Culture Corner: Richie Kuhaupt

WABN: Describe a day at work.

RK: “On any given day I could be doing anything from scheduling exhibitions, meeting and talking with artists, installing an exhibition, managing day to day correspondence, PR and general gallery business.”

WABN: What is the best piece of advice you can give someone to motivate a team?

RK: “My team consists of the artists that are exhibiting. I see my role as a facilitator between the artist and the general public. At the initial meeting I seek an understanding of what the artist wants to do. I advise and give my truthful opinion on how I believe their vision can be achieved. I see that the gallery is prepared for them; to set the scene for them to work in. My motivation is to get the best out of them. I encourage the artists to really work through any problems that may arise and to get the best possible product with the resources available.”

WABN: What was the most challenging event in your career?

RK: “Every exhibition and event is challenging in its own way. I have worked in almost every international art space in Perth and have had to deal with some pretty bizarre circumstances.

“You are often dealing with physical constraints in the space; an artist’s vision that may need to be bent to suit the environment – and this is not always appreciated – and also curatorial requirements. Large installations are about project and team management. All installations are about visual aesthetics.

“When I came into the gallery in my current role, it was obvious the Moores was under-utilised. There were various options and avenues to take, but one was right. The right people became involved and a plan was set in motion. There are many generous and talented people who are willing to help and become involved in something they believe is worthwhile. A week ago we opened the new gallery cafe. The gallery is now the funkiest little place in town.”

WABN: What is the main quality are you looking for within your team members?

RK: “Enthusiasm and the ability to see the potential in all the things that present themselves. Most people have unique skills and talents. It is great when they use them to their best ability.”

WABN: What's best measurement of your performance, and can you name a highlight in your career?

RK: “My working life, and a great deal of it outside family life, is the promotion and advocacy of the visual arts in all its guises. This year, the gallery has scheduled 34 separate exhibitions that will involve well over 100 local, national and international artists. This is unique in WA and possibly Australia. We will endeavour to show these artworks and promote the artist to as many people as possible.  The Moores gallery has always had the potential to be more and is now starting to realise that.

“The gallery does not take commissions, so all profits from sales go to the artists. The recent changes to the gallery have led to it being full of life and a pleasure to visit and the artist will benefit from this.”

WABN: How do you deal with egos in your workplace?

RK: “Sometimes an artist can’t understand why they are not an overnight success. I usually have to give the ‘believe in yourself but Rome wasn’t built in a day’ talk.”

WABN: Is there an organisation model that you strive to achieve/reach?

RK: “Not particularly. Of course, public galleries have similar basic core business, but we try to be a bit different. We strive to keep the Moores Building open to new trends and keep it reactive.  We want to be able to incorporate interesting events when they come up and get exhibitions in on short notice if necessary. We are developing an international profile at the moment with some interesting projects happening at the end of the year and into the next.”

WABN: What frustrates you the most about your sector and what would you do to change it?

RK: “The producer, the originator, the very essence of the industry – the artists – are not looked after. The due respect both at a personal and financial level are not afforded to the artists as professionals.

“Except in rare cases they are treated with a callous disrespect by most of the rest of the industry. The commercial sector seems to believe it is its right to profit from them in what everway it sees fit, and the public sector career positions are good if you can get them.

“There are some public art organisations that really try to support the artists, but in a real way they are limited in what they can do. Support of the very people who produce is minimal.

“At the moment, the development of artists as professionals is at their own expense. No investment is undertaken by the commercial galleries in the artists' development or ongoing costs, yet they expect maximum profit with minimal risk. Artists struggle to remain productive or even continue in the profession because of a lack of financial security. Most artists work at other jobs to make ends meet and pay all costs in the production, exhibiting and promotion of their work. And then they have to pay commission – which is usually from 40 to 50 per cent – to the exhibiting gallery.”

WABN: What are the specific hurdles that you meet on a daily basis in your sector? How do you deal with them?

RK: “The hardest thing for the visual arts is to get an audience. Recognising our target audience and developing the gallery as a place for that audience is under way.  Cheap and accessible marketing opportunities for the artists are developing. We like to get the artists face-to-face with their audience. Art is such a personal experience and any way of enhancing that is worthwhile.

WABN: Who is someone that you dream to work with?

RK: “I would love to do something for the Tate Modern gallery in London. It is a special gallery not because of the building, but for what is represents. The art world and public know this gallery and react to it. That is what it is all about. I would also like to work with the Guggenheim Museum in Bilbao, Spain, just because it is such an amazing building.”

WABN: Which personality inspired you the most throughout your career?

RK: “In 1917 the French artist Marcel Duchamp was told about an exhibition where there was to be no curatorial limits; where all art was acceptable. He submitted a signed urinal. It was promptly removed from the exhibition and became one of the most famous pieces of art ever produced. His love and irreverence for art is inspiring. He was a great artist who was also involved with art management for many years.”

WABN: Who has influenced you professionally?

RK: “It’s very difficult to be an artist in an isolated city like Perth and I admire those who stay. I can’t single out one particular person; I have had the pleasure of meeting and working with many talented artists and clever administrators over the years and am grateful for the experience.”