Q&A with Robert Avitabile
‘I became interested in prints because I like drawing. The simple expression of marks on a surface is both a beginning and an end and is very satisfying. Drawing can be a beautiful evolving statement of an idea and I like it when printmakers carry this freshness and energy into their work.’
How did you become interested in art and prints in particular?
Art wasn’t part of my childhood in semi-rural Ashwood – I was inclined to be outside most of the time, with the only distraction from this being early black and white TV after dinner.
My father’s night class charcoal drawings of Voltaire and The Discus Thrower, etc., from the National Gallery School in the late 1930s to early 1940s weren’t on our walls, but lurking in the back of his wardrobe.
Art came along when I was ready and ironically it was my father’s hidden drawings that sparked my earliest interest and attempts at drawing. The serendipitous opening of the NGV on St Kilda Road in the late 1960s had a profound effect on me since we were now living in St Kilda East. A beautiful world had opened up before my eyes. I could easily walk or catch a tram there and it all made sense.
I began Preliminary Year in Art and Design at Prahran Tech in 1972, and was able to develop ideas and techniques that I had no way of pursuing earlier. I did three more years of a Graphic Design major, with ongoing Life Drawing and electives in Printmaking and Photography also being an important part of my studies. After four years of drawing and the influence of wonderful teachers like Glenys McIntosh and Pam Hallandal, I cannot imagine my life without it and I mourn the downgrading of Drawing in educational institutes today.
I became interested in prints because I like drawing. The simple expression of marks on a surface is both a beginning and an end and is very satisfying. Drawing can be a beautiful evolving statement of an idea and I like it when printmakers carry this freshness and energy into their work.
How do you view the role of curator?
I am an artist and I became a curator by default. I like how art objects interact and (as a classic Libran) I like to arrange them. I also like stories of artists and their careers and I strive to tell these stories in the context of their art. This is how I work and I imagine it’s how others work. However, a gallery owner’s work as a curator is only part of a big job description.
When I was about 16-years-old I curated my first show in my father’s shed – it was a collection of my own Picasso copies. I have now been fortunate to put together some major shows at Metropolis Gallery in Geelong, working with a number of amazing artists including Marco Luccio, Adrian Lockhart and Andrew Chapman; the many prominent Australian printmakers around whom I have curated a number of Collectable Print shows; emerging local artists like Michael Gromm and Steve Salo; comprehensive retrospectives of Kenneth Jack, David Newbury and Bill Harding; and exhibitions in association with a number of prominent Aboriginal art centres. When I look back at each exhibition, it’s the artists’ stories that bring their exhibitions together to connect with viewers. And so it’s the role of a curator to help tell these stories in more ways than simply finding pictures to hang on the wall.
What are some of the challenges you’ve faced while working as a curator?
A curator understands how people will ‘read’ a group of works by an artist and how they can be presented in the gallery space to best advantage. An exhibition is a partnership between the artist and the gallery, with mutual respect necessary for a great result.
A simple answer might be that there are no challenges, only solutions.
What does a work day look like for you?
My working day starts at home and after the usual activities I check my diary and social media, but sometimes when hot weather is forecast, checking a bonsai before work is more important – apologies.
I usually drive but also regularly walk our dog to the gallery, so we both get a good half hour exercise. I check emails and chat with our gallery assistant if she’s working that day. After replying to emails while serving early customers and attending to anything immediate, I settle into the current exhibition management as well as keeping an eye on future planning. A lot of my day is ‘on the run’ and no two days are the same or predictable.
Upstairs we’re lucky to have our own in-house Geelong Picture Framers, so I also spend time there having a chat and making sure it’s looking good and running smoothly.
I enjoy interacting with customers, as this is an important part of running a gallery. Sometimes I might visit an artist’s studio or some galleries, or spend a quiet day working from home.
Most of my time is spent thinking of the future and staying one step ahead of what’s happening, while keeping my feet firmly on the ground in the present. You could say the drawing beneath all this is constantly changing and that’s how I like it.
Who are your role models?
While I believe that once the exhibition is on the wall the curator, exhibition designer and anyone else should be invisible, there are many anonymous curators in public and private galleries whose ideas I must have absorbed over many years – some reminding me what is good and some not so good. I am probably more influenced by many years working as a freelance designer, producing many interpretive design projects for historical, natural heritage and indigenous art sites. Many of those projects incorporated writing, illustration and design and many talented people for whom I worked were specialists in presenting beautiful visuals and stories in exciting, cohesive and innovative ways.
Can you tell us a bit about the inspiration for, and process of, putting together your current group exhibition Mono?
When I look at monotypes the freshness of creation is still there: the energy of drawing is embedded in these works. Any artist brave enough to be involved in making monotypes must surely have been drawing for many years. You’ve only got one chance to pull the perfect mono and it seems artists like the adrenalin rush of this medium: not knowing exactly what’s going to happen when their painting on a copper or plastic plate goes through the press in union with a sheet of paper. You could say the artist and the print are both under a lot of pressure! If you are able to see this show, I hope the results achieved by Tony Ameneiro, Kim Barter, Anita Iacovella, Bruno Leti, Debra Luccio, Janice McBride, James Pasakos, Linda Robertson and Wayne Viney explain this better than words.
This exhibition was the brainchild of Wayne Viney who came to an opening of Linda Robertson’s here last year and said: ‘Why don’t we do a Monotype show?’ and I said ‘OK why not? Who else does Monos?’ So we stood around scratching our heads and put down a few names. Then with the help of Dr Thomas Middlemost (over the phone while agreeing to open the show), we finalised the exciting list of artists for Mono. Thanks Wayne and thank you Tom!
This early stage was one of introductions and pulling all the artists together and getting them working towards a common exhibition date, with exhibition details and gallery requirements emailed and positive replies received. Every stage of an exhibition is important – it’s like an organism that grows and grows and on the opening night of Mono there was a very positive response from artists and guests. The artists were there to celebrate, but the magic is that most people see this as the start of the exhibition – it really started last year!
What are you working on now?
Right now I’m talking to Mono visitors and passing on what I know about monotypes, the artists and their art processes. The exhibition is open and so it’s all about our visitors to the show.
But of course we do have another exhibition coming up in October, so preparations for Robert Ingpen’s Storybook Art has been a concurrent priority for some time at Metropolis Gallery involving cataloguing, photography, writing press releases, framing and presentation of about eighty works, then designing advertising and other printed materials.
Between these two shows we have just slotted in an exciting little Collectable Works on Paper show, which came to us recently out of the blue. This is where flexibility as a curator is important to get it all done. Without the help of my partner Ilze, gallery assistants Amber Daly and Alex Game, and our framers upstairs, none of what we do would be possible.
Running a commercial gallery anywhere is probably one of the hardest things to do; however, it’s an occupation that incorporates everything I’ve ever learnt and experienced in art, design, life, business and so on, and importantly how to work within your means without becoming burdened.