A Profile on Artist Miriam Keeler
Self-Portrait As Human Animal, oil on linen, 14” x 11”
As well as being a talented practicing artist, Miriam Keeler has been a longtime curator for Studio Gallery. Working with Deborah Addison Coburn, Keeler has curated countless Garden Gallery shows for her fellow members. Here, we took a brief look into her curation of the Garden Gallery.
When first asked about her curatorial process, Keeler instantly mentioned her longtime partner Debbie (Deborah Addison Coburn) who began curating before Keeler. Keeler comically mentioned their common cycle as “oh my god how are we going to make this work” and then “gee, it’s pretty good”. She could not even remember when she began, only that she was interested in hanging a show with Debbie, who she had met previously in a yoga class.
“Our job is mainly to figure out how to make the works by the two artists look good on their own but speak to one another in the gallery,” said Keeler when I asked about her curatorial process.
She noted how different it is from a traditional curator role, in that she does not spend a lot of time meeting with the artist before the installation. There is an almost improvisational quality to their methodology with their quick turnaround of shows and limited installation time. I assumed this must mean Keeler and Coburn were perfectly in sync, especially after so much experience together. However, Keeler described their working relationship as having a lot of artistic chemistry but not necessarily identical tastes or approaches. Also, she was quick to mention the years of experience Coburn had when Keeler first joined to make a team.
“We’re not totally in sync– there are some sparks because we’re different.”
Homage to Alma Thomas, oil on canvas, 36” x 36” 2018
However, these “sparks” are under the umbrella of a collaborative chemistry rather than a collision of approach as seen by the multitude of successful shows they continue to curate as a unit. Keeler simply described her process as “a lot of trial and error. [We’re] both open to the other ideas and try things two to three different ways, ‘til they [the two artists’ exhibits on display] seem pretty compatible”. From there, Keeler and Coburn assemble the space. Typically, two artists display in the Garden Gallery at the same time, and they usually do not collaborate on their respective show’s themes. When asked if that creates a tension towards the curatorial process Keeler replied, saying she tends to “think more than in terms of narrative two different artists more in terms of a conversation.” Continuing, she remarked: “It is difficult when one does have two narratives trying not to distort original work… [you] respect the work as much as you possibly can.” Remembering an artist who disagreed with their layout, Keeler said, “one time Debbie said ‘go ahead and change it’. However, the artist ended up keeping Coburn and Keeler’s original design. Keeler finished her anecdote with“usually people seem happy.”
It is clear Coburn and Keeler act as a conduit to help provide each artist with insight and ease. For artists who have spent months working on their shows, the installation process could easily turn into a stressful, laborious event. Yet, Keeler and Coburn are here to bring each vision to life. Keeler’s curatorial process stems from her work first and foremost as a practicing artist and member of Studio Gallery. Even at the beginning of our interview, it was difficult for Keeler to accept the title of “curator” over “someone who helps Debbie out”. Yet, despite the mild shyness Keeler has towards her curatorial prowess, she was confident in explaining her artistic journey.
After a career of research in both academia and the private sector, Keeler retired and began taking more and more art classes. Keeler noted that she felt fulfilled in research–“there’s lots of creativity”--nevertheless, she “wanted to exercise the other side of my brain.” From a brief glance at Keeler’s work (which one can find under our “Artists” page online), one can immediately see the complexities concerning identity and womanhood Keeler is reflecting on a daily basis through her portraiture.
Grief, oil on canvas, 24” x 30”
Keeler describes her inspiration as “thoughts that have to flit through your brain, that the world throws away, but once you start working on it [the artwork] develops and becomes something that interests me.”
Perhaps that’s why she enjoys being a part of an artistic community so much. Others find interest in the “throwaways” that she finds so compelling. “Once you are trying to complete an artwork, you forget why it’s good,” Keeler noted, emphasizing the importance critique groups have had on her artistic practice.
“Being around artwork or a museum, there’s energy and it’s contagious and encouraging. My work is actually pretty different from other people in the gallery; nevertheless, it really spurs me on and provides energy and excitement.”
Currently, Keeler channels that excitement towards an upcoming exhibition in April. She has been painting faces. Or, the same face over and over again. “I guess I’m an idea painter, something of a narrative painter,” Keeler mentioned her husband’s passing has made her work dwell on grief and difficulty, working on this series somewhat intuitively. “I had no ideas at all,” Keeler bluntly admitted. Yet, something emerged. “The canvases are 11” by 14” paintings of faces but with slightly different expressions; different hat, earrings, and a new shirt in one, butterflies on one head, a propeller hat, one has a crown.”
Keeler’s central comment on her new series: “I don’t know what it is and why people like it.”
However, maybe that is the integral appeal of Miriam Keeler’s curatorial and artistic practice. Keeler seems to be comfortable resting in the uncertainty of her artwork. She embraces challenge and change with a humble, thoughtful spirit. She voices a curious feeling we can all resonate with, even when we cannot name it.
By staff contributor Anna Jane Storms.