Resources needed to undertake the project

Some of the interviews will be recorded and transcribed therefore I will need an I-phone to record the conversation. I shall also download the software required to do the transcribing. A laptop will also be required as well as Blurb software which shall be used to produce the book. 

When producing the images of the shows I will be using my own digital camera which is a Nikon D700. Lenses used will either be Tokina 28-70mm, f/2.8; Nikon 50mm, f/1.8 or Nikon 70-300mm, f/2.8. Other items such as memory cards, batteries and hard drives will be vital.

Last but not least, I will require each interviewed person’s permission to use the answers he/she provides in my project and also be aware that they might drop out at any given time. That is a decision I have to respect. In the situation when that does occur, the interviews shall not be included in the final outcome. 

This week I will be sending out emails to gallery curators asking them if they wish to be part of the project. When I have positive answers I'll start planning when to go and interview them as well as take photos which shall be included in the publication. 

Ongoing bibliography

 Books:

1. Mieke Bal – Expository Discourse (did not start reading it yet)

2. Roland Barthes – Image, Music, Text

3. John Berger – Ways of Seeing

4. Philip Hughes – Exhibition Design

5. Shirley Read – Exhibiting Photography

Roland Barthe's book helps me establish the connections present between image and text. When curating an exhibition, determining how to combine images and words together effectively is an important aspect. 

John Berger's book is related to my project simply because it aims to explain the act of looking, seeing and observing. That is exactly what people do when they attend an exhibition. They look at the images or art displayed on the walls and attempt to find explanations and figure out what exactly is going on in the image. With regards to text, "Seeing comes before words." In the case of exhibitions, words should emphasize the images, making them have a stronger impact on the viewer. 

Philip Hughes refers to crucial aspects such as the architecture of the room in which the exhibition is displayed, use of lighting, how to display text in a room where images are shown, printing sdirectly on walls. It also gives examples of museums and how they choose to display certain shows. (For example London Transport Museum, The Imperial War Museum, National Gallery). 

Shirley Read tends to focus on the other aspect of putting together an exhibition. Working as part of a team, organizing everything, having back up for everything just in case something goes wrong, putting together a press release, sending out invitations and having an extended contact list in order to promote the show as much as possible.

Ann Shumard & Chris Fite-Wassilak

Curator Ann Shumard - Galllery Tour

 

Quiet Revolution - Curator's Interview 

http://vimeo.com/6829968

Interview with Chris Fite-Wassilak, winner of the inaugural Hayward Touring Curatorial Open. Quiet Revolution is the first exhibition in the Hayward Touring Curatorial Open programme, which supports UK based curators in realising innovative contemporary art exhibitions.

 I will keep looking for other gallery tours and recorded interviews because they are going to help me when I actually go and talk to the people I aim to interview. As far as I've read, the manner in which I speak to people and how I behave during the interview can affect their answers and how comfortable they feel when answering the questions.

Interviews with curtors

Interviews I have found until now and plan on reading: 

·        Tim Burton Retrospective: An Interview with Curator Ron Magliozzi

http://www.coolhunting.com/culture/tim-burton-at-m-1.php

·        An interview with Katrina Sluis, Digital Curator at the Photographers' Gallery

http://www.furtherfield.org/features/interviews/interview-katrina-sluis-digital-curator-photographers-gallery

·        A working life: the art gallery curator

http://www.guardian.co.uk/money/2011/oct/14/working-life-art-gallery-curator

·        Interview with Alys Williams, Artist and Curator, Director of the Vitrine Gallery

http://www.artvehicle.com/interview/26

·        Interview with Helen Stalker, Curator of Hockney to Hogarth, Whitworth Gallery, Manchester.

http://www.aestheticamagazine.com/blog/interview-with-helen-stalker-curator-of-hockney-to-hogarth-whitworth-gallery-manchester/

Structure of intervies

Due to the nature of the project, I have to make sure that there is consistency throughout the publication. Therefore, the interviews will all contain the same question, even if they might be rephrased to avoid repetition and risk boring the readers.

Main aspects which shall be talked about are:

- beginning of curatorial process
- selection criteria
- printing and framing
- lighting set up
- theme and objective of the show
- time management
- the combination between image and text
- describing the curatorial process using one word of phrase (that's probably the question I'm looking forward to reading answers to)

I have never interviewed someone whilst being face to face with them so recording some of the interviews will be slightly challenging from this point of view. I am eager to try it out and see how things go. Beforehand, I'll make sure the equipment used is in working condition to avoid any unexpected situations.

Interview with Karen Shepherdson

For the Mixed Media prototype I have managed to interview Dr. Karen Shepherdson, curator of the Burton Gallery located at the Canterbury Christ Church University, Broadstairs Campus.

I have tried to limit the number of questions to 20 in order to avoid repetition, and make them clear and concise. They refer to the curatorial process carried out when arranging the show on display in the gallery and other aspects such as framing, lighting and challenges set by this task.

The set of questions was the following: 

1. What is the theme of the current show on display in the Burton Gallery?

2. By what criteria were the images selected to be part of the exhibition?

3. With regards to space, was it a difficult task finding a place for each photograph, whilst making sure the amount of visual information is not exceeded?

4. How did you choose the final images on display? Did you look for an element of consistency which inter-relates them?

5. Showcasing both color and black and white pieces of work can be challenging. How did you decide which image goes where, without affecting the overall flow of the show?

6. What was the starting point for the curatorial process and how long did it take to complete?

Is time management essential?

7. How do you ensure that each artist’s voice is heard, without being influenced by the work located next to it?

8.  Regarding print sizes, why did you choose A3 as the best option? Is that due to reduced amount of space dedicated to each image or does it make the work stronger?

9.  Could you please explain why black wooden frames were used?

10. How is the viewer affected by wall color when looking at images? Is there a reason for choosing white background?

11. Another key element when it comes to exhibitions is lighting. How was that matter approached and dealt with?

12. How did you manage to combine text, used to explain about the gallery, and imagery in the show?  What influenced your decision of placing the text in that certain area?

13. From your point of view, what creates the consistency of an exhibition? Is it only the message transmitted by the prints, or is there something else?

14. How did you determine the height of the images of each flat? Why didn’t you choose to position them higher or lower?  

15. What was the main objective of the show? Did you manage to achieve it?

16. Were there any concerns or specific considerations which required attention? Were they successfully resolved?

17. Did you always have a back-up plan if anything went wrong?  Was the element of stress present throughout the development process?

18. How important is being able to work under pressure when thinking about curating an exhibition?

19. Was there anything you wish you had done differently? How would have that affected the final outcome?

20. How would you describe the curatorial process in one word or phrase? 

I would like to thank Karen Shepherdson for agreeing to take part in the project. She has given some excellent answers which shall be very useful for my research and when comparing them to other responses received in the future.