Marissa Neave
Why did you choose to attend OCAD U?
Before I attended OCAD U, I worked in magazine publishing and graphic design. I was interested in returning to school to finish my undergraduate degree, but very few programs and schools were speaking to me. I worked with a friend who was enrolled in Criticism and Curatorial Practice, and when he told me more about the program, I knew I had to apply. So much of what I had done as a creative director was curatorial in nature; CRCP gave me the training I needed to transfer my skills to another field.
Please briefly describe your current job / practice.
I am currently the Programming Coordinator at InterAccess, an art gallery, educational facility and production studio dedicated to the creative use of technology, electronic art and new media culture. I am responsible for developing and executing all of the exhibitions and events that take place in our main gallery space, and sometimes off-site events as well.
How did you get started in your career?
While I was doing my undergrad at OCAD U, I got a summer job at YYZ Artists' Outlet through the Young Canada Works program. At YYZ, I learned so much about gallery administration, exhibition coordination, and the operation of artist-run centres in general. I was lucky enough to continue working at YYZ for two years.
Did you volunteer or work in your field while you were a student?
In addition to working at YYZ, I took every chance I could get to write exhibition essays and curate exhibitions. Sometimes extensive planning and research never materialized, thanks to difficulty finding space, or financial limitations. But that didn't matter -- the process was always a learning experience.
What were your policies regarding internships, volunteering, and paid work?
It's disheartening to know how many talented arts professionals are working for free, or for very little. I see so many job postings that require graduate degrees, but then pay $13/hour. It's a problem that current cultural policy should--but doesn't--address. Having said that, volunteering and interning really helps to get your foot in the door when paid employment opportunities just aren't there. The quality of your work will always matter the most, but the more professional relationships you establish and nurture over time, the better your chances are for finding steady employment - you want people to think of you when they have an opportunity open up. Also, so many organizations, festivals and events that now run as full-fledged institutions started out with a group of people just getting together to make something. If you're not getting paid anyway, you might as well use whatever spare time you might be privileged to have to make something you love.
What do you enjoy most about your work? What is the most challenging aspect of your work?
I really love everything about my work. I do a lot of research, and a lot of administration, but it's so much fun to develop exhibitions and see them through from concept to execution. I love the absolute chaos of installation week; how everything miraculously sets into place seconds before the opening reception.
What skills or relationships developed at OCAD U helped you participate in your field? Is there anything you would have done differently?
I had so many great professors at OCAD U, and maintaining relationships with them was really important to me. They were just so inspiring to me - I didn't want to leave that behind when I graduated. I think the best professors see their students as future peers; it has been nice to transition from "student" to "peer" with curators, historians, and writers whom I have long admired.
What are the key responsibilities you maintain for your practice?
Stay active in the social aspects of the arts. Sometimes it can be exhausting to go to all the openings and events, especially if you're not a particularly extroverted person, or if you have lots of other responsibilities outside of your job. But every now and again, make an effort to get out there, see what's happening, and get a sense of how others are responding to it.
What are your personal and professional goals for the coming years?
I'd love to continue coordinating programming and curating at various cultural institutions. Artist-run culture is very special to me; it's where I got my start in the arts. But I would love to try my hand at a larger public institution in the future.