I am delighted that Arlette Kayafas has agreed to inaugurate my new interview series, “Curator’s Viewpoint”, featuring gallery owners and museum curators prominent in the Boston photographic community.
Arlette Kayafas is a long-time collector from a photography family. Husband Gus Kayafas operates a photographic atelier in West Concord; he studied at MIT with Harold Edgerton and Minor White and then at RISD with Harry Callahan and Aaron Siskind (after whom their younger son is named). Son Peter Kayafas is a fine art photographer and publisher based in New York City. Following decades of unrelated endeavors, becoming a gallery owner represented Arlette’s turn at expressing her passion for photography. This fall, Gallery Kayafas celebrates its 12th year in Boston’s South End gallery district, SoWa.
Arlette Kayafas in her gallery at 450 Harrison Avenue in Boston’s South End. (photo by Elin Spring)
When and how did Gallery Kayafas come about?
Several years before opening the gallery, I managed the care of elderly women, with Esther Edgerton as my first client. My last client was dying and I was approached by several families to take on the care of their mothers. The nature of that business is that you are always losing someone very close to you emotionally, whom you care about deeply. So in 2002, I decided I couldn’t continue to be sad all the time and decided to make a list of what I like, what I enjoy, how I like to spend my time. I love collecting, artists, looking at art and beautiful objects…and the idea of opening a gallery resulted. Gus and I have been collecting photographs for 47 years so it made sense that the gallery should focus on photography.
“Guggenheim, 1959”, 16×20” gelatin silver print by Ezra Stoller, from the first exhibit at Gallery Kayafas in April 2003 (courtesy of the Ezra Stoller Estate and Gallery Kayafas, Boston)
From what do you derive the greatest joy and satisfaction as a gallery owner?
My satisfaction comes from relationships.
Artists share with me their visual voice and I give them space to communicate and share it with others. I only show work that I would own and add to our collection.
Clients are wonderful and passionate about photography. The conversations and connections broaden my knowledge. When someone buys an artist’s work, I have the deep satisfaction of knowing that something I’ve presented has truly resonated.
Visitors, students, and out-of-town groups keep me sharp! I enjoy talking about the pieces in the gallery and that artist’s reasoning. I also enjoy the questions that are asked and find they often help me to see the work differently.
Curating the work of two or more artists to be exhibited separately, yet at the same time, is when I am happiest. I want the artists to have conversations with each other. It’s a challenge which I embrace fully and enjoy completely.
“Luck, 2012”, 30×60” pigmented in print by Sandi Haber Fifield (courtesy of the artist and Gallery Kayafas, Boston)
What do you regard as your biggest mistake as a gallerist and what did you learn from it?
I like to think of “mistakes” as learning situations. In the beginning, I got very excited by new processes – our personal collection at that time was mostly B&W gelatin silver photographs by the masters. Color and alternative processes became very interesting to me and I ended up showing an artist whose content was lacking. I was three days into the show and realized, “I have to look at this for six weeks!” I was very careful after that to make content my priority.
Also, I quickly realized that there are many wonderful artists and I don’t have to work with anyone who is rude, selfish, or unkind. It took two such people to help me make this a rule! Life’s too short…
“N 40° 01’ 11.38” W 124° 02’ 48.59” Shelter Cove, California, 2012”, 8×30” pigmented ink prints from the series The Fortieth Parallel by Bruce Myren (courtesy of the artist and Gallery Kayafas, Boston)
To succeed, every institution must occupy a unique niche within its local culture. What do you see as your special role in the Boston photographic community?
I show work that is challenging, which is not always comfortable, but is powerful. I want an image to capture your attention and time. I want it to stop you each time you pass and show you something new each time, depending on your self at that moment. Everything I show is beautiful – not pretty. I don’t show work because I think it will sell, and I don’t not show work because it won’t selI. I use the gallery as a means to broaden horizons. And, my politics!
