Alana Traficante
Criticism and Curatorial Practice (MFA), 2016. Executive Director, Gallery 44 Centre for Contemporary Photography (Toronto)
The keys to my practice are remaining adaptable, motivated, and curious --listening, looking and thinking critically through every aspect of my work, be it the day to day minutia of the job, or the big picture, long-term outlook. I believe that all facets of this work have a creative component, even the administrative, behind-the-scenes, less glamourous parts.
What Program did you graduate from and when?
Criticism and Curatorial Practice (MFA) 2016
What is your current title or role? (e.g. freelance designer, art practitioner, etc.)
Executive Director, Gallery 44 Centre for Contemporary Photography (Toronto)
Why did you choose to attend OCAD U?
I was interested in a practice-based MFA program, studying alongside contemporary artists, and opportunities for a mix of studio-based and textual research. Pursuing graduate studies in curatorial practice and criticism allowed me to dig deep into art and cultural theory while also developing practical exhibition development, writing, and editing skills. I was also really excited by the faculty at OCAD U, and the opportunity to study with professional curators working in institutional and independent capacities.
Please briefly describe your current job/practice.
Currently, I am the Director of Gallery 44, a non-profit artist-run center where I work collaboratively with a staff of 4 colleagues to deliver exhibitions, public and educational programs. We also run photo-production facilities (shared studio) to a membership of over 400 photo-based artists and offer community outreach. On top of that, I do some freelance research, writing and editing, mainly for exhibition-related publications.
How did you get started in your career?
I worked in various arts-admin positions and volunteered in collectives and artist-run activities in the non-profit art scene in Hamilton, between 2008-14. I returned to graduate school at OCAD U in 2014, which helped advance my critical writing and research skills. When I completed my MFA, I had a better understanding of the philosophy and behind-the-scenes workings of Canadian art institutions. I worked on a series of contracts as a curator, researcher and administrative director between Hamilton and Toronto. Eventually, Gallery 44 hired me as Executive Director in 2018, which gave me the footing to move my career to Toronto full-time, and into a leadership position.
What were your policies regarding internships, volunteering, and paid work?
I worked a mix of paid and unpaid internships in my early career, often while holding multiple jobs. Those were busy years. I had the energy for it then, but it was a ton of work that I usually took on at the expense of my own free time. Nowadays, I volunteer in an advisory capacity by sitting on boards and committees; but, my philosophy is to maintain a better work-life balance and encourage my colleagues to do the same. At G44, I've made a focused effort to create more paid work-training opportunities to support young people interested in arts careers. Ultimately, volunteer work can be gratifying if we treat it as a mode of giving back instead of getting ahead. Arts organizations should compensate young people for their work and remember that mid-career and established professionals have a lot to learn from them, too.
What do you enjoy most about your work? What is the most challenging aspect of your work?
The thing I love most about my current job is the collaborative and community-oriented nature of the organization. As an artist-run centre, we truly share decision-making between staff, Board, members and community advisors. We also build long-lasting relationships with artists and have all kinds of programs to support their development, whether technically, conceptually, or financially. I truly believe that artists contribute so much to Toronto's cultural fabric and that spaces like G44 give them opportunities to thrive and develop. That's very gratifying for me, especially as Toronto becomes increasingly unaffordable and inaccessible to young people and emerging artists. I feel like we make a difference in this climate and create a greater sense of belonging and possibility.
The most challenging aspect is balancing all these stakeholders' needs and expectations, especially in a challenging funding climate. Unfortunately, arts-funding is very precarious, and in the artist-run space, we generate a lot of programming and serve a large community with a relatively small amount of resources. So this is always a challenge and can be exhausting. But to be honest, that hustle is part of what I love about the job too.
What skills or relationships developed at OCAD U helped you participate in your field? Is there anything you would have done differently?
At OCAD U, I gained a more in-depth understanding of the intersections of art, politics and justice, and artists' capacity as agents of social change. I attribute this learning to the faculty. They were steadfast in revealing to us that museums and galleries are political (and colonial) spaces and pushed our thinking's criticality, whether through research, writing, or exhibition and space-making. I feel very grateful to have studied with them (especially our Graduate Program Director, Andrea Fatona) because I came out of the program prepared to be accountable and responsive to artists' and the public's shifting needs and interests.
If there is something I would have done differently, I think I would have participated more actively in OCAD U community events. It just so happened that the years I was in graduate school were also challenging in my personal life. I didn't make it a priority to attend openings and talks and extracurricular events, and I think that would have added value and joy to my learning.
What are the key responsibilities you maintain for your practice?
The keys to my practice are remaining adaptable, motivated, and curious —listening, looking and thinking critically through every aspect of my work, be it the day-to-day minutia of the job, or the big picture, long-term outlook. I believe that all facets of this work have a creative component, even the administrative, behind-the-scenes, less glamourous parts. I try to always put people at the centre of what I do—because I am a social being, and I love people—and because that strategy makes me a more kind, empathetic and supportive community leader.
What are your personal and professional goals for the coming years?
Professionally, I want to build on G44’s community partnerships to create a more inclusive organization and become a more vital resource to new generation artists, students and the arts-interested publics.
My personal goals are to keep having fun in my job and with my friends, read more books, write a series of personal essays, have meaningful conversations, listen to music I love every day, and laugh a lot.
