Issue link: http://papercitymagazine.uberflip.com/i/1344694
retail destination. JCP: I don't have a particular fashion designer, but my go-to is a simple sleeveless sheath dress (I must have at least 20 in different colors and patterns for summer and winter) and a scarf. I have so many scarves, I have a scarf closet! Retail experience? It's all online now. WW: Where you go to get away from it all. JCP: The beach. Anywhere the ocean is turquoise and warm, and the sand is white and soft. And a killer sunset is a must. Our family go-to is Clearwater Beach, Florida. But, really, any Florida Gulf Coast beach will do. Outside the U.S: Ambergris Caye, Belize; Playa del Carmen, Mexico; Negril, Jamaica. WW: Significant achievement in the art world. JCP: I'm proud of having a 27-year (so far) career in one museum. And, of being able to take on the challenges of being a curator for half the globe. And whatever else is thrown at me. WW: Reflecting on the myriad exhibits you've curated, which influenced you the most. JCP: Every one of the 25 exhibitions I've curated has shaped and expanded my vision in some way. I learn something new with every exhibition. I tell grad students: Each exhibition is like taking a graduate seminar — learning as much as you can (and retaining it) in three months. It's like cramming for a really big test. WW: If you could meet any artist from history, who would it be. JCP: Honestly, I'm not really interested in that. Most of the art that I deal with is by unknown artists. WW: How you see the Kimbell functioning in the future, post- pandemic. J C P : A s w i t h everything, I think there will be a new "normal" in the way we physically present installations and deliver didactic material. But essentially the Kimbell will remain a place where you can escape the hustle and bustle of life, and will be a refuge where you can be surrounded by beautiful art and architecture, see something new, or revisit your favorite works. WW: Talk a bit about your initiative of installing non-Western art in the Kahn wing alongside European art. JCP: When we reopened in June, the pandemic and other factors necessitated closing the two of three galleries in the Piano Pavilion that contained the Asian, African, and Ancient American collections. It was imperative to have this side of the collection (which represents 50 percent of the total collection) represented in some way. The European collection was already installed in the two galleries of the Kahn building, so we decided to integrate a selection of non-European works with the European works on view. It is a very interesting "collection in conversation" that presents thematic and visual juxtapositions throughout the Kahn galleries. WW: What's next. JCP: Coming down the pipeline: Asian Art from Asia Society, New York, next fall. And, in the future, an African art exhibition and a Maya exhibition. WW: Do you p e r s o n a l l y collect? JCP: Before I was married and had a child (and therefore had spending money), I collected a lot of local Texas artists — m a n y o f w h o m are friends, i n c l u d i n g P a t r i c k K e l l y , Robert McAn, Cam Schoepp. But I also love to pick up all sorts of little treasures on my travels around the world. WW: Museums on your global travel list. JCP: I've always loved the Beyeler Foundation in Basel, Switzerland — the building, the setting, and the collection are sublime. And last year, I visited the Fondazione Prada in Milan — absolutely fabulous! It's a huge complex where they took original buildings from a 1910 distillery, combined with new buildings designed by Rem Koolhaas, to create some really extraordinary gallery spaces to display contemporary art, video, and site-specific works. I spent hours there. WW: As we embark on this new decade, in the midst of these terribly unsettling times, what role do you believe art — the visual arts, in particular, but also the arts in general — will have on the next generation? JCP: Art will always be important, at least I hope it will, because art has the power and ability to change the way we see the world. Jennifer Casler Price (Continued from page 28) Page 28: Statue of the Goddess Mut, New Kingdom, early 19th dynasty, circa 1292–1250 BCE. This page: Ganesha, 11th century, India, Tamil Nadu. 30