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people

Gallery Director Provides Pleasures in the Great and the Small

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from Dateline (February 13, 2003)

Q: Did you start as director of exhibition?
   
A:

I started in technical services. The founding librarian, Ernest Toy, had a very good vision – that the library needed visual presentations and education. We had a big area with display cases near the south entrance, which were empty when I came. I was asked by [then head of public services] Barbara Davis, who heard that I had an oriental collection, if I could put something in the cases.

 

   
Q: How did the exhibits and exhibition spaces evolve?
   
A:

We started producing bigger and bigger shows, and got very good art reviews. When we found out the library was getting an addition, I requested the inclusion of a new gallery. So 10, 15 years later, I got to work with the architect on the Atrium Gallery.

Because we are so short-staffed, we cannot afford a full-time gallery sitter during our open hours – the library policy is to have the gallery open as long as possible for the students to visit. We had to design the cases in a way that was very secure, which limits our display flexibility.

   

   
Q: Did the gallery fit your original vision of the space?
   
A:

I told the architect, “All I need is a big rectangular room” – with high, dark ceilings. I could then build it the way that I wanted. The final design for the building featured twin crescent rooms. I said I didn’t want carpet in the gallery, but they said, “You have to, because the twin has to be the same.” So I ended up with this crescent room with carpet and lighting – from a very good lighting company – but it’s so low that it constantly interferes with the way that I want to do things.

They did follow many specs that I wanted. I had them build double walls with pine wood behind the dry walls so you can secure pieces.

   


   
Q: How do you come up with ideas for the exhibits?
   
A:

I look at the gallery – because it’s located in the library – as carrying a vision of visual education. It always starts as an art exhibit, so even when working on a cultural theme or any other particular subject, I curate, design and present it as an art show.

I have a lot of ideas in my mind, and I just wait until I have enough resources. Some exhibits are based on someone I know who has a great collection. I want to show subjects that haven’t had much exposure – that the students have not had any contact with or are aware of – to regenerate people’s curiosity.

A lot of students do not go to art museums or art galleries, or even our art department galleries. They don’t even know they’re over there. So I get a chance to refer them back to something happening there, or to Grand Central.

I never want to present something until I really know it can be pretty good – I have to satisfy myself first.

   


   
Q: Some of the exhibits are also tied to special events, right?
   
A: Exactly, like the 40th anni-versary. The 40th anniversary committee asked me to do this, which was pretty challenging because I turned over all the archives and everything in Public Affairs and numerous departments. I like the idea of doing things from scratch – the fringe benefit is that I’m able to learn new things.
   

 

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Q/A with Chiang

• Introduction

• Did you start as director of exhibition?

How did the exhibits and exhibition spaces evolve?

Did the gallery fit your original vision of the space?

• How do you come up with ideas for the exhibits?

Some of the exhibits are also tied to special events, right?

What goes into putting an exhibit together?

Except for help from student assistants, do you work on your own?

Is there a particular exhibit that was especially challenging for you?

What is the most enjoyable aspect of what you do?

 
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