Don’t Invite the Curator

It always surprises me when my husband introduces me to new people and remarks that I am an art curator, that a fair percentage of those individuals say they would like me to see their art collection in their home. I mention that my spouse is introducing me because my friends and colleagues tend to be networked where my career is not a surprise or a novelty. (I do also wonder how many of those people would just open up their mouth for an examination if I was a dentist.) A typical response comes from my husband, “trust me, you do not want her to come over.” While maturity has made me more gracious, I am not always one to sugarcoat my true feelings. 

Truthfully, it really doesn’t matter what I think of your art or you think of mine in our domestic settings. People spend a lot of time making their houses beautiful and comfortable. This makes sense. We spend a significant portion of our lives in our home. And while I’ll begrudge the person who only has family photos up or buys their “art” at a big box store, I accept that for them that is what is soothing, memorable or contemplative. Or perhaps they don’t trust their taste enough to incorporate truly unique art. 

Regardless, when you really count your waking hours, a lot of us spend more time outside the home. And just like architecture, art tends to be one of those things we notice more when it is breathtakingly wonderful or mind-blowingly terrible. Art is so often an afterthought in new construction and renovated interior projects – prints are bought to fit a budget instead of thoughtfully selected pieces from a variety of media, highlighting a strategic mix of artists at varying points in their career. 

For the recent renovation at ESL-Spectrum, I intentionally curated works that played on themes that related to a lighting sales and design company. Many of the works selected were photographs, a media which translates from Greek to “drawing with light.” Other pieces more overtly incorporated lit components: Constance Scopelitis’ portrait of office dog, Valentine, haloed in pink light or Jamie Pawlus’s “Happiness” sign. Subtle nods to the design field are seen in Samuel Levi Jones’ “painting” a colorful collage formed from deconstructed architecture books. Even Molly Wolfe’s macabre Rorschach influenced composition unmistakably mimics the form of a chandelier. Every office features distinct art, with no two offices the same.  The uncanny, slightly irreverent, and humor were not shied away from but meant to add a sense of joy and comfort to the workplace.

When people spend time with meaningful, well-curated artwork outside of their home, it brings a sense of wellness and purpose.  Spending time in those great spaces inspires wonder and curiosity. It makes people want to go to work, or to that new restaurant, or maybe even the doctor. And next time you consider artwork for the places you “live”, think of the delight that great art truly brings to all those spaces. But remember, don’t invite a curator over to your house unless you want an honest opinion. 

Paula Katz is the Senior Curator of Art for the Indiana State Museum and Historic Sites, a role she began in January 2024. She is a well-known figure in the Indianapolis arts community, having previously served as:  Executive Director of the Indianapolis Museum of Contemporary Art (iMOCA), Interim Director and Curator of the Herron Galleries at Indiana University Indianapolis, and Curator for recent major exhibitions such as “Flowers Forever,” which explores the cultural significance of floral motifs.