Founder of The Creative Process
What is very important to me is to create work that is meaningful, to reach beyond my particular concerns to speak to others and their concerns and interests, to do something that inspires the next generation and which is larger than myself.
Film Composer
When I look at a film, I normally think what is missing from that, and that's what I'm trying to bring. I'm trying to find something that I think isn't there and that I could bring that would make it more interesting, make it more cinematic, more dramatic.
Curator · Writer · Interviewer & Artistic Director of Serpentine Galleries
I’ve always thought that curating has to do with junction making. I’m always thinking of ways to bring people together and make connections between different worlds. I think, if we want to address the big question or challenges of the 21st century, it's very important that we go beyond the fear of pooling knowledge and move beyond these silos of knowledge to bring the different disciplines together.
Children's Book Author · Editor · Producer · Arts Educator
Katherine Anne Porter, essentially what she says is that the arts are what we find when the rubble is cleared away. In other words, they are the sum and substance of our lives, and we can go through wars and changes and all kinds of challenges in the world, but in the end, the arts tell us who we are and they are what remain no matter what. And when we look back and understand other civilizations that went before us, and when we think ahead to how people will view us in future civilizations, it will be our art and the arts that inform that story and tell people who we are and who we were, just as they do now from history.
Director & Chief Curator · Museum at the Fashion Institute of Technology
Like many of us, I was always personally interested in fashion as a means of communication and masquerade, but it was in graduate school when a classmate of mine did a report on two scholarly articles about the Victorian corset that I suddenly had an epiphany, and I realized that fashion was a part of culture, and I could study fashion history.
Anna-Maria and Stephen Kellen Director · The Frick Collection
I firmly believe that the arts should be a part of everybody's education. It's not just learning the history of art, but it's about opening up creativity as a means that can be useful to somebody throughout one's life.
Executive Director · Pilobolus Dance Company
I think that what they don't realise often is that the skills of the people that are sitting in those jobs are deeply in conflict with the skills required to perform well in our our time. I think there is an enormous amount of change that needs to happen in education. And I think, in some instances, it's beginning to, but we're really working and teaching our future using systems that are antiquated and don't really relate.
Photographer
Whatever I do, quite often I say– Is this good for my work? Should I go here? Should I do that? When I had my initial debut, I became known for a book called The Somnambulist. I took 24 of those pictures in one weekend and then I worked for three years on the next 24.
The New Museum
When you're looking, really look very, very hard at the new. Look very, very hard at what challenges you. If you're bothered by it, go deeper. So it was "Don't take the easy way out and say 'I love that'. 'Why do you love it?' 'I just feel it.' No, unacceptable. Just feeling it is not enough, if you're a responsible party. If you're a member of the public, fine, have whatever kind of experience you want, but if you're a professional, know why you're doing it.
Director · UNESCO World Heritage Centre
It's a very unique instrument. It has now 193 countries, which have ratified it. The idea of this convention is really unique because it is about heritage of outstanding universal value.
Lewis B. and Dorothy Cullman Chief Curator
Parrish Art Museum
There's such a metaphysical moment when these images are created on a surface. In three dimension on a flat surface, it's kind of a head-scratcher to start. So great art has a transcendent moment.
Novelist · Feminist · Philanthropist
I was born in 1942 in a Catholic, conservative, patriarchal society. And I was born angry against the world as I saw it. I became a feminist before the word reached Chile. I was a young girl when I realized I didn’t want to be like my mother, although I adored her, I wanted to be like my grandfather and the men in our family: strong, independent, self-sufficient, unafraid. Later I learned that some women could be all that and decided I was going to be one of them. Since then I have worked with women and for women all my life. I have a foundation whose mission is to empower women and girls. I don’t need to invent my feminine characters, the women I have known inspire me.
Artist
The whole thing is to get them to feel like no matter where their background is from, the difficulty they have in their personal lives, the isolation that they feel in relationship to that, that within the art community they are embraced, they are welcomed. All they have to do is just keep getting better at it, but the community is there. I think that something we're all looking for is where we belong.
1952-2022
Booker Prize-winning Novelist & Memoirist
I do develop my books in scenes, and write a lot of dialogue – though book dialogue is different from stage dialogue, which is different from TV dialogue – and that is different from radio dialogue – I’ve explored all these facets. I think I am covertly a playwright and always have been – it’s just that the plays last for weeks, instead of a couple of hours.
Director · National Museum of Women in the Arts
I came to work at the National Museum of Women in the Arts thirty-two years ago. I really took to the idea that the museum was controversial, that a lot of men said, "Why do you need a women's museum? There are so many other museums. Why do women have to be separated?"
The Creative Process: Podcast Interviews & Portraits of the World’s Leading Authors & Creative Thinkers
Inspiring Students – Encouraging Reading - Connecting through Stories
The Creative Process exhibition is traveling to universities and museums. The Creative Process exhibition consists of interviews with over 100 esteemed writers, including Joyce Carol Oates, Hilary Mantel, Neil Gaiman, Viet Thanh Nguyen, Tobias Wolff, Richard Ford, Junot Díaz, Marie Darrieussecq, Michel Faber, T.C. Boyle, Jay McInerney, George Saunders, Geoff Dyer, Etgar Keret, Douglas Kennedy, Sam Lipsyte, and Yiyun Li, among others. Artist and interviewer: Mia Funk.
