What I have Learned as a Gallery Curator and Director...
Lessons from someone who did not hold an art history background.
Most days, when someone asks what exactly I do as an art curator, I am left with a perplexing moment of silence as I attempt to gather my never end list of things I do on a daily basis. Going from slow paced gallery day of emails and client relations to 19 hour art fair days that divert into everything from booth curation, private collections and dinner organisation, grant proposals, union paperwork, insurance and shipping coordination, guest relations, PR writing is a normal scheduled pace in the art world.
Can you sense an ongoing theme? There is not one size fits all for the work of a gallery curator. I quickly realised my role held many titles and I began to diversify my knowledge from not only the art itself, but everything back-end that occurs so the Artwork itself can be displayed. My current choice in wording, display of artworks, feels lazy as the origin and nature of it holds so much more depth and meaning, and perhaps it is this very example that defines what an art curator and director does. From an outsider’s perspective, it seems rather informal, dare I say easy, but the truth of an art gallery curatorial and directorial role is much more diverse.
Entering my third year PhD candidacy in economics, I found myself in a constant state of misery, often implied by the sexism and chaos imposed by my university department, but the core of it all, none of it was my passion or made me happy. I felt deflated, freighted and burnout from the constant fight for my standing and support, and began to lose hope that my life would look any different. My truth, I should have studies Art History when I first began my university journey at fifteen, but alas, I took a different route for a plethora or exuded reasons. My existence was becoming a misery of epic proportions, even Edgar Allen Poe would deem too solemn. I knew I needed to make a change, but had no idea how to divert my existence, as I spent my entire adolescent and early adult life in preparation for this Doctoral degree. That was until I came across an opening for a Gallery Assistant role.
I applied, without any expectations, and three days later I received an email for an interview. Needless to say I was granted the role, and that same day I marched into my university department and began the process for a sabbatical. For a moment, I was juggling my Phd responsibilities and those of this new art world role, until my sabbatical was approved, which was as chaotic and overwhelming as it sounds, but oh my was it worth it. Once my Gallery Assistant role became my norm, I decided to give myself one year. If I could make it in the art world in one year, I would never look back. Four years later, my roles have evolved into a life I never deemed to believe would be my reality.
Little did I know, that one decision would completely alter my existence and life as whole would change for the better, and almost fifteen years later, I now find myself with this grace and opportunity to do so.
So, what are some of the things I have gained in knowledge through my evolution in the Art world?
Multitasking is an art form…
It is not simply the role that holds multiple titles, but the ability to conduct multiple aspects of the job at once. From directing an exhibition installation, to dealing with the grant or union paperwork that comes with it, some curatorial moments will drive you in every direction. While I was no stranger to the world of multitasking, the art world introduced a deeper connection to what it represents. My first week into the role of a gallery assistance, I was thrusted into the planning and development of Art Basel Miami/ Miami Art Week, and might I say, this was not for the weak. Staying composed and pretending to hold some form of organisation is key to succeed in the art gallery world.
Details, Details, Details…
From the curated PR essentials, client relations, to dealing first hand with the artists and collectors, the key to success is truly in the details. Remembering your way through the relationships that build the success of the art world becomes a daily norm. Even down to the liquor sponsors for the in house events become imperative towards the drive. This was something I had to adapt into existence, as my natural personality is rather quiet, and my more academic background allowed me to nurture my work in a more solitude of ways. I quickly realised that in order for me to do my job well, it would require a deeper connection with people. This is where attention to detail would once again appear, as I found my comfort zone in remembering the who, what, and where’s of the patterns and favours of those who contributed towards my daily existence as a curator and director. So find your comfort zone when it comes to socialising and embodying the multitude of dynamics and relationships that comes from being in the art world. Do not get me wrong, I in no way altered my personality or forced my way into an extroverted existence, but learning how people move, react, and engage became imperative. I like to believe my soft charm adds to my ability to hold connections and growth, as my personal choice in elegance is how I choose to envelop my curatorial work. Find your flow, dynamic and individual charm, and everything else will begin to flow.
It was all who you know…
Piggybacking from the development of connections, I right away noticed there is a hierarchy in the art world. People with connections, people who have worked with certain artists or groups. Get to understand this hierarchal climb and dignify your way into developing a solid repertoire with them.
You will have slow days, learn to use them well…
As any market, there are times of lull and the in-between. Once the rush of my first Art Basel experience came to an end, my once known nineteen hour days were filled with quiet in gallery stillness. A pleasant welcome from the rush, but learning to use this time to develop future work is curial, so it does not all pile up during the busy seasons.
You actually spend little time interacting and composing your role with the artwork itself. Being a gallery curator and director, I would spend most of my time in an office in the back end of the gallery, on my computer typing up applications, PR curatorial editorials, emails, emails, and endless emails. This was my fast growing reality. Only the occasional installation work, or studio visit with an artist would link me to direct interaction with the artwork itself. Something for which never settled quite right within my bones, as I sought this connection with the art and artist over any other form of my role and related work.
Social Media holds a different role in the Art Gallery World.
It is used to create a mini circle or exclusivity, over an open invitation to experience art. Again, this was something I found odd as the only interpretation of artistic perspective was a very academic and openly historical point of view. Suddenly, a secretive and illusive format of curating became my norm, exempt were the selected collectors that held a more normal sense of art experience and access. Social media became an illusive push towards a members only club and I will admit, I struggled with this particular avenue, as I found it odd and slightly pretentious.
While the list of lessons can continue on and on, I will leave you with these six for now. The art world is such a diverse universe, and can hold so many interpretations of its existence. This is my personal take on what my daily role looked like and how I grew into the role itself, and in some ways, things I wish I knew before I began my journey with Art Gallery work. There is very much an elusive essence to gallery work and the environment in general, and it is curated to be just this way. From the private parties, countless of days sat behind a computer with never ending paperwork and emails, it was never left with out adventure and passion. I quickly understood all of the work that goes into the final stages of viewing an exhibition or works of art, and this more importantly, was the strive for my role and truly what made my experience, growth and success as a Gallery Curator and Director.
Ever,
Ella