I show many new and emerging artists, bringing them to the public’s attention early in their careers. I will often pair a new artist with a well-known artist who has an established following, since new and emerging artists get very little wall space.
“Blue Boy 1 (sincere KANSAS), 2014”, 10.75×8.25” cyanotype image on 11×8.5” page from magazine, from the series Blue Boy by Caleb Cole, to be exhibited at the gallery December 5, 2014 – January 10, 2015 (courtesy of the artist and Gallery Kayafas, Boston)
What advice would you give to someone who aspires to own a gallery?
You need to have a thick skin in this business and learn not to take things personally.
Be prepared for feast or famine – cash flow isn’t always!
Don’t judge the value of an artist’s work by sales.
Stand by your beliefs and don’t compromise.
Participate in the community.
You have to enjoy people.
“CFYW Rose, 2009”, 20×24” pigment ink print by Geoff Hargadon (courtesy of the artist and Gallery Kayafas, Boston)
Several Boston institutions have been establishing satellite locations to exhibit more photography. What are the implications of this trend and do you think it will benefit our photographic community?
The satellites allow people to see photography that isn’t in museums and more established galleries, work that may not be ready for a commercial gallery but is worthy of being put on public view. It makes things more inclusive for student and emerging photographers. Artists need feedback and I think the satellite spaces allow them to have more contact with the public. The more photography the public is able to see and experience, the more they develop their own eye, becoming more selective and learning what they like.
I have a new section on my gallery website, “Out of the Frame”, where we show artists whose work we feel needs to be seen. Each month, we give an artist a few pictures in our back gallery wall and sponsor a virtual show of their work on our gallery website, with a link to the artist’s website.
“Luxuria, Untitled No. 1, 2013” pigmented ink print by Tara Sellios (courtesy of the artist and Gallery Kayafas, Boston)
What advice would you give to a photographer who hopes to be represented by a Boston gallery or by Gallery Kayafas specifically?
Right now, Gallery Kayafas is not taking on any new artists and I only look at portfolios that are recommended by my artists or other curators. “Out of the Frame” is a good way to get your work in front of me, through the submission process outlined on our website.
Before approaching any gallery, you need to do your homework. I cannot stress this enough. Not all photographers fit in the same gallery – look at the gallery’s web site to understand what the gallery is showing, their style, who they work with, etc.. Visit the gallery and listen to the director speak about the work – does that style appeal to you?
From the series “Gathering Ground, 2014” by the gallery’s newest artist, Anna Collette (courtesy of the artist and Gallery Kayafas, Boston)
What do you find most inspiring about the Boston photography scene today?
I think the alternative spaces, pop-ups, and satellite galleries are allowing more photography to be seen, which brings more attention to the medium.
What would you like to see happen on the Boston photography scene tomorrow?
I would like to see Boston expand on the Flash Forward event, enlarging it to become more citywide, involving many institutions. At Paris Photo or AIPAD in NYC, when each city hosts these shows, there are many off-site photography happenings. The city uses the draw of these two shows to showcase photography with other smaller trade shows and amazing exhibits. Each spring, we could embellish the Flash Forward Festival by sponsoring citywide events – perhaps a trade show in the Cyclorama. It would be a wonderful opportunity to expand beyond their emphasis on “emerging” artists to include more “mid-career” and “still not dead” artists (smile). We could showcase all of Boston’s photographers and bring together various communities within the city.
“Green Corner, 2012”, 16×24” digital C-print by Remi Thornton (courtesy of the artist and Gallery Kayafas, Boston)
To learn more about Gallery Kayafas and its online gallery “Out of the Frame”, go to: http://www.gallerykayafas.com/
Feature photo: Crop from “Jess and Vanessa, 2013”, 20×24” pigmented ink print by Jess T. Dugan, currently on exhibit until October 11, 2014 (courtesy of the artist and Gallery Kayafas, Boston)
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