Arts Professional Story: Natasha Egan, Museum of Contemporary Photography
Natasha Egan, Associate Director and Curator, Museum of Contemporary Photography
What impresses me are artists that are absolutely convinced and passionate about their work. They have instinct as artists, but they also can clearly communicate the idea behind their work. I’m a bit tough on artists about developing these skills as many artists think their art should speak for itself. I’m all about intuition, but you need to figure out how to communicate your vision to others, both visually and verbally. Oftentimes, viewers find it difficult to figure out what an artist is trying to say, or why it’s important, or relevant. Or why they, as viewers, should even care about your subject. Of course, sometimes you find artists who do absolutely great work, but they just can’t communicate. If that’s you, find someone who can help – a gallery, a friend – to articulate your ideas. In order to get a grant, an exhibition, or gallery representation, you need to be able to explain your work clearly and intelligently.
At the MoCP, we have monthly portfolio reviews. We look at about 50 to 60 submissions each month from individuals, galleries, and institutions, and the range of work is quite wide. We look at established photographers who work with galleries, emerging artists, recent graduates, and everyone in between. We don’t care if someone is established or not, we just want the work to be solid and backed up by a well thought-out statement. Three of the artists in our recent show, The Edge of Intent, we learned about through our monthly portfolio review.
I always encourage artists to send their work to many places and to resubmit their work a year later if their project has grown. We want artists to keep us informed about their work if we’ve expressed some interest. It’s a way to stay on our radar. We may not exhibit or purchase an artist’s work right away, but we sometimes work with artists in different ways. For example, I’ve written about artists that I’ve met at portfolio reviews in our newsletter and blog, and suggested artists to other curators and gallery dealers. I think if you are working hard, and you keep it up, the recognition will come. It’s going to happen. But you have to be getting your work out there. You might get picked up right away, or it might take ten years. Some of it is luck and timing, and I’m not suggesting it’s easy. But you have to put your work in front of curators, dealers, and other artists to get in.
To facilitate this process, send your work to places you know and respect. That includes galleries, museums, and nonprofit spaces. But do your research before sending anything. Know the mission of the space. Respect each institution’s submission guidelines so you’re not disregarded (wasting your valuable time). For example, photographers should know the MoCP is not interested in showing travel photographs. We don’t want safari pictures unless they are part of a grander concept.
It’s helpful to include an artist’s statement with your work. If you’ve done multiple projects, include multiple project statements. We’re not swayed by “packaging.” The key is to include the right materials. If you send a disk, include hard copies of print materials too. It jogs the memory and makes a visual impression. An ideal package would include a bio, some press clips, and sample photos from your disk.
The best working relationship between an artist and a curator is mutual respect for each other. If a curator expresses interested in your work, stay in touch but do not bombard or put pressure on the curator to show your work as the relationship my backfire.
Some artists think once they’ve had a show at a reputable gallery or museum they’re too important to show at smaller institutions or even participate in a group show. This is a mistake. Some artists become well known in one circle, and don’t venture beyond it. Keep in mind that even if you’ve shown at a great museum, your career will not necessarily take off. You still need to work hard, get your art out there, and maintain relationships.
Some artists think they should only show their art in New York or Los Angeles and will turn down a smaller institution in between – another mistake. The more people who see your work across the globe, the better. There are many artists who do extremely well in smaller and regional shows and build on that momentum and broaden their experience and visibility in a strategic way.
I received my MFA in photography and understand the difficulties of being an artist. I found myself in grad school more excited to talk about other people’s work than my own, resulting in a career shift for me.
As a curator, my job is to promote contemporary ideas through exhibitions and publications by showing a broad range of artistic strategies. My job would be impossible without the interaction I have with artists. My favorite part of being both a curator and a teacher is the ability to talk with artists or students about their work and then see it on the walls of an institution or in a publication.
Natasha Egan is Associate Director and Curator of the Museum of Contemporary Photography (www.mocp.org) at Columbia College Chicago (www.colum.edu), where she has organized numerous international exhibitions and contributed essays to multiple publications and magazines. Natasha also is an adjunct photography instructor at Columbia College Chicago. She holds an MA in museum studies, MFA in fine art photography, and a BA in Asian Studies.
Interview conducted by Paula Tsurutani, a freelance marketing writer focusing on the arts and nonprofits.