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Day 1, Interview with Danielle Rosen

March 7, 2011

In light of International Women’s Day on March 8th, Guildess will be showcasing influential women who are making contributions to the visual arts. To start our five day celebration we have interviewed MIAD senior, Danielle Rosen who was selected as student curator of the InterContinental Milwaukee’s Gallery M.

1.  Explain your role as curator of Gallerie M at the InterContinental Milwaukee.

I am responsible for organizing exhibitions, which entails inviting artists who I respect to   participate, acting as a channel between the hotel and the artists and laying out the show or examining the relationship between works within the space.
Also, part of my responsibility is educational.  Having a dialogue about the work with those who “don’t know anything about art,” is really important to me.  I don’t want the exhibitions to be inaccessible and thats something that I’m still trying to learn.  Art shouldn’t be pretentious and our audience shouldn’t be isolated to a small faction of the community.

2.  Why did you select artists Pedro Velez and Kate Brandt for your most recent show, “Hyperbole?”

Selecting artists that fit within the context of the InterContinent al in a precarious way and asking two artists that I had always wanted to
see work together but who had never collaborated (or met) was the impetus for my selections.
Kate Brandt and Pedro Velez deal with ideas of celebrity and politics in different, almost contradictory ways.  Brandt’s ideas are more art specific and Velez’s are much broader, so I wanted to see how those ideas could converge.  Also, both artists are speaking from a critical standpoint that I thought could complicate ideas of the artists’ position in society and the function of art versus popular notions of art making.

3.  How do you make the distinction between yourself as an artist and yourself as a curator?

Honestly, I don’t really consider myself to be a curator, the title just happens to fit the shoes that I’m filling at the moment.  There are a few curators in the city who have very clear ideas of what an exhibition is and should do, a clear curatorial vision or intent.  Casually adopting that title makes me feel as though I’m slighting those curators who have developed countless exhibitions with years of research.  That said, I have certain expectations of art and those are embedded within my selections but are borne out of my experience as a student and artist, not as a curator.  I’ve tried to tame some of biases by inviting artists with a range of practices from painting, to wearables, and sandwich making.

4.  Describe your current body of work.

I’ve developed a pseudo-scientific research organization called the Institute for Species Systemization.   Through the ISS, the head reseracher, Patricia Rose (a pseudonym or persona) conducts experiments that examine ideas of species, semiotics and the psycholinguistics of interspecies relationships.  For more information about the ISS or to contact Patricia Rose, please visit our website at:

5.  Has your artwork been influenced by your experiences working for Milwaukee galleries such as Dean Jensen, or the Green Gallery East?

My understanding of galleries, preparatory work, the art economic system and my knowledge of artists has expanded as a result of working within those galleries.  All are vital in terms of how you model your practice and the choices that you make as an artist regarding your position within the art world.  I’m not sure if I can specifically point to ways in which my artwork itself has been altered by these experiences, but my general experience and critical view of art has been affected which of course affects my practice.

6.  What are your aspirations or goals after your partnership with the InterContinental is over?

Attending graduate school will be my next step after MIAD and my position at the InterContinental.  I’m looking forward to working within a new academic environment that is interdisciplinary and challenges my ideas from a different intellectual perspective.
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