We recently connected with Michael Rose and have shared our conversation below.
Michael, looking forward to hearing all of your stories today. Are you happy as a creative professional? Do you sometimes wonder what it would be like to work for someone else?
There is that saying that goes “do what you love and you’ll never work a day in your life”, but there is also a compelling counter-idea which is along the lines of “if the way you make a living is also the thing you love then it can sap the joy from it and make work all-consuming”. I think that is often the tension in being a creative professional. Working in our field involves a lot of physical and emotional labor and that is often paired with a great deal of financial insecurity, disorganization, and instability. I definitely have my moments when I wonder what a “normal” 9-5 might look like.
Having worked outside of the arts for a short period before I entered gallery work though, I can definitely say that I love working in the arts and feel energized every time I have a studio visit with an artist. I also am very fortunate to have very stable employment and to be able to use that as a jumping off point to engage in side projects that I care about and to do work to promote artists whose work I believe in.
Great, appreciate you sharing that with us. Before we ask you to share more of your insights, can you take a moment to introduce yourself and how you got to where you are today to our readers.
I trained as an art historian and earned my Bachelor’s Degree at Providence College, a small Catholic liberal arts school in Rhode Island. In my undergrad I wrote about feminism in the work of the photographer Francesca Woodman. After I graduated I worked in public relations and development briefly and then landed a gallery job and have been working as a gallerist, writer, advisor, and teacher since. In addition to my studies at PC, I earned a Certificate in Appraisal Studies in Fine and Decorative Arts at New York University, where I studied with professionals from leading art businesses like Sotheby’s and Gagosian.
In 2014 I joined the staff of the Providence Art Club as gallery manager. The Club is an historic member-based arts organization founded in 1880 that represents about 250+ local artists. The Club’s galleries have earned “Best Gallery” awards locally for about 6 years running. At the Club I manage three gallery spaces with a very intense schedule, changing over exhibitions every three weeks. I’ve mounted about 300+ exhibitions so far in my career, which is pretty staggering. In addition to this gallery work I also frequently serve as a juror, awards judge, panelist, and curator for other organizations.
In 2021, I was invited by local news site GoLocalProv.com so start a weekly arts column. Each week I profile a new artist or write about a new exhibition in the state, making me one of the only folks to write weekly about artists in our region. I wish I had more peers in this work, as it is so necessary to the creation of a vibrant arts scene. This has added a lot to my practice and broadened my network in a huge way. It is so much fun to meet new artists, learn about their practices, and help to promote the work they’re doing.
I think my proudest moment in all the work I’ve done is in the connections I’ve been able to create between other people in my community. If I can connect an artist to a resource, or share with a curator a work that excites me, that’s a big win. I’m a big believer in collegiality and in doing what I can to support and encourage artists. I like being accessible to artists to brainstorm. When I hear from an artist that something I’ve written about their work resonated, or some connection I formed helped them, it means a lot.
What can society do to ensure an environment that’s helpful to artists and creatives?
I think there are a variety of things people can do to support artists and build a thriving creative ecosystem. First, in our social media driven era, it’s free and easy to share and promote the work of artists you care about. But more importantly, we also need to cultivate a sense of patronage for artists. Whether that be in subscribing to someone’s Patreon or buying a small work, direct monetary support is crucial. We have to always be working to build connections with individuals of means and make a case for collecting art locally and for supporting art-focused organizations.
In a larger sense, we frankly need more funding for the arts. We need more public funding, more corporate funding, more organizational support at all levels. Audiences often expect visual art experiences to be free, but they cost a great deal to mount and to sustain. These are great opportunities for sponsorship and it would be great to see more companies, businesses, and individuals step up to help make art shows and exhibition spaces viable. If you’re someone who cares about making art accessible, start the conversation with an arts organization or independent artist in your community by asking what they need or what you can do to support their creative endeavors.
Is there a particular goal or mission driving your creative journey?
I think the core goal of what I do is supporting artists in whatever ways I can. Whether it be curating and installing their show, emceeing a talk, promoting a reception, writing about their practice, or something else. I really enjoy helping to shape the way artists engage with audiences and helping more people learn about art in a way that is accessible and fun. People often imagine the art world as a white cube filled with intimidating gallery people, and I think anything I can do personally to go against that grain is a good thing. I genuinely hope that the many people I’ve worked with in my career have seen me as collegial, kind, and generous – because that’s what I strive to be.
Contact Info:
- Website: https://www.michaelrosefineart.com
- Instagram: https://www.instagram.com/michaelrosefineart/?hl=en
- Facebook: https://www.facebook.com/michaelrosefineart
- Linkedin: https://www.linkedin.com/in/michael-rose-7b1b4149/
- Twitter: @michaelroseart
Image Credits
All images courtesy of Michael Rose