How to make money curating art shows

When reaching ou, you will want to include a general description of the show and an explanation of why you think their work fits. I took a few months off because I had two shows going on at the same time last spring, and it drove me crazy. Talk about work pricing and buyer agreements because, well, you never know! A lively karaoke club, a dive bar nearby, or a good spot for some late night grub works perfectly. What goes where?

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Kristin Sancken fell into the curatorial world after her first-ever show—the same one she had to Google «curatorial proposal» before putting on—became a massive success. Sancken spoke with Pacific Standard about the difficulties of being friends with artists, making money at the curation game, and why shameless is the new humble. I went to school for art business. Sotheby’s had a program in art business. My initial interest was in outsiders folk art, but I met Annika Connors, who is an artist. She asked if I would be artt in curating a show with .

Here’s a step by step list of how to put together your very own DIY art exhibition.

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Kristin Sancken fell into the curatorial world after her first-ever show—the same one she had to Google «curatorial proposal» before putting on—became a massive success. Sancken spoke with Pacific How to make money curating art shows about the difficulties of being friends with artists, making money at the curation game, and why shameless is the new humble.

I went to school for art business. Sotheby’s had a program in art business. My initial interest was in outsiders folk art, but I met Annika Connors, who is an artist. She asked if I would be interested in curating a show with. I agreed to it. I had never done it before so I Googled how to write a curatorial proposal, and I wrote one on contemporary watercolors. I got a list of potential artists.

In the interim period, where I was shopping around for a venue—it was initially supposed to be a pop-up exhibition—I was talking to a specialist at Phillips who also knew Annika [ Editor’s Note : Phillips is the auction house where Sancken was working at the time ]. I mentioned that I was helping her curate a show and that we were looking for a space. She suggested Phillips. We talked about it and decided to blow it out of the water because, while I was really young, I had Phillips behind me.

It went from a small pop-up exhibition to this multi-million dollar show with all these great artists. It mostly happened because we had the name backing me. From that experience, I got a lot of press. I think a lot of that press happened because I was a year-old coming out of nowhere who had the gumption to curate this exhibition at Phillips.

There was a story for people to bite on. I negotiate everything on a project-by-project basis. With Watercolors, I was already working at Phillips, so that was just my salary and then I got 10 percent of the sales of the exhibition. We had an agreement that they would cover all of the overhead costs, so I didn’t have to throw down any money for the opening reception or any of the day-to-day expenses; I just had to curate.

We also threw a couple of ticketed events in conjunction with the show, and we got all the money from the sales of the tickets. Typically with small galleries, I would ask for a curatorial fee and a percentage of sales. The percentage of sales I would ask for is usually based on how much overhead they are willing to cover. If I have to cover an opening reception or shipping, I’ll ask for a higher percentage of the sales.

I think that everyone considers themselves a curator in the art world. I’ve noticed a rise of it. Someone wrote a really good essay recently called «You’re Not A Curator. Now, shameless is the new humble. Everyone is doing it. I never asked to be called a curator. One thing that I have going in my career is that because of the press I’ve gotten and because of the shows that I’ve done, I have access to more artists.

My shows tend to be different because I look for more established artists, actual names, and better artwork. There are lots of people curating Brooklyn and New York emerging artists. Are there a lot of people making money off of it? I don’t think there are. You were with House of the Nobleman. I’m no longer with. I was with them for a year and a half. It was nice. It was almost like they were patrons or benefactors. They put their names on the. I’m not overly concerned with being named as a curator; it’s just what I love to.

It was nice because they financed the. They helped with logistics. They helped with almost every other factor. They had a lot of different ideas of curating that they wanted to carry out that wasn’t really my vision. They wanted to do luxury, white glove things. I’m a bit more edgy. I wanted to do things a bit more sexy. I’m doing their media side, focusing on PR, and writing right. I took a few months off because I had two shows going on at the same time last spring, and it drove me crazy.

It was so much work. I don’t like to push an idea or pull something stupid out of my ass. I think it takes time for something to come to you and an idea to grow. I think if it’s creating one show a year that’s fine with me as long as it’s a good. I want my reputation to be curating these high-quality, museum-quality shows. I don’t want to do something half-assed just because I feel like I need to be doing. I have another meeting tomorrow about doing a show on contemporary eroticism and nudes that I’ve been working on for about two years.

I’ve been trying to source a venue for it. I’ll be back to curating soon. Getting into a show can be a big financial gain for an artist. Do you feel pressure from some people to include their work? A lot. There is the idea of strategically placing artists in a show because they are going to bring press, or they have connections to other artists and you can only get access through.

There’s pressure that way. There’s also pressure from people who I have shown in the past who I have become really close friends with or people who have done me huge favors. My entire career has been built on people being extremely nice to me so there is a certain feeling of responsibility for me to pay that. That being said, sometimes an artist doesn’t fit within the parameters of an exhibition.

I can’t carry everyone’s career. I would like to own my own gallery, so there is a certain group of emerging artists who I have befriended or taken under my wing.

I include them as much as I. I’m trying to court and maintain those relationships for when I have a gallery, and I’m representing my own artists. How Do You Make a Living? Noah Davis talks to Hank Willis Thomas about the value of an MFA, the problems and advantages of living in New York as an artist, and what banking and art how to make money curating art shows in common.

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Sellers agree to accept the highest bid above their set reserve price and to deliver the offered goods to the buyer submitting such highest bid. All you need is to be an active follower that means commenting to their posts or connecting through online groups. What makes for a good curator? Work on Paper. It is your sole responsibility to comply with the appropriate terms of service of the Linked Sites as well as with any other obligation under copyright, secrecy, defamation, decency, privacy, security and export laws related to the use of such Linked Sites and any content contained thereon. It’s worth thinking about the etymology of curating. Most popular. Visitors wore headphones and listened to radio transmissions that faded in and out as they moved through the exhibition. As a schoolboy, I would go every afternoon to see the long, thin figures of Giacometti. Sell your prints. Artworks with a deckled how to make money curating art shows decorative edges will be floated on the matboard, with acrylic spacers to separate the art from the glazing. Any claim or cause of action you have with respect to use of the Site must be commenced within one 1 year after the claim arises. Your portfolio must be up to date and have a decent and cohesive look and feel. Pace Prints.