a curatorial comment

As a curator, I would like to thank all those who have so generously supported L. Budd, both public and private benefactors. I would particularly like to acknowledge the spirit of the collective. In a time which is often, somewhat cynically, characterised by critics as ‘the era of the curator,’ it is not only relevant but absolutely necessary to thoroughly question the current state of curatorial practice, its professional values, and the assumptions implicit in them. There are fundamental questions regarding curatorial power and authorship, as well as how external pressures and challenges shape exhibitions, along with the administration and facilitation of artists’ projects. My concern is with those who seek to constrain restless imaginations and manage the public. Not all come to admire, and not everyone who does leaves happy. The Estate of L. Budd is a very intelligent orchestration of all the dilemmas that the public will feel when considering work they do not know. This is particularly true of the dilemma that I think is true of a lot of art—the art that does not love the art lover back. This is not art that necessarily spurns the art lover; it’s not hostile to the art lover; but it basically says ‘Come to me, but I will not reward you immediately with what you’re looking for. Come to me, I will engage you in a process of figuring out what I am, and who you are.’


EoLB Jonathan Smart Gallery toilet facilities  c.1993-1999

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