Rebecca May Marston

9. 9th May 2011. Caroline Wright.


Professional Context. Guest Lecture.


Rebecca May Marsten of Limoncello Gallery.

limoncellogallery

The message of this interview conversation seems to be that curators are people too.

Although there are usual ways in which commercial galleries tend to work, in the amount of commission they take - a 50/50 deal, and there are other similarities in that galleries are businesses and must be organised as such, it mostly seems to be the case that gallerists, like artists, more or less have to make it up as they go along.

It's no surprise to hear that a professional attitude and preparation are appreciated and expected. In my own experience, artists tend to be organised and hardworking, but there is sometimes the chaotic person at an exhibition who leaches up time and energy. We all want to work with people we can work with. Exhibitions are all about the details while keeping an eye on the big picture.

The practicalities of art fairs and production costs must be a factor in considering a relationship with a commercial gallery - there are always at least sidelines a performative artist can generate for sales. If galleries are a business, then artists must be too. It needn't be a dirty word just because art involves itself with money. We all have to have a relationship with commerce.


Another strong factor was about developing relationships. If it's all about networking, getting recommended, getting to know curators, then equally, this must not be overdone. As RMM said, things come along in life through other people, and being proactive. Artists doing their research and approaching the appropriate galleries also makes a difference.


Mine was the question asking if art must be young - Limoncello have a show next year of young british art. I think this is a bit of an issue in the art world - not once one has got into the gallery system, but when one is approaching. It must be the only artform apart from popmusic currently where youth is seen as currency. We look for depth and experience in novels, films and established artists.


A creative life or career involved in any of the arts is a little precarious. It's easy to feel we are always doing something a bit wrong, and are missing out on what everyone else knows. In our practice we are often stepping out into unchartered territory, and investing yet more time and resources in nebulous ideas. That's just the way of it. It takes years. It's a long view after all, and even if one were to archive the ability to self sustain through practice, one must retain career management. That all great. It's creative, and the point really. And yet also, as acknowledged, an artist still needs a lucky break, or more than one, a show or exhibit that is picked up. 


14th May 2011