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| Sep 24, 2008 9:28 am |
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re: Makings of a good curator |
Sonali Engineer
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i agree with priyanka and ajay. what is essential to being a curator involves 2 sides: for the artist and for the clients.
what becomes important to both sides is fair trade practises.
artist:
contractual working relationship - underlining all areas. what i have seen and heard from gallery owners is that once an artist makes it big they want to graduate to 'better' galleries who come with natural fame attached. so keeping in mind the artist's and the curator's interests i think what becomes important is role definition and equal benifits to both parties - because it becomes very easy for the artist to move on but the curator should benifit long term too. i think royalties and right of first refusals can take care of these issues well.
promoting the artist correctly becomes equally relevant - i have known galleries who tell the artist to paint in certain styles because that is what they can sell - that is limiting an artist. correct tutoring of the client becomes the core of this issue again. the artist can otherwise also build into the contract to only promote those styles with that particular curator so that other avenues are open to them for other styles.
what becomes very important in the role of a curator i think is that defining the work as art - understanding the difference between a painting/sculpture/etc and a work of art and then translating it correctly for the viewer audience. also to be able to represent the work/artist well and give the correct exposure becomes very relevant.- these i believe is the main role of the curator - rest are all just built in safety factors.
from the client side:
well just plain honesty in terms of - art, scalability, appretiation, pricing and liquidity.
add on guys please.
sonali Private Reply to Sonali Engineer (new win) |
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