Prototype

The Burton Gallery  – The Pilgrim Hospices Photography Competition.
Curator: Dr. Karen Shepherdson

What is the theme of the current show on display in the Burton Gallery?
This is part of our Community Month – which enables photographic competitions – often linked with charities – to show in a Gallery setting. This is a show for Pilgrims Hospices which has as its theme Kent in Focus.

By what criteria were the images selected to be part of the exhibition?
A Panel of judges evaluated work submitted for the Pilgrims Kent in Focus Competition. I have a document which shows this. Please feel free to collect a copy from me.

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?
Not for this exhibition. There were 15 works and we have 16 spaces. None were large  - in fact uniform at approx. A2 so not an issue on this occasion.

How did you choose the final images on display? Did you look for an element of consistency which inter-relates them?
See 2.

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?
This is a problem and can create an aesthetic clash. Where practicable one clusters the B&W – but often this isn’t achievable.  One tends to then link either thematically or use neighbouring images which perhaps have a limited or muted palette.

What was the starting point for the curatorial process and how long did it take to complete?
Is time management essential?
Vital – we had a hour walking the space and then hanging had to take place. We had the work so would physically move them around. Time was against us – but as a community project one didn’t have to consult with the individual artist(s). You sometimes have to be pragmatic and just work at pace.

 How do you ensure that each artist’s voice is heard, without being influenced by the work located next to it?
Ideally by giving each a panel in a group show. Working in themes or tonal palette can help. See above.

 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?
This was decided by the Hospice who arranged the framing. It was a cost factor as any money spent would diminish the proceeds to the Hospice.

Could you please explain why black wooden frames were used?
The framing was all selected by the Hospice. As you can see we facilited the space and hang but had little if any contribution re size and frames.

 How is the viewer affected by wall color when looking at images? Is there a reason for choosing white background?
White was selected at the time of the Burton’s inception. It was a kick against the magnolia which had infected the entire Campus. We did consider grey – but white seemed the most conservative for such a public / multi-use space.

 Another key element when it comes to exhibitions is lighting. How was that matter approached and dealt with?
With difficulty. We inherited the lighting and the only concession available to us was daylight bulbs – these are now used throughout the Gallery.

 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?
The space for text is far from ideal – again this was an inherited factor. We try to inform the viewer of the Gallery, its context and provide some information with regards to the current show. As a very temporary show without any budget signage such as labels are very modest.

 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?
This is achieved through a consistency in brand / badging – from the text and font used, to the frames and the context provided. We remain consistent from the invites right the way through to labels.

 How did you determine the height of the images of each flat? Why didn’t you choose to position them higher or lower?  
The positioning was selected to be optimum eye height whilst avoiding where possible reflection. The top line of the frames are always consistent.

 What was the main objective of the show? Did you manage to achieve it?
We were asked to give a month to community imaging – we did this with some reservation. We  provided a forum for the community competitions and in that regard objectives were achieved.

 Were there any concerns or specific considerations which required attention? Were they successfully resolved?
We had / have some concerns over the quality of the work – we cannot be too precious about this but clearly it impacts upon the impressions made about photography undertaken at the University. We resolve this by hanging the exhibition to the best of our abilities.

 Did you always have a back-up plan if anything went wrong?  Was the element of stress present throughout the development process?
We are very experienced so tend not to feel stressed over small exhibitions. There are always solutions, you just need to be flexible and know where to compromise and where to hold the line.

 How important is being able to work under pressure when thinking about curating an exhibition?
Of course you need to work under pressure and to take people with you. At the end of the day there will be a PV and a party atmosphere. If you have alienated everyone in the process because you feel the pressure then the atmosphere at the PV will be not what is sought. The curator should be a creative midwife – it should not be about their ego – rather showing the work to its best advantage.

 Was there anything you wish you had done differently? How would have that affected the final outcome?
The labels are very modest. But again it is the pragmatics. A 4 day / no budget show cannot have the investment that a seasonal exhibition will benefit from.

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

 Thank you for your time.