Art Talk
Want to show in a prestigious gallery?
I have found that with the exception of having to deal with wavy, unleveled , conduit filled, metal beam supported walls, a professionally curated Gallery in Mexico is not that much different than those north of the border. In 2003, I approached the prestigious “ Centro El Refugio” gallery in Tlaquepaque, unannounced, but armed with my presentation. The curator ushered us into her private office and was very gracious and receptive.
I took in photographs of the two bodies of work I desired to exhibit, a series of 20 paintings titled “The Discovery of Adolescence” and a series of mixed media-pastel works titled, “La Charreria.” I also brought statements about each series, copies of my art history, education, previous showings and a sample of both bodies of work. I was asked to leave everything so it could be shown to the board and given a two week appointment.
Upon returning, after I was shuffled around for half a day, I felt sure I was being snubbed, until the curator finally appeared with a contract for me to sign. They gave me three Salas near the front entrance to exhibit my work. Along with the contract was a package of papers that included a diagram of the first floor of the Museum with room dimensions, placement of switches, and protruding architectural elements. I was given a date to bring in the work and the dates and times for the opening and exhibition.
On my studio’s floor I laid out my artwork as they would appear when hung. As the works in “La Charreria” were under glass and widely matted they did not need as much as much division between them as the paintings. (The mat had given them “breathing room”.)These pieces were done in more detail with secondary points of interest in the background. I chose the long narrow Sala for them to be seen up close. The “Discovery in Adolescence” paintings brushed with bolder strokes on a larger scale were shown in the 2 large Salas spaced by massive architectural elements.
Each piece was labeled with the title of the series, individual title, size, media, my name and price, making a duplicate for the curator so she could use it to print up the display tags. Each was then wrapped, and marked on the outside with my name, the name of the exhibition, Janice Kimball Paintings and Pastels, the Sala where it was to be displayed and a number to correspond with the one put on the Museums floor diagram showing where it would be hung on the wall.
The Centro El Refugio provided two long tables for the cocktails and botannas which I brought. I was told they would mail out 1000 invitations to patrons on their mailing list. I got the invitations to them three weeks before the opening. They did not mail them as they were not received more than a month ahead of time. (Read your contract carefully.)
From that point on the show was the “baby” of the curator. The exhibition was absolutely wonderful. The curator gave me referrals to two other national galleries, (the curators are all friends with each other.) Before you get too excited about embarking on this journey read my next month’s column where I will explain why I chose not to take this option.
Janice’s Gallery and Weaving Studio’s are now all on the first floor. Maestro Francisco would love to show you around during the week, Janice is in on Saturday. 232 Carr, Pte, Rancho Del Oro, East of Rio Bravo 766-3543 .We are on the lake side, across from the new hardware store. Closed Sunday and Monday
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