What I'm thinking about IV

I know it seems arbitrary that this should start with part four, but this shall be explained later (I hope).

1. Artist's studios. They feature on Julian Dashper's list of favourite things, and quite possibly mine. What was Graham Percy's studio like? Maybe a question for Greg O'Brien, Wystan Curnow etc. (I meet with Greg next week and will be arranging a meeting with Wystan too.) What about a curator's "studio"? How have studio spaces been exhibited, and how does an artist's studio relate to his or her practice? A 2009 exhibition explored this. The exhibition guide is interesting reading on the subject.
2. My presentation next week. How can I present my work in such a way that it explains my project and my progress in a valid way? I'm hoping to make it a useful exercise, and gain some good peer feedback.
3. The Percy works at Gus Fisher. I think I need to arrange a time to revisit the works and maybe gather some better quality images.
4. How to chronicle these lists. I've found this to be a more natural record of progress than keeping a journal/log. I completely worked myself into a corner with my McCahon blog and the medium feels tired to me, or limited at least. The good side of an online record is that it is an easy way to keep text, images, links and photos in one place. The down side is that I think the format suggests a finished product of some kind, with each post being "published," whereas what is really happening is a lot more immediate and evolving. I might find that a mixture of media is the best way to record the variety of goings-on. In the meantime I will maintain the blog - even though it feels horribly like I'm talking to myself!
5. Someone asked me today why I want to be a curator - "is it because you really love art?" she offered. I was completely clueless. I wonder how often artists are asked this - "why do you want to be an artist?" I assume it's fairly frequently. I wonder what the qualifying question would be - "is it because you're really good at art?" or something equally asinine. The interesting thing for me is that I was asked this by an artist.
6. The Queensland Art Gallery's Unnerved New Zealand Project. How dark is New Zealand art really? Where does Graham Percy fit within this archetype?
7. Off to Raglan tonight for fun.