This interview is different than my other work. I can’t decide why, except to say that the discussion developed quite naturally and there was no “angle.”
Christopher Howard is an independent curator and critic in New York.
Nicole says: For the record, can you tell my valued readers what your current job is?
Chris says: I can tell you. I work as managing editor at the College Art Association, a nonprofit art organization that has employed me for almost ten years. But we’re not here to talk about my day job, right?
Nicole says: Right. However, the question is would you consider writing or art your true passion?
Chris says: I don’t consider either a true passion. The writing I do—for CAA and for other publications—is hard work. Perhaps I don’t understand the term passion, or wouldn’t use it to describe myself. Passion makes me think of silly romance movies. I’m too level headed, down to earth.
Nicole says: Do you enjoy the art you like writing about? Or do you enjoy the writing more?
Chris says: I was getting too esoteric too quickly—forget what I just said. I enjoy looking at art very much, but find that I cannot write about anything. It’s difficult even to write about something I unequivocally love, enjoy, or find impressive. Often it’s the puzzling art that compels me to write a review—the stuff that sticks in your mind after I leave the gallery or museum. Think of it like the song that gets stuck in your head: it’s annoying but catchy, irritating but undeniably appealing.
Nicole says: Is it because art is subjective?
Chris says: Maybe. I can’t imagine how someone could write subjectively about auto parts. Then again, maybe that would be a text worth reading.
Nicole says: Do you think there is a fine line between brilliant art and garbage?
Chris says: No, there’s a range, a span—not a fine line. Some works of art can quickly jump from one end to the other. The main reason why I write about a particular exhibition is to understand it. In that regard, I write mainly for myself. So, why would anyone care to read what I think? That’s a question I haven’t thought much about. As a reader, I like reviews by other people to see how someone else viewed the same exhibition I did. Or I can read criticism and then go see the show myself. Writing is a way of breaking the conversational ice, or adding to a conversation that’s already taking place.
Nicole says: It’s funny you said it has become esoteric. I think my blog has begun that way. I often run things by an alpha reader to see if it has any appeal to the mainstream reader. So I see your point.
Chris says: Thinking about what you wrote earlier about genius or whatever: dumb people can say brilliant things (or make incredible art), and the most intelligent people can produce overwrought garbage.
Nicole says: Indeed. So what do you look for when discovering new talent? What is the “it”?
Chris says: Oh I don’t know. When I am organizing an exhibition—something I do in addition to writing—I look for art that fits the idea I have in mind. Other times I’ll look at images online (in websites called artist registries, where artists upload images, their bios, and contact information) and let the idea come to me from looking. There’s no formula, and I like most everything: painting, drawing, photography, video, and so on.
Nicole says: Yes. It’s sort of an organic development?
Chris says: Organic, yes. It feels natural. There are artists whose work I have seen for several years that I haven’t done anything with—the time and place has to be right.
Nicole says: Well, would you say that where you are emotionally at any given time might influence what you see in others work?
Chris says: How I feel emotionally has an impact more on if I want to leave the house that day, not on what I look at once I am out there. Other people’s creations, it seems, have never really taken my feelings into consideration.
Nicole says: Would you characterize yourself as creative?
Chris says: It’s interesting you ask that. In one circle of friends, which consists largely of artists, people automatically assume that I’m an artist too. They’re surprised when I say otherwise. I like to think I am creative, but I’m also very administrative oriented, always making lists of tasks and stuff. I always tell people that I should have gone into a career as a baseball statistician.
Nicole says: What project or series of projects would be ideal for your unique mindset?
Chris says: I would like to win the lottery so I could establish my own large gallery to do whatever shows I wanted to do. The gallery would be called the Lottery. Trouble is, I don’t gamble. As much fun as all that would be, and artists would certainly appreciate getting exposure through unfettered backing and resources, the art world doesn’t—and probably shouldn’t—work that way. Art dealers work hard to position and sell their artists’ work, and if galleries were run by rich dilettantes (wait, they aren’t?) who weren’t invested in success on multiple levels, other than the glamour of owning a white cube, well, that’s boring. But I’m not a good salesman.
Nicole says: I don’t know.
Chris says: Ok. I suppose understanding that position requires knowledge of how the profession works.
Nicole says: I think the passion lies on the artist in an ideal world. Which is where I live. In a world with rainbows and unicorns.
Chris says: Earlier, when you said “passion,” I thought of “drive.” Having reasons for doing things.
Nicole says: Yes. I get both terms. But the word passion for me is natural because I think about it as what I love. But motivation is another whole discussion, isn’t it?
Chris says: I can have a passion for stuffed toy unicorns, but it takes drive to build a climate-controlled public viewing room so everyone can see them.
Nicole says: Agreed. And so my questions stands. Is it the unicorns that drive you? Or the desire to discover and write about them?
Chris says: The desire to discover and write about unicorns will hopefully make those fictional animals become real as well as relevant. Art needs the kind of support by workers like me to create value and meaning. I guess. That doesn’t answer your question, does it?
Nicole says: No it does. It explains your drive.
Chris says: It’s the same kind of drive that makes teachers teachers, lawyers lawyers. Everyone has to have a job.
Nicole says: Did New York hand you desire to support the arts—or did you go to New York looking for it?
Chris says: One doesn’t move to Sweden to learn Spanish. New York has remained the center of the art world since the 1940s. In the US, New York is where the jobs are. The museums are there too.
Nicole says: So what advice would you offer me? As I am giving in to the passion (or drive) of seeing this novel thing through?
Chris says: Who was it that said genius is 10 percent inspiration, 90 percent perspiration? Get a stick of Old Spice and keep working at it!
Nicole says: And to those who say unicorns aren’t real you would say?
Chris says: If you write a story about them, then they become real. It’s right there, in the story.
Nicole says: They are real in my head.
Chris says: Is that a safe place to be?
Nicole says: No. And you can take that to the bank.
Tags: Art, New York