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Kay Renner, a gallery assistant, explains how to play the pianos in stylus, and how visitors’ experiences depend a lot on what they contribute to the installation.

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Gallery Assistant Ronald Gore gives some background on Matta-Clark’s Bingo.

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Gallery Assistant Kay Renner talks about Conical Intersect and invites you to come to the Pulitzer.

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Nicole Stevens, Gallery Assistant, talks about Gordon Matta-Clark’s Splitting.

Wednesday afternoon, I borrowed Gallery Assistant Nicole Stevens, last on our blog with Cephalus and Procris, to continue “From the Galleries” with Urban Alchemy. In the video above, Nicole talks about Splitting on the Mezzanine while referencing two documentary photographs of the monumental piece. (Do the images seem familiar to you?) In the Pulitzer’s Cube Gallery, you’ll find Splitting: Four Corners and a print, Splitting, which artfully reveals the interior of half the house that Matta-Clark bisected and that Four Corners was taken from.

Emily Hickner, a Pulitzer gallery assistant, talks about two different kinds of saints she sees in Ideal (Dis-) Placements: Old Masters at the Pulitzer.

Emily Hickner, Gallery Assistant, is interviewed by Amy Broadway, Web Communications Assistant:

A: How long have you worked at the Pulitzer, and what exhibitions have you worked?

E: I’ve worked at the Pulitzer for approximately three years now. I started out as a volunteer at the Hiroshi Sugimoto exhibition and have since worked Portrait/Homage/Embodiment, Water, Dan Flavin: Constructed Light, and currently, Ideal (Dis-) Placements.

A: How did being a GA change during the different exhibitions?

E: Every week I spend about an hour in each gallery, revisiting the artwork. With exhibits like Portrait/Homage/Embodiment and Water, I found that I discovered more about the artwork over the course of each exhibition. These exhibitions showed works of art that go beyond realism and aesthetics, therefore I spent a lot of time trying to analyze the artist’s intention.

For example, Roni Horn’s Asphere which was on display during the Portrait/Homage/Embodiment exhibition. At first, I saw a dull metallic, misshapen ball on the floor, but after spending more time with it, I contemplated its meaning. Roni Horn called Asphere a self-portrait of sorts. After spending hours in close proximity, I started to understand why. It’s a reflective object, but it lacks sheen. In that sense, Asphere is a muddled reflection of its environment. The object’s shape is slightly warped, hence the name Asphere, displaying imperfection. I feel that Asphere is not just a self-portrait, but a portrayal of what it means to be human. In my opinion, we are distorted versions of our surroundings. Each of us a little misshapen.

To get back to my point, I believe that I fulfilled the intention of the artist by having this conversation with myself. Had I not spent the time in that gallery that I did, I would not have seen beyond what my immediate observation was.

On the other hand, the Dan Flavin did not produce the same results for me. Not only did the lights take a toll on my eyes, but the pieces did not seem to develop for me in the way that Roni Horn’s Asphere did. Flavin’s work has an immediate “wow” factor. I think people are naturally drawn to the colorful, soft electric glow of his works. Beyond my immediate response, I felt that there wasn’t much else to contemplate about his light installations. I enjoyed the way Flavin’s work showcased the building, and as a visitor, it is exciting to see. But as someone who was working around the light installations 5-7 hours a day, it was a little like working at a carnival instead of going to one.

A: What is your favorite station to be at for Ideal (Dis-) Placements: Old Masters at the Pulitzer?

E: It used to be the drawing room, but the drawings have been returned. So now I’d have to say the station positioned across from Greuze’s The Laundress. I say that position not because The Laundress is my favorite piece, but because it is interesting to hear what people think of it. Almost no one picks up on the sexual connotations of the painting. Sometimes I want to blurt out how pervy the painting is when I hear people perceive it as something innocent, but I guess that’s part of its appeal.

A: What have you learned from being a gallery assistant?

E: I get asked frequently if I’m an artist or an art history student. I am neither of those, but I do appreciate and love art. Working as a gallery assistant gives me the opportunity to learn about artists and art that I would not ordinarily learn about.

A: Do you have any anecdotes to share with our readers?

E: A particular anecdote doesn’t come to mind. I’ll just say that as a gallery assistant, I’m not just looking at the art. Part of my job is to anticipate a visitor’s body movements so I do a lot of people watching–creepy, I know. Occasionally, a visitor will ask me a question other than “Where is the bathroom?” I enjoy being asked questions because I feel it removes that awkward barrier between a visitor and myself. I also appreciate a visitor’s questions or comments because I get to meet some very fascinating people that walk through our building. It brightens up a job that can be monotonous at times.

One last thing: I especially like working events like Staging Old Masters or when we have a young school group or adults with Alzheimer’s. These people seem enthusiastic about being at the Pulitzer. They don’t take the art for granted which I can often do after being around it all day. Their excitement re-energizes my appreciation for the art and the Foundation.

To ensure proper conservation standards, these treasures have been kept in a gallery without any natural light and where the overhead levels can be closely controlled. Plus, as Rachel announced, these drawings will be de-installed at an earlier date than the Old Master paintings, in order to limit their exposure. So if you haven’t seen the drawing room yet, get to the Pulitzer by June 20. 

For more convincing, listen to Kay:

You can now get a little introduction to this team online. For the past few weeks, we’ve been collecting short biographical paragraphs from them for a Flickr album, “Meet the Gallery Assistants.” You can also see the GAs’ web contributions in their blog posts on our various pages, or in videos, such as those in the “From the Galleries” posts.

Gallery Assistant head shots, used in Flickr set “Meet the Gallery Assistants”

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Steve Ducker on Saint Jerome

Today: Nicole, a gallery assistant, talks about her favorite painting, the narrative behind it, and how the placement of certain works can be seen as art historical inside jokes: