(Focusing on a small NPO gallery)

Main Characteristics:

At Whitechapel Gallery- Chief Curator, Curator and Head of MA Curatorial Studies, Curator,3xAssistant Curators, Assistant Curator–Special Projects, Archivist and Archive Curator, Head of Exhibition Design and Production, Gallery Manager and Installation Manager.

Work on exhibitions from development and research stage to realisation. Liaise with artists and the representatives, arts institutions and funders. Liaise with all Whitechapel Gallery departments including Communications, Education, Development and Operations to secure a smooth flow of information. Monitor and maintain budgets for specific exhibitions and exhibition catalogues meticulously and in timely fashion. This includes obtaining estimates, raising purchase orders, processing invoices, maintaining digital and physical budget files and liaising with the Finance Department and budget holders. Manage trainees, interns and other freelance employees as well as supervise departmental work placements.

Positive aspects:

Working in a team so there are people to help with the workload.

Attached to a particular location so you have a “workplace”.

Regularity of work to do.

Some independence so most of the curators work on projects outside of the gallery too.

Department is closely involved with an MA in Curating Contemporary Art, taught jointly with London Metropolitan University, so many curators are also able to teach and pass on skills.

Barriers:

Seems to still be only privileged people in these positions still.

Difficult aspects:

May feel restricted or like you have to compromise for the organisation.

Dealing with lots of internal and external partners can be delicate.

Curators who work in this way:

Lydia Yee (Chief Curator at Whitechapel) her research interest is intersection of art and social and cultural histories and cross-disciplinary practice in contemporary art. Iwona Blazwick, who is also Director of Whitechapel, she formerly worked at Tate Modern and ICA. Emily Butler, has an international background, and is interested in cross-cultural work.

Curator of Public Programmes

The curator of public programmes supports an art organisation’s engagement with the wider public, including both specialist and non-specialist audiences, supplementing the exhibition programme with events including workshops, talks, and classes, both on and offline. The role involves planning, supporting, and implementing programmes for different audience groups. The curator of public programmes generally acts as a point of connection between audiences as well as various members of the institution’s team, including the directors, curators, and communications. The curator of programmes also connects with other organisations that may provide specialist knowledge for delivery of programmes, including educators and community engagement professionals. The curator of public programmes is generally responsible for deepening public value of the organisation and broadening engagement.

Main tasks include researching, planning, and implementing programmes through a process of evaluating and defining audiences. Delivery of materials and programmes involves communicating with other members of the team, including marketing department to produce promotional materials, as well as directors to define strategy. Further collaborations include working with finance department to draft and adhere to annual budget, as well as working with artists and curators to develop programmes. As a whole, there is an emphasis on project management, administration, as well as building and maintaining relationships both within and outside of the organisation. As a forward-facing role, such relationships may involve connecting with public figures, including policy makers / government figures, being required to handle enquiries. In the development of public programmes, research and writing is involved, particularly in the creation of learning materials and other publications, along with blogs, the website, and social media.

Liaising with personnel within the organisation’s team as well as externally, participating in meetings to ensure wider strategic direction and implementation of materials and programmes, collaborating with artists and curators to develop programmes, research and writing, administrative tasks.

The role appears to require collaboration with different teams within an organisation, working closely with directors, curators, communications & marketing, as well as finance department. The curator of public programmes also needs to collaborate with artists and other professionals with whom programmes are developed. Within a contemporary arts organisation, knowledge of contemporary art and experience working in the field is generally required, including a BA or MA in history of art or cultural studies.

Understanding audiences—this must be a collaborative role in order to adequately develop programmes that take into account a variety of experiences across publics. Further challenges including adhering to budget as well as driving revenue, managing expectations of various individuals within and outside of the organisation, as well as working under certain limitations set by these expectations. As a forward-facing role, there may be a risk of being involved in public backlash that programmes/institution may be subject to.
  

Knowledge and experience in contemporary art world and needing to have a solid network in the field. Entry to such a role is competitive, with specialist knowledge and experience required, requiring either extensive experience or starting at an entry-level position. These positions are generally not very well paid, perpetuating social end economic barriers as it is difficult for many to enter into and/or sustain themselves in these positions.

Para Site, one of the oldest independent art organisations in Asia, introduced the role of curator of public programmes in 2015. Having been self-organised throughout the late 1990s (the organisation was founded in 1996), the founders invited an international curator to lead the organisation in 2000. This was Tobias Berger, who is now Director at the recently established Tai Kwun Centre for Arts & Heritage in Hong Kong. It was the first time that the organisation brought an international curator in, and marked a shift from it being artist-led to curator-led. This led to more structure within curatorial approaches, leading to the formulation of Public Programmes. In 2015, the organisation set up the role of curator of education and public programmes, with Freya Chou in the position between 2015 and 2019, followed by Anqi Li. Both have extensive experience in the contemporary art world, with Freya Chou curating the Hong Kong pavilion at this year’s Venice Biennale. Anqi Li has worked within the Division of Academic and Public Programs at Harvard Art Museums, developing museum experiences for young people, and has worked at the Hammer Museum in LA and SfMoMA. Anqi Li holds a BA from San Francisco Art Institute and an MA from Harvard University in Arts in Education.

A hybrid role “somewhere between curating and art”

Self-reflexive, Reinterpreting

Exhibition as medium, there is a shift from the making of artworks/objects to the making of exhibitions

Artist-as-curators bring their own practice and outlook as an artist to curating 

Reconsider what an artwork or an exhibition can be

Often reflecting on and questioning exhibition history, museum curating, etc. Interrogate, dissect and destabilise curatorial traditions.

Alternative venues - counter hegemony and framework of the museum and the commercial drive of the independent gallery 

Collective work, create through dialogue and ideas. Artists working within a collective are united by shared ideologies, aesthetics and/or, political beliefs. They often seek to bring about change through direct action. “Collectives today are about the present and how they can change society in the here and now.” Tate website

Diverse skills set

Self-organising, often organising every aspect of a project or exhibition. This includes liaising with other artists and artworld professionals, writing proposals, finding a space, applying for funding, installing artworks, writing exhibition interpretation, writing and distributing press and publicity material, organising and running learning programme.

Creating artists run spaces and initiatives 

Digital platforms, nomadic projects, studio spaces, art festivals, artist run galleries and exhibitions

Continue with their own art practice – researching, making, writing texts, applying for funding and opportunities

Need to be extremely flexible and good at networking, liaising with other artists and patrons, art critics, etc.

Work with other artists to research and secure venues, funding, and other support. And importantly write exhibition proposal/ manifesto.

Specific subject knowledge, collaborative in spirt, writing skills both creative and practical,  Practical skills such as installing works.

Being an artist means precarious work, and often requires a second job

Need to be good at networking and taking advantages of opportunities

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