As a Ph.D. student in art history and curatorial intern, I spend the majority of my time researching, writing, traveling, and gazing at works of art. Sounds fun, right? (Actually, it really is!) Yet for the sake of making it sound so sublime, I must tell you there is dirty work involved. One of the most arduous aspects of the curatorial process is installing the exhibition. There is a lot of planning and drafting involved — as well as painting, spackling, lighting, and sometimes construction — but when the art is placed inside the gallery, along those bare walls…that’s when the gazing gets real.

Projected Claims is a delicately balanced presentation of immersive videos and enigmatic images, which represent Evron’s oeuvre of film, photography, and video. The curatorial vision for the exhibition began with Lauren Ross — who I have the pleasure of assisting during my internship at the ICA — as she sought to expand the architectural themes of Evron’s images by transforming the Depot Gallery space into a cinematic environment for contemplation. 

Participating in the installation of Projected Claims was both informative and exciting. Starting from day one: unpacking and inspecting the frames, there is attention to detail throughout the entire process, which can also be very gratifying — especially if gratification is one your quirks — as it is for me. Installing Projected Claims was a collaborative effort involving members of the ICA staff and an awesome team of hardworking students at the Depot Gallery. Equally gratifying was the opportunity to work alongside the artist. Evron was very hands-on during the installation process. His meticulous attention to every detail was delightful to witness as we positioned the photographs and videos in each gallery. “Sharpness and scale are extremely important for the viewers’ experience,” Evron said.

While watching A Free Moment repeatedly may have given me a mild sense of vertigo, the video installation process definitely challenged me to think differently about the medium: the complexity of creating video media is equal to presenting it. The complete installation process, including the selection of paint for projection walls, vacuuming busted light bulbs, considering placement of speakers, installing upside down projectors (a very cool trick), and more, gave me numerous opportunities to learn from Evron and the installers.

Kimberly D. Jacobs, Ph.D Student
Curatorial Research Intern

Image: Jacobs (left) working alongside the artist and exhibition manager to install one of three video pieces.