9/16/2023 0 Comments Jasper johns philadelphia![]() I give Carlos credit for saying, “Well, what if we tried it this other way?”ĪRTnews: Scott, you mentioned “Dancing Around the Bride.” What was most distinctive about that show for you? I was thinking an exhibition would make sense for both our institutions-but how would it work, because we’re not going to get loans for long enough, or the museums are too close to make sense for it to tour from one to the other. It wasn’t instantly something I could appreciate or understand because it was so unusual. Rothkopf: We spoke about wanting to do something together, and it was slightly later that you mentioned your idea that the show could happen simultaneously. ![]() ![]() I told Scott he’d written beautifully on Jasper’s work, and said, “Wouldn’t it be great to think of a show together?” It really started from us, as curators. The beauty of this project is that it didn’t begin as part of a big institutional machine but just the two of us speaking together and saying we both love Jasper and his work. Courtesy Philadelphia Museum of ArtĪRTnews: Do you remember the first conversation you had about collaborating on an exhibition, going back to the beginning?īasualdo: I totally do. “Dancing Around the Bride,” the 2012 show curated by Carlos Basualdo featured performances of works by choreographer Merce Cunningham. I was very happy to work with someone who curated something I respected so much. Rothkopf: Carlos and I didn’t know each other that well prior to this project-besides the little bit from when we met-but I have a profound memory of his show “Dancing Around the Bride: Cage, Cunningham, Johns, Rauschenberg, and Duchamp.” I made pilgrimages to Philadelphia for it, and it remains one of the most amazing exhibitions I have ever seen. He was a student of Yve-Alain Bois, and I was using the fine arts library to prepare my course on the history of exhibitions in Venice. It kind of went from there.ĪRTnews: How did the two of you first meet?īasualdo: My wife was doing a post-doctorate at Harvard and introduced me to Scott. I sensed that museums were places where I might want to work in the future, and by the time I arrived at college and started to study art history, a light bulb went off over my head-like, Oh, there’s this job of being a curator, and they are the ones who do neat things at museums. I dragged my family to museums in any town we ever landed in, but I didn’t have an idea that there was a profession called “curator” that was responsible for selecting and displaying artworks. I didn’t have access to them in collectors’ homes or commercial galleries. I grew up adoring, from the age of seven or eight, being around works of visual art. Scott Rothkopf: My answer is a bit cornier. ![]() For me, from the very beginning, exhibitions were a way to think about creating a sort of extension of what I was trying to do with my work as a poet. I was interested in what an exhibition could do as a medium for combining ideas, different from though related to poetry. I was part of a group of people, with musicians and visual artists, and there were vivid conversations at the time across multiple disciplines. Whitney Museum of American Art/©2021 Jasper Johns/Licensed by VAGA at Artists Rights Society (ARS), New YorkĪRTnews: What is your first memory of recognizing the act of curation in a way that put you on your career path?Ĭarlos Basualdo: When I was in Argentina, I was mostly writing poetry. Jasper Johns’s Racing Thoughts, from 1983, is in the collection of the Whitney Museum of American Art. ![]()
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