywhere else. They can go on ignoring the family for several generations. But such communities are not part of the main world."