Expectations vs. Reality: 3 Art World Professionals tell us what it’s really like working in art
The glamorous parties of Andy Warhol’s Factory, the salons and soirées of Gertrude Stein, the intellectual and cultural authority of Hans Ulrich Obrist, millions in the bank, comparable only to Larry Gagosian himself… Life in the art world has certainly taken on a certain celebrity and charm through the accounts and stories that decorate art history.
It may go without saying, however, that these star-studded examples aren’t necessarily the reality of working in the art world. To discover exactly how much of a difference there is between the expectations and realities of working in the art world, Made in Bed asked members of the public what their impressions of working in the art world are for three specific roles: an art critic, a curator, and an employee at a public institution. We then got in touch with professionals who represent each role, and asked them for the realities of the situation. What follows are candid, illuminating accounts of what working in the art world is really like.
Gilda Williams, Art Critic, author, and London correspondent for Artforum magazine
Expectations of being an Art Critic:
A blurred role today; anyone who has a respectable reputation in the art world can be a critic
Lots of reading
Rich, and probably Caucasian
Overworked, underpaid
Very knowledgeable, a lot of reading, a lot of fun parties
On being an art critic — Gilda Williams
Writing well is time-consuming hard work and does not gel with being a parent. You need uninterrupted quiet. But the research is fun, and you get to think about whatever artists you like most.
You can not make a living just on your writing. Impossible. You’ll need to supplement with teaching, giving talks, pulling pints, maybe Crowdfunding, Patreon, etc. Or, come up with a great book idea about a boy wizard who fights magical baddies across seven thick volumes, all made into feature films and spawning a massive franchise, and never worry about money again.
Read tons, like 2-3 hours a day. (Yep, you’ve got to read, and know, a lot.) Make sure you’re reading plenty of great fiction and not solely art/cultural stuff, to keep your literary ear tuned up. These days I’m loving Chimamanda Ngozi Adichie, Tana French, Valeria Luiselli, Ottessa Mosfegh, Max Porter, Zadie Smith.
Surprisingly, artists and gallerists really do care about art critics’ coverage, and that they write quality essays+books. I am always amazed by this. (On the minus side, the rest of the art world does not care or actually read, aside from the occasional student.) You are basically treated with respect and allowed to write what you want. You have lots of freedom! Take advantage – maybe setting up your own online magazine and single-handedly re-inventing art criticism for a new generation, as Gabrielle de la Puente and Zarina Muhammad have done at thewhitepube.co.uk
Also following thewhitepube’s example: see plenty of art in familiar and unfamiliar places; think for yourself what you like/dislike; and pen one review a week (minimum), without fail.
What’s nice is you get to travel all over to see art, on someone else’s dime.
Amira Gad, Curator, previously curator at the Serpentine Galleries
Expectation of being a Curator: Overworked, underpaid
Response: Yes, and yes! We call it a labour of love...
Expectation: You have a big knowledge of art history
Response: I think it helps to have knowledge of art history, especially when dealing with artists who are not yet established. But I would go further, and I would say that it's important to have a strong general knowledge. Every artist, show or project will take you into a different direction, theme, history, society, and having a good broad knowledge helps in navigating the artist's practice and their shows. It's worthwhile remembering that a good generation of contemporary art curators do not come from a background in art history but rather from literature, philosophy... Contemporary art is intrinsically inter-disciplinary, I feel, and if you have the tools to do your research appropriately, you can get yourself up to speed.
Expectation: I expect curation to be a creative role similar to how an artist is creative
Response: I think as a curator you are creatively prompted and inspired by the artists that you work and engage with. But really, a big part of the job consists of dealing with logistics and acting like a producer of the show. The role of the curator shouldn't overshadow that of the artist and the curator's so-called creativity should take second stage to that of the artist. This is especially true in the case of solo shows but in the case of group shows, it's the curator's concept that is at its core so it's slightly different. Every year, I take part in the 'Ask a Curator' day on Twitter and one year, we were asked to give another job title to that of a curator. I answered something along the lines of: 'multiple-hats producer/thinker'.
Expectation: You go to other, smaller gallery shows to find new talent; you meet a lot of artists
Response: As a curator, you should! You do meet a lot of artists but you should also be doing a lot of studio visits and seeing smaller gallery shows. But the reality is that a curator's time schedule doesn't always allow to do as many as studio visits as one would hope or should be doing. You also want to visit the smaller gallery shows, pop-ups or smaller project spaces but there isn't always time for these and so, most often, a curator would make time for those shows or to visit those artists that have been recommended. Sadly, this does mean that the art world becomes more insular and that it becomes increasingly difficult for younger and emerging artists that do not have an 'in' to find their way. I highly advise to play an active part in not falling into this trap.
Flavia Frigeri, Independent Curator and Lecturer at Sotheby’s Institute of Art and University College London, previously Curator of International Art at TATE Modern
Expectations of working in a public art institution:
Terrifying today due to coronavirus and funding cuts
No money
You have a broad base of art historical/curatorial knowledge
You believe art is meant to be accessible for all people
Overworked, underpaid
You love public art
Undoubtedly, working in a public institution entails taking an active interest in your audience. The stories you tell through exhibitions and permanent collection displays, as well as through wider programming, are first and foremost aimed at your public. So it is of paramount importance that you understand who your public is. This is to say that yes, when working for a public institution you commit to making art accessible to all. Your role as a curator is to establish a platform that does justice to the works you are showcasing, while also making their narratives interesting and intelligible to those who engage with your display(s). As a result, having a strong knowledge of art history and its objects and methods is, in my opinion, necessary.
By contrast, when it comes to curatorial strategies and discourses, most of your understanding will come from practicing rather than studying. For instance, as someone who has trained as an art historian I have learnt the ropes of curating on the job. At the start of my career I was lucky enough to do an internship at Tate Modern, which provided me with a concrete understanding of how curating works. By that stage I still had a very vague idea of what a curator did and the internship confirmed certain facets of the role, while also shedding light on aspects that I hadn't previously associated with curating. So I would encourage any budding curators to do - if they can - an internship. That to me seems the best way to understand if curating is indeed something you are willing to commit to. Like all jobs, it comes with its pros and cons. And certainly long hours and a modest income is part of the equation. But I find that if you are genuinely passionate about what you do (and this holds true of pretty much any job) you will not resent the challenges, because—let's face it—even the most well-paid job comes with its own set of complexities.
In terms of funding, indeed public funding has steadily decreased over the past decade and museums are having to secure support from a mix of private and public funding bodies. Surely COVID-19 will have an impact on this, but I have no doubt that museums will successfully overcome the challenges that lay ahead. Collectively, perhaps more than ever, we recognise the importance of culture, so personally I hold great hope in the future of museums and exhibition-making.
Thank you to Gilda Williams, Amira Gad, and Flavia Frigeri for contributing their precious insights into each role. Organised and interviewed by Vienna Kim.
Vienna Kim,
Head of Interviews, MADE IN BED