Tag Archives: Marek Matusz

Curating Rendering The Spirit

If you’ve never curated a group show before, especially one with international reach, it’s hard to imagine the level of effort that goes into putting on an art exhibit. You have to put out the call for entries, manage the publicity to make sure you get enough work submitted to fill the walls even after reviewing and editing, and then handle the acceptance emails and collect the accepted work.

Oh, and be prepared for things not working out as planned. I feel extremely lucky we had only two hiccups with submitted work. One was minor – one piece of work came off its mounting in transit. With a quick email to the artist, I got his permission to open the frame and re-mount the work properly so it would present well on the wall. In the process, I also replaced the source of the problem (gummy adhesive squares that were NOT archival) with water-activated linen tape loops using acid-free wheat paste for adhesive. No artist’s work is going to be damaged by me on my watch!

The second hiccup was totally beyond anyone’s control, which is what made it so maddening. Yugo Ito’s photograph coming from Japan was shipped in plenty of time to arrive at the gallery. However, it got stuck in customs in New York for almost two weeks. There was nothing to be done but to wait, as customs is a black hole into which things enter and exit at their own pace and there is no transparency or communications possible beyond checking the tracking number on the USPS website. Creativity saved the day, though – since the actual work was not in the gallery for the opening, I took the JPEG of the work from the submission and printed it, mounting it to the wall with a sheet of glass and some L-pins. It would be represented in spirit even if not in actuality.

Once all the work has arrived, you have to plan how you’re going to hang it. You can look at JPEGs all you want, and generally gauge which artist’s works should hang next to which other artist, but the actual sequencing and spacing can’t really be figured out until you have the actual framed work in hand at the gallery. Next it’s measure, measure, measure, and then plan, and re-measure, before driving the first nail into the wall. Having gallery interns to help with the hanging makes life so much easier (Shout-out to my interns! Thank you!!).

Now the work is all hung, you can relax, right? NO. Then it’s plan the reception, send out the invites, send out the press releases, buy too much cheese and crackers at Costco, and then throw a party. There’s the curator’s remarks to prepare, and handouts about the work to write. Oh, and blogging about it all the while!

At some point during the show, ideally right after you’ve hung the work but before the public comes in to see it, you document the exhibit. Below are a few excerpts from the show as hung. One of the great challenges of curating a show is that once you have it up on the wall, what might look good in the space presents a wicked challenge to document. Trying to photograph pieces in corners where you can’t get a light on them from the other side means that you’ll either have dramatic falloff in the scene from one side to the other, or you’ll have a hideous reflection of your umbrella or other diffuser in the picture glass. I opted for a bit of falloff rather than reflections where possible because the falloff can be compensated for to a degree in Photoshop – a big blinding white reflection of an umbrella cannot.

Atalie Brown
Atalie Brown
Barbara Maloney
Barbara Maloney
Bruce Schultz
Bruce Schultz
Eddie Hirschfield
Eddie Hirschfield
Erik Larsen
Erik Larsen
Ian Leake
Ian Leake
Marek Matusz
Marek Matusz
Yugo Ito
Yugo Ito

You’re not done until the show is over, the work taken down, and the artists have picked up their work or you’ve shipped it off to hither and yon. Then you get to relax for a day or two, and if you’re a busy curator, it’s back to the process all over again!

Rendering The Spirit: Interview with Marek Matusz

Could you tell me your name?

Marek Matusz

Where are you from?

Residing and working in Houston, TX

How did you get into photography as an art medium (as opposed to casual or professional use)?

That went hand-in -in hand with the discovery of alternate processes

Which alternative processes do you practice?

Just about anything: platinum/palladium, silver/iron processes, chrysotype (gold), gum bichromate

What attracted you to alternative processes in general?

I was attracted to the chemistry at first and then the aspect of creating one of a kind hand made images

What drew you to the specific media you practice?

Platinum and palladium prints were are of the technically most accomplished and able to produce most delicate highlights and deep shadows. Seeing great examples of early XX century work in museums and galleries made mu pursue the process . I have started over 25 years ago and the information back then was scant and confusing

How does the choice of media influence your choice of subject matter (or vice versa)?

When taking and composing a picture I try to visualize which alternative process would fit, whether I wand process edges showing, etc.

In today’s mobile, electronic world of instant communication and virtual sharing of images, how important is it to you to create hand-made images?

Two aspects are important. Education of consumer in the existence and quality of hand made images and history of photography through a practice of XIX century processes. The second is keeping and enlarging patron/collector market. Real collector wants something to be touched and held in hand, not a shared digital image.

Is your choice to practice alternative, hand-made photography a reaction to, a complement to, or not influenced by the world of digital media?

It would be totally silly to ignore the digital world. It exists regardless of our feelings about it (good, bad??). SO with that respect it is just a complement. But it is also a strong protests against huge color enhanced digital prints that have invaded galleries.

Do you incorporate digital media into your alternative process work?

Yes, I use the technology as a toll. Some of my captures are digital, most of my negatives are created with digital processes. I am also not against digital alterations of the photograph in the process of creating a picture

What role do you see for hand-made/alternative process work in the art world of today? Where do you see yourself in that world?

I see myself as a part of alternative photography movement. A small (by digital standards) but growing group of practitioners and educators that shares information, practices and the word of photography at its roots

GMC by Marek Matusz
GMC by Marek Matusz