I was looking at an artist’s proposal recently for a really significant exhibition, and it was one of those proposals where you can immediately see that the artist has really thought about the opportunity.
They haven’t just taken some existing work and thought, right, where can I put this? They’ve responded to the place, they’re thinking about how people might move through it, there are new works, things happening outside, possible collaborations and performances, ideas around public engagement. You can feel their excitement about what the project might become.
And I was excited by it too. But because I’ve spent so many years on the other side of these proposals, working in galleries and institutions and actually having to get exhibitions and programmes made, I found myself reading it in two slightly different ways.
