Fresh off the incredible feat of bringing Simone Leigh’s spectacular Venice Biennale commission with the Institute of Contemporary Art, Boston to Venice, and then in an expanded version to Boston, Kate Herlihy brings to Now + There a balanced respect for artists’ vision with planning rigor. blu prinston, N+T Communications Assistant, chatted with Kate about how early access to arts education, mentorship, and teamwork make her ready to “pay it forward” as N+T’s Managing Director.
Photo of Kate Herlihy by Lena Castro.
Blu: What first got you interested in art?
Kate: My parents frequently took me to the MFA Boston when I was younger. I had an elementary school teacher who loved art and taught our first-grade class about Picasso’s different artistic periods. This early education had a big impact on me. I always gravitated toward art spaces and was privileged to feel at home in them.
B: You have a lot of experience working in museums. What has been your favorite part of working in that space?
K: The best part about working in museums is getting to work directly with art and artists. I love introducing art to new audiences and believe encounters with art can have a positive impact on individuals and communities (which is what brings me to Now + There!) Working in museums, I’ve met and worked alongside incredibly passionate and smart colleagues. I feel lucky to have learned from amazing mentors in my career, especially in my 7+ years working at the Gardner Museum. I hope to pay it forward!
Installation at the Isabella Stewart Gardner Museum. Progress photo courtesy of Kate Herlihy.
B: I see you worked in curation, pivoted to sales and financial operations, and later general planning and logistics. What inspired you to make these various shifts?
K: I’ve had a lot of job titles over the years but my sweet spot is bringing planning rigor to creative environments. I am most excited when I am building systems and teams that allow artistic projects to thrive. At the Bowdoin College Museum, where I worked after graduating, I helped to build a student museum organization that is still in existence today - that experience got me excited about introducing art to new audiences. My job at Bowdoin also helped me realize that I thrived in administration, which led me to pursue an MBA in finance. I love blending art and business and feel lucky to be working with the fantastic team at Now + There.
B: You’ve had the opportunity to serve as the project manager for the Institute of Contemporary Art, Boston at the Venice Biennale 2022. Tell us about this experience. What was most challenging? What was rewarding? How did you bridge the gap between national and international exhibitions?
K: Working as project manager for Simone Leigh’s Venice Biennale commission with the Institute of Contemporary Art, Boston was the privilege of a lifetime. The most challenging aspects of the project were logistical. Planning a large-scale installation overseas during the first waves of the pandemic meant contending with shipping delays and material shortages. It was an unpredictable time which made project management challenging. I was lucky to work with amazing colleagues in Venice who had decades of experience with the Biennale - their expertise and collegiality were invaluable. The most rewarding aspect of the job was the friendships I made throughout the project. The team at the Institute of Contemporary Art, Boston was fantastic; I learned so much from commissioners Eva Respini and Jill Medvedow. Spending time in Venice and getting to know the city was a highlight too!
B: The exhibitions you’ve helped bring to life range from small to large scale, from your time with the Pucker Gallery to the international Biennale in Venice. What are some of the most important lessons or insights you would give artists who want to expand internationally?
K: I think international projects have a lot of inherent complexity that can make planning challenging, from cultural to time differences. There are a lot of factors that increase the difficulty level. Not having easy access to your installation site is another challenging factor. Having a great team on the ground and trust within that team is key. A lot of patience helps too!
Installation of Shen Wei at the Isabella Stewart Gardner Museum. Photo courtesy of Kate Herlihy
B: Before Now + There, you were the Director of Exhibitions for the Institute of Contemporary Art, Boston. How was your role and experience different from that of a curator or artistic director?
K: Curators and artists are the public faces of exhibitions - they make artistic choices and speak to the public about the work - while a whole team of people who execute their creative vision in the background. The role of the Director of Exhibitions is to manage the structures and teams behind the scenes making an installation happen. An exhibition takes many collaborators, contractors, meetings, and (in some cases) years to come to life and has its own needs and budget. My role was to assess those needs and make decisions about resources. It’s a fast-paced and exciting role, and I loved partnering with curators and artists to shepherd their vision into existence.
Header Photo: Gabriel Sosa’s “No es facil, It aint easy" 2020. Photo courtesy of Iaritza Menjivar.