“For a few (many) years I was looking for a place to be—unsettled, wandering years. Whenever I’d find myself in a new city, I’d give myself a task: to gather three pieces of ephemera, which I could then use, at some later point in the day, to make a collage. This ephemera was usually paper. This was often simply for ease of transport. I was traveling, I couldn’t load my bag with, say, bits of rusting metal (something that always still grab my attention, and that I will still gather, when I’m closer to home).”
“After the Allied liberation of Rome on 4 June 1944, Fellini and Enrico De Seta opened the Funny Face Shop where they survived the postwar recession drawing caricatures of American soldiers.”
“What’s the connection between criticism and curation?
They’re both about presenting a vision of the world. But something I didn’t realize until I participated in curation is that it’s actually way more idiosyncratic. When we curated the show at MOCA, I kept approaching it like a writer, thinking we gotta mention this and this. But Herb and Andrew, the curators at MOCA, were just like, “No, this is us. This is what we are doing. We don’t have to put it all in there. If we put it all in there it would be overwhelming and impossible for someone to walk through. Just pick what you want in the show, and that will be the show.” That was mind-blowing to me. Because as a writer, you’re always anticipating what someone might say you left out.